“Ὁ μὲν γὰρ οὕτως· ἡ δέ τοι κύκνου δίκην
τὸν ὓστατον μέλψασα θανάσιμον γόον
κεῖται φίλητωρ, τοῦδ’, ἐμοὶ δ’ ἐπηγαγεν
εὐνης παροψώνημα τῆς ἐμῆς χλιδῆς.”
Which is to this effect: that when she has sung the last mortal lamentation, according to the custom of the swan, she lies down as a lover, and offers to me the solace of the bed of my joy.
Horapollo, ed. 1551.
This notion of the singing of the swan is to be traced even to the hieroglyphics of Egypt. In answer to the question, “Πῶς γέροντα μουσικόν·”—how to represent “an old man musical?”—Horapollo, edition Paris, 1551, p. 136, replies,—
“Ιἐροντα μουσικὸν βουλόμενοι σημῇναι, κύκνον ζωγραφοῦσιν. οὑ~τος γαρ ἡδύτατον μέλος ᾅδει γηράσκων.”
i.e.—“Wishing to signify an old man musical, they paint a swan; for this bird sings its sweetest melody when growing old.” Virgil frequently speaks of swans, both as melodious and as shrill voiced. Thus in the Æneid, vii. 700–3; xi. 457,—