[426] 'Nay, but for everlasting lives our poet's work, abides, and goes forth toward the ages late in time. So long as in the silent firmament the stars shall shine; so long as day shall rise from sun-burned Ind; so long as Phosphor runs before the wheels of light; so long as gloomy winter leads to spring, and summer to autumn; while breathing ocean ebbs and flows by turns, and the mixed elements put on their changing shapes—so long, for ever, shall endure great Maro's fame, for ever shall flow these rivers from his unexhausted fount, for ever shall draughts of learning be drawn from these rills, for ever shall these meadows yield their perfumed flowers, to pasture holy bees, and give the youthful Graces garlands for their hair.'—Carmina, &c. p. 207.
[427] 'Supper was over; Orpheus awakes the lyre, and sings a melody to suit the tune he plays. The men were silent; the winds hushed; the rivers held their waters back to hear; the birds hung motionless in air; and the wild beasts grew calm. From the cliffs the oaks run down with listening ears, and the top of Pelion nods his barren head. And now the bard had soothed the whole world with his mother's song; when he ceased from singing and put down the thrilling lyre. This bold Achilles seizes; he runs his fingers o'er the strings, and chaunts an untaught lay, the simple boy. What was his theme? you ask. He praised the singing of the gentle guest, the mighty murmurs of that lyre divine. The Minyæ laughed; but yet, so runs the tale, even all too sweet, Orpheus, to thee was the boy's homage. Just so my praise of mighty Maro's name, if faith be not a dream, gives joy to Maro's self.'—Carmina, &c. p. 197.
[428] 'We also, therefore, with glad homage dedicate to him this garland twined of Pieria's flowers, which Ambra, loveliest of Cajano's nymphs, gave to me, culled from meadows on her father's shores; Ambra, the love of my Lorenzo, whom Umbrone, the horned stream, begat—Umbrone, dearest to his master Arno, Umbrone, who now henceforth will never break his banks again.'—Carmina, &c. p. 224.
[429] Cf. Juvenal, Satire, i. 9-14; vii. 81-87. Persius, Satire, i. 79-82. And cf. Petronius Arbiter for a detailed picture of these Roman recitations.
[430] Carmina Quinque, &c. pp. 250, 272, 276.
[431] The epitaphs on Giotto, Lippo Lippi, the fair Simonetta, and others, are only valuable for their historic interest, such as that is.
[432] I shall quote from his Collected Poems, Aldus, 1513.
[433] See the Elegy of Sannazzaro on the writings of Pontanus, Poemata Selecta, pp. 1-4, and Fracastoro's Syphilis, ib. p. 72.
[434] Delitiæ Poetarum Italorum, pt. ii. pp. 668-712. Specimens may also be read in the Poemata Selecta Italorum, pp. 1-24.
[435] See, for instance, the tale of Hylas, lib. v. p. 103; the tale of Cola Pesce, lib. iv. p. 79; the council of the gods, lib. i. p. 18; the planet Venus, lib. i. p. 5.