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The Works of Alexander Pope, Volume 1, Poetry - Volume 1

WINTER:[1]

Reading edition

WINTER:[1]

THE FOURTH PASTORAL,

OR

DAPHNE.

TO THE MEMORY OF MRS. TEMPEST.[2]

LYCIDAS. Thyrsis, the music of that murm'ring spring Is not so mournful as the strains you sing;[3] Nor rivers winding through the vales below,[4] So sweetly warble, or so smoothly flow.[5] Now sleeping flocks on their soft fleeces lie,5 The moon, serene in glory, mounts the sky, While silent birds forget their tuneful lays, Oh sing of Daphne's fate, and Daphne's praise![6] THYRSIS. Behold the groves that shine with silver frost, Their beauty withered, and their verdure lost!10 Here shall I try the sweet Alexis' strain, That called the list'ning dryads to the plain?[7] Thames heard the numbers as he flowed along, And bade his willows learn the moving song.[8] LYCIDAS. So may kind rains[9] their vital moisture yield,15 And swell the future harvest of the field. Begin; this charge the dying Daphne gave,[10] And said, "Ye shepherds sing around my grave!" Sing, while beside the shaded tomb I mourn, And with fresh bays her rural shrine adorn.[11]20 THYRSIS. Ye gentle muses, leave your crystal spring, Let nymphs and sylvans cypress garlands bring Ye weeping loves, the stream with myrtles hide,[12] And break your bows, as when Adonis died;[13] And with your golden darts, now useless grown,25 Inscribe a verse on this relenting stone: "Let nature change, let heav'n and earth deplore, "Fair Daphne's dead, and love is now no more!"[14] 'Tis done, and nature's various charms decay,[15] See gloomy clouds obscure the cheerful day!30 Now hung with pearls the dropping trees appear,[16] Their faded honours scattered on her bier.[17] See, where on earth the flow'ry glories lie, With her they flourished, and with her they die.[18] Ah what avail the beauties nature wore?35 Fair Daphne's dead, and beauty is no more! For her the flocks refuse their verdant food, The thirsty heifers shun the gliding flood,[19] The silver swans her hapless fate bemoan, In notes more sad than when they sing their own;[20]40 In hollow caves[21] sweet echo[22] silent lies,[23] Silent, or only to her name replies:[24] Her name with pleasure once she taught the shore, Now Daphne's dead, and pleasure is no more! No grateful dews descend from ev'ning skies,45 Nor morning odours from the flow'rs arise; No rich perfumes refresh the fruitful field, No fragrant herbs their native incense yield.[25] The balmy zephyrs, silent since her death, Lament the ceasing of a sweeter breath;[26]50 Th' industrious bees neglect their golden store![27] Fair Daphne's dead, and sweetness is no more![28] No more the mountain larks, while Daphne sings,[29] Shall list'ning in mid-air suspend their wings;[30] No more the birds shall imitate her lays,[31]55 Or hushed with wonder, hearken from the sprays: No more the streams their murmurs shall forbear, A sweeter music than their own to hear,[32] But tell the reeds, and tell the vocal shore, Fair Daphne's dead, and music is no more!60 Her fate is whispered by the gentle breeze, And told in sighs to all the trembling trees; The trembling trees, in ev'ry plain and wood, Her fate remurmur to the silver flood;[33] The silver flood, so lately calm, appears65 Swelled[34] with new passion, and o'erflows with tears;[35] The winds, and trees, and floods, her death deplore,[36] Daphne, our grief! our glory now no more! But see! where Daphne wond'ring mounts on high[37] Above the clouds, above the starry sky![38]70 Eternal beauties grace the shining scene, Fields ever fresh, and groves for ever green! There while you rest in amaranthine bow'rs, Or from those meads select unfading flow'rs, Behold us kindly, who your name implore,75 Daphne our goddess! and our grief no more! LYCIDAS. How all things listen, while thy muse complains![39] Such silence waits on Philomela's strains, In some still ev'ning, when the whisp'ring breeze Pants on the leaves, and dies upon the trees.[40]80 To thee, bright goddess, oft a lamb shall bleed,[41] If teeming ewes increase my fleecy breed. While plants their shade, or flow'rs their odours give,[42] Thy name, thy honour, and thy praise shall live![43] THYRSIS. But see, Orion sheds unwholesome dews:[44]85 Arise; the pines a noxious shade diffuse; Sharp Boreas blows, and nature feels decay, Time conquers all, and we must time obey,[45] Adieu ye vales, ye mountains, streams, and groves, Adieu ye shepherds' rural lays and loves;90 Adieu, my flocks;[46] farewell, ye sylvan crew; Daphne, farewell; and all the word adieu![47]

FOOTNOTES:

Notes in this chapter

Note 1 · This was the poet's favourite Pastoral.—Warburton. It is professedly an imitation of Theocritus, whom Pope does not resemble, and whose IdylNote 2 · This lady was of ancient family in Yorkshire, and particularly admired by the author's friend Mr. Walsh, who having celebrated her in a PastNote 3 · This couplet was constructed from Creech's translation of the first Idyll of Theocritus: And, shepherd, sweeter notes thy pipe do fill Than Note 4 · Suggested by Virg. Ecl. v. 83: nec quæ Saxosas inter decurrunt flumina valles. For winding streams that through the valley glide. Dryden.—WaNote 5 · Milton, Par. Lost, v. 195: Fountains, and ye that warble, as ye flow, Melodious murmurs, warbling tune his praise.Note 6 · Variation: In the warm folds the tender flocks remain, The cattle slumber on the silent plain, While silent birds neglect their tuneful laysNote 7 · Garth's Dispensary, Canto iv.: As tuneful Congreve tries his rural strains, Pan quits the woods, the list'ning fauns the plains. Dryden's ViNote 8 · Virg. Ecl. vi. 83: Audiit Eurotas, jussitque ediscere lauros.—Pope. Admitting that a river gently flowing may be imagined a sensible being lNote 9 · There is some connection implied between the "kind rains" and the "willows learning the song," but I cannot trace the idea.Note 10 · Virg. Ecl. v. 41: mandat fieri sibi talia Daphnis.Note 11 · Rowe's Ambitious Step-Mother: And with fresh roses strew thy virgin urn.—Steevens.Note 12 · Ver. 23, 24, 25. Virg. Ecl. v. 40, 42: inducite fontibus umbras.... Et tumulum facite, et tumulo superaddite carmen.—Pope. If the idea of "hNote 13 · This image is taken from Ovid's elegy on the death of Tibullus, Amor. iii. 9. 6: Ecce! puer Veneris fert eversamque pharetram, Et fractos arNote 14 · This is imitated from Walsh's Pastoral on the death of Mrs. Tempest in Dryden's Miscellanies, vol. v. p. 323: Now shepherds! now lament, andNote 15 · Originally thus in the MS. 'Tis done, and nature's changed since you are gone; Behold the clouds have put their mourning on.—Warburton. ThisNote 16 · Dryden's pastoral elegy on the death of Amyntas: 'Twas on a joyless and a gloomy morn, Wet was the grass and hung with pearls the thorn. So Note 17 · Spenser's Colin Clout: The fields with faded flow'rs did seem to mourn.Note 18 · Oldham's translation of Moschus: Each flower fades and hangs its withered head, And scorns to thrive or live now thou art dead.—Wakefield.Note 19 · Variation: For her the flocks the dewy herbs disdain, Nor hungry heifers graze the tender plain.—Pope. Dryden's Virg. Ecl. v. 38: The thirstNote 20 · Oldham's translation of Moschus: Ye gentle swans.... In doleful notes the heavy loss bewail Such as you sing at your own funeral.—Wakefield.Note 21 · Cowley in his verses on Echo: Ah! gentle nymph! who lik'st so well In hollow solitary caves to dwell.—Wakefield.Note 22 · This expression of "sweet echo" is taken from Comus.—Warton.Note 23 · Oldham's translation of Moschus: Sad echo too does in deep silence moan, Since thou art mute, since thou art speechless grown.—Wakefield.Note 24 · The couplet was different in the early editions: Echo no more the rural song rebounds; Her name alone the mournful echo sounds.Note 25 · In the MS. Which but for you did all its incense yield. This, with the reading in the text, was laid before Walsh, who selected the latter.Note 26 · Oldham's translation of Moschus: Fair Galatea too laments thy death, Laments the ceasing of thy tuneful breath. Sedley's Elegy: Here sportivNote 27 · Oldham's version of Moschus: The painful bees neglect their wonted toil.—Wakefield.Note 28 · The same: Alas! what boots it now thy hives to store, When thou, that wast all sweetness, art no more.—Wakefield.Note 29 · In the original draught Pope had again introduced the wolves, and the first four lines of this paragraph stood thus: No more the wolves, wheNote 30 · The image of the birds listening with their wings suspended in mid-air is striking, and, I trust, new.—Ruffhead. This circumstance of the laNote 31 · Oldham's translation of Moschus: The feathered choir that used to throng In list'ning flocks to learn his well-tuned song. The line in the tNote 32 · The veri similitudo, which Bowles commends in the description of the lark, is not to be found in the notion of the streams ceasing to murmurNote 33 · Dryden's Æneis, vii. 1041: Yet his untimely fate th' Angitian woods In sighs remurmured to the Fucine floods.—Wakefield.Note 34 · This is barbarous: he should have written "swoln."—Wakefield.Note 35 · Ovid, Met. xi. 47: lacrimis quoque flumina dicunt Increvisse suis. Oldham's translation of Moschus: The rivers too, as if they would deploreNote 36 · Let grief or love have the power to animate the winds, the trees, the floods, provided the figure be dispatched in a single expression, but Note 37 · Virg. Ecl. v. 56: miratur limen Olympi, Sub pedibusque videt nubes et sidera Daphnis.—Pope. Dryden thus renders the passage in Virgil: DaphnNote 38 · In Spenser's November, and in Milton's Lycidas, there is the same beautiful change of circumstances.—Warton. It was one of the stereotyped cNote 39 · The four opening lines of the speech of Lycidas were as follows in the MS.: Thy songs, dear Thyrsis, more delight my mind Than the soft whisNote 40 · Milton, Il Penseroso: When the gust hath blown his fill Ending on the rustling leaves.Note 41 · Virg. Ecl. i. 7: illius aram Sæpe tener, nostris ab ovilibus, imbuet agnus.—Pope. He partly follows Dryden's translation of his original: ThNote 42 · Originally thus in the MS. While vapours rise, and driving snows descend. Thy honour, name, and praise shall never end.—Warburton.Note 43 · Virg. Ecl. v. 76: Dum juga montis aper, fluvios dum piscis amabit, Dumque thymo pascentur apes, dum rore cicadæ, Semper honos, nomenque tuumNote 44 · Virg. Ecl. x. 75: solet esse gravis cantantibus umbra; Juniperi gravis umbra.—Pope. Dryden's version of the passage is, From juniper unwholeNote 45 · Virg. Ecl. x. 69: Omnia vincit amor; et nos cedamus amori. Vid. etiam Sannazarii Ecl. et Spenser's Calendar.—Warburton. Dryden's verse is: LNote 46 · There is a passage resembling this in Walsh's third eclogue: Adieu, ye flocks, no more shall I pursue; Adieu, ye groves; a long, a long adieNote 47 · These four last lines allude to the several subjects of the four Pastorals, and to the several scenes of them particularized before in each—
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