THE SPOUSAL IDYLLIUM;

OR,

Epithalamium of Helen1

THERE were two sorts of Epithalamia, or nuptial songs, among the ancients. The first were called Επιθαλαμια Κοιμητικα. These were sung by a chorus of virgins, in the evening, after the bride had been introduced into the bride-chamber; and were intended (as their name imports) to dispose the married couple to sleep. The same chorus were accustomed to return in the morning, and awaken the bride and bridegroom with the Επιθαλαμια Εγερτικα; which were the second species of the spousal song.

Of compositions on these occasions we have not many examples in the Greek or Oriental poetry; though Catullus and Claudian among the Roman writers, and the Cavalier Marino among the modern Italians, have profusely celebrated the rites of Hymen.

The Canticles, or the Song of Solomon,' the Forty-fifth Psalm, and the Espousals of Helen,' are the most conspicuous Epithalamia of remoter antiquity. In respect only to their general style and manner, there appears to be no impropriety in this assemblage. The latter poem, whether the work of Theocritus or not, hath certainly an agreeable flavour of Eastern genius. Its imitations will hereafter be adduced in the notes, 1 Eighteenth Idyllium.

a shade of difference in their behaviour and manners. They are both talkative enough; but Gorgo possesses a greater degree of prudence and decorum amidst her loquacity; Praxinoe shows a propensity throughout to rail against her husband. Her friend very cautiously checks her raillery, as unseasonable, at least, in the presence of her little son, who had sense and observation enough to understand that his father was treated disrespectfully: and this (by the way) conveys a very striking admonition to those parents, who, having little at heart the morality of their children, too frequently carry on conversations in their presence, which may at all seasons be improper, but are then peculiarly ill timed. Such, however, is the eagerness of Praxinoe to resume her favourite topic, that she proceeds to expose her husband, couching her story in terms above the comprehension of little Zopyrion, or rather assuming a concealed manner, by which our poet probably glances at that mysterious air of conversation so frequent among females, who, though interrupted by a third person in the thread of their discourse, still carry on their tale through hints and expressions allusive to times, circumstances, and persons. The stupidity of Praxinoe's husband (which she thus exposes) consisted in mistaking salt for nitre. Gorgo, on this, takes occasion to betray the weakness of her good man in his purchase, but it is soon passed over; while the very mention of his commission proves a key to her character. The circumstance of his purchasing the fleeces for the purpose of spinning, may be taken as a

hint of her industry; while, on the contrary, Praxinoe's nitre seems to intimate her attention to ornament and the fashions. The roving disposition of the latter is implied in her husband's removing her from the neighbourhood of her dissipated acquaintance; in her great impatience at Gorgo's delaying to fulfil her appointment; and in her regretting her exile from the busy world, and the consequent impossibility of her feasting on the news of the day. Mixed with vulgarity and pertness, she discovers all the affected airs of the woman of quality. On her arrival at the scene of Adonis's festival, her remarks on the tapestry betray her ignorance and conceit. And, on the stranger's interruption (rude enough, it must. be confessed), her observation is precisely such as, from our preconceptions of her, one might naturally have expected; and (whatever may be the opinion of Heinsius) the passage conveys no other sentiment than the burden of her songher husband's tyranny.

The song of the Greek girl hath a fine effect, in contrast with the preceding conversation. Of all the picturesque pieces of Theocritus, it is the most finished, elegant, and beautiful: of all the Greek poetry, it is, without exception, the most exquisitely polished! Its subject was the favourite of the Grecian Muse; who seems never so sweet an enthusiast, as when she gives music to the sighs of Venus, over the dead yet beautiful Adonis.

comiastic poem; more perspicuous, though less adorned, than Pindar; and more spirited, though less insinuating, than Horace. He had written, it is said, a poem in honour of Berenice; but, among a variety of his other pieces, it is lost in the wreck of time. Perhaps it perished with the Alexandrian repository of learning. Over the ashes of a monument, the most splendid in the world of literature, we may well pause, to lament and to meditate in silence: but let us not protract the melancholy moment. Patronage did not expire with Ptolemy; or genius with the Alexandrian library: we have scenes before us more interesting and luminous than the brightest prospects of antiquity. It is in our own country that polite scholarship is eminently exerted, and as conspicuously rewarded. It is here that the elegance of the arts adds lustre to the dignity of the sovereign; and that he', who adorned a learned university, in the profession of poetry, hath hung the laureate wreath on the throne of munificence and taste. Surely then we might announce the triumph of Liberality and the Muse; with such a monarch to bless his people, and such a poet to record the blessing.

2 The late Rev. Thomas Warton.

THE SPOUSAL IDYLLIUM;

OR,

Epithalamium of Helen1.

THERE were two sorts of Epithalamia, or nuptial songs, among the ancients. The first were called Επιθαλαμια Κοιμητικα. These were sung by a chorus of virgins, in the evening, after the bride had been introduced into the bride-chamber; and were intended (as their name imports) to dispose the married couple to sleep. The same chorus were accustomed to return in the morning, and awaken the bride and bridegroom with the Επιθαλαμια Εγερτικα; which were the second species of the spousal song.

Of compositions on these occasions we have not many examples in the Greek or Oriental poetry; though Catullus and Claudian among the Roman writers, and the Cavalier Marino among the modern Italians, have profusely celebrated the rites of Hymen.

The Canticles, or the Song of Solomon,' the Forty-fifth Psalm, and the Espousals of Helen,' are the most conspicuous Epithalamia of remoter antiquity. In respect only to their general style and manner, there appears to be no impropriety in this assemblage. The latter poem, whether the work of Theocritus or not, hath certainly an agreeable flavour of Eastern genius. Its imitations will hereafter be adduced in the notes, Eighteenth Idyllium.