Hymn To The Naiads

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Title:     Hymn To The Naiads
Author: Mark Akenside [More Titles by Akenside]

ARGUMENT.

The Nymphs, who preside over springs and rivulets, are addressed at daybreak, in honour of their several functions, and of the relations which they bear to the natural and to the moral world. Their origin is deduced from the first allegorical deities, or powers of nature, according to the doctrine of the old mythological poets, concerning the generation of the gods and the rise of things. They are then successively considered, as giving motion to the air and exciting summer breezes; as nourishing and beautifying the vegetable creation; as contributing to the fulness of navigable rivers, and consequently to the maintenance of commerce; and by that means to the maritime part of military power. Next is represented their favourable influence upon health when assisted by rural exercise, which introduces their connexion with the art of physic, and the happy effects of mineral medicinal springs. Lastly, they are celebrated for the friendship which the Muses bear them, and for the true inspiration which temperance only can receive, in opposition to the enthusiasm of the more licentious poets.

O'er yonder eastern bill the twilight pale
Walks forth from darkness; and the God of day,
With bright Astraea seated by his side,
Waits yet to leave the ocean. Tarry, Nymphs,
Ye Nymphs, ye blue-eyed progeny of Thames,
Who now the mazes of this rugged heath
Trace with your fleeting steps; who all night long
Repeat, amid the cool and tranquil air,
Your lonely murmurs, tarry, and receive
My offer'd lay. To pay you homage due,
I leave the gates of sleep; nor shall my lyre
Too far into the splendid hours of morn
Engage your audience; my observant hand
Shall close the strain ere any sultry beam
Approach you. To your subterranean haunts
Ye then may timely steal; to pace with care
The humid sands; to loosen from the soil
The bubbling sources; to direct the rills
To meet in wider channels; or beneath
Some grotto's dripping arch, at height of noon
To slumber, shelter'd from the burning heaven.

Where shall my song begin, ye Nymphs, or end?
Wide is your praise and copious--first of things,
First of the lonely powers, ere Time arose,
Were Love and Chaos. Love,[A] the sire of Fate; [B]
Elder than Chaos. [C] Born of Fate was Time, [D]
Who many sons and many comely births
Devour'd, [E] relentless father; till the child
Of Rhea [F] drove him from the upper sky, [G]
And quell'd his deadly might. Then social reign'd
The kindred powers, [H] Tethys, and reverend Ops,
And spotless Vesta; while supreme of sway
Remain'd the Cloud-Compeller. From the couch
Of Tethys sprang the sedgy-crowned race, [I]
Who from a thousand urns, o'er every clime,
Send tribute to their parent; and from them
Are ye, O Naiads: [J] Arethusa fair,
And tuneful Aganippe; that sweet name,
Bandusia; that soft family which dwelt
With Syrian Daphne; [K] and the honour'd tribes
Beloved of Paeon. [L] Listen to my strain,
Daughters of Tethys: listen to your praise.

You, Nymphs, the winged offspring, [M] which of old
Aurora to divine Astraeus bore,
Owns, and your aid beseecheth. When the might
Of Hyperion, [N] from his noontide throne,
Unbends their languid pinions, aid from you
They ask; Pavonius and the mild South-west
Prom you relief implore. Your sallying streams [O]
Fresh vigour to their weary wings impart.
Again they fly, disporting; from the mead
Half-ripen'd and the tender blades of corn,
To sweep the noxious mildew; or dispel
Contagious steams, which oft the parched earth
Breathes on her fainting sons. From noon to eve.
Along the river and the paved brook,
Ascend the cheerful breezes: hail'd of bards
Who, fast by learned Cam, the AEolian lyre
Solicit; nor unwelcome to the youth
Who on the heights of Tibur, all inclined
O'er rushing Arno, with a pious hand
The reverend scene delineates, broken fanes,
Or tombs, or pillar'd aqueducts, the pomp
Of ancient Time; and haply, while he scans
The ruins, with a silent tear revolves
The fame and fortune of imperious Rome.

You too, O Nymphs, and your unenvious aid
The rural powers confess, and still prepare
For you their choicest treasures. Pan commands,
Oft as the Delian king [P] with Sirius holds
The central heavens, the father of the grove
Commands his Dryads over your abodes
To spread their deepest umbrage. Well the god
Remembereth how indulgent ye supplied
Your genial dews to nurse them in their prime.

Pales, the pasture's queen, where'er ye stray,
Pursues your steps, delighted; and the path
With living verdure clothes. Around your haunts
The laughing Chloris, [Q] with profusest hand,
Throws wide her blooms, her odours. Still with you
Pomona seeks to dwell; and o'er the lawns,
And o'er the vale of Richmond, where with Thames
Ye love to wander, Amalthea [R] pours,
Well-pleased, the wealth of that Ammonian horn,
Her dower; unmindful of the fragrant isles
Nysaean or Atlantic. Nor canst thou
(Albeit oft, ungrateful, thou dost mock
The beverage of the sober Naiad's urn,
O Bromius, O Lenaean), nor canst thou
Disown the powers whose bounty, ill repaid,
With nectar feeds thy tendrils. Yet from me,
Yet, blameless Nymphs, from my delighted lyre,
Accept the rites your bounty well may claim,
Nor heed the scoffings of the Edonian band. [S]

For better praise awaits you. Thames, your sire,
As down the verdant slope your duteous rills
Descend, the tribute stately Thames receives,
Delighted; and your piety applauds;
And bids his copious tide roll on secure,
For faithful are his daughters; and with words
Auspicious gratulates the bark which, now
His banks forsaking, her adventurous wings
Yields to the breeze, with Albion's happy gifts
Extremest isles to bless. And oft at morn,
When Hermes, [T] from Olympus bent o'er earth
To bear the words of Jove, on yonder hill
Stoops lightly sailing; oft intent your springs
He views: and waving o'er some new-born stream
His bless'd pacific wand, 'And yet,' he cries,
'Yet,' cries the son of Maia, 'though recluse
And silent be your stores, from you, fair Nymphs,
Flows wealth and kind society to men.
By you my function and my honour'd name
Do I possess; while o'er the Boetic rale,
Or through the towers of Memphis, or the palms
By sacred Ganges water'd, I conduct
The English merchant; with the buxom fleece
Of fertile Ariconium while I clothe
Sarmatian kings; or to the household gods
Of Syria, from the bleak Cornubian shore,
Dispense the mineral treasure [U] which of old
Sidonian pilots sought, when this fair land
Was yet unconscious of those generous arts,
Which wise Phoenicia from their native clime
Transplanted to a more indulgent heaven.'

Such are the words of Hermes: such the praise,
O Naiads, which from tongues celestial waits
Your bounteous deeds. From bounty issueth power:
And those who, sedulous in prudent works,
Relieve the wants of nature, Jove repays
With noble wealth, and his own seat on earth,
Pit judgments to pronounce, and curb the might
Of wicked men. Your kind unfailing urns
Not vainly to the hospitable arts
Of Hermes yield their store. For, O ye Nymphs,
Hath he not won [V] the unconquerable queen
Of arms to court your friendship You she owns
The fair associates who extend her sway
Wide o'er the mighty deep; and grateful things
Of you she littereth, oft as from the shore
Of Thames, or Medway's vale, or the green banks
Of Vecta, she her thundering navy leads
To Calpe's [W] foaming channel, or the rough
Cantabrian surge; her auspices divine
Imparting to the senate and the prince
Of Albion, to dismay barbaric kings,
The Iberian, or the Celt. The pride of kings
Was ever scorn'd by Pallas; and of old
Rejoiced the virgin, from the brazen prow
Of Athens o'er AEgina's gloomy surge, [X]
To drive her clouds and storms; o'erwhelming all
The Persian's promised glory, when the realms
Of Indus and the soft Ionian clime,
When Libya's torrid champaign and the rocks
Of cold Imaues join'd their servile bands,
To sweep the sons of Liberty from earth.
In vain; Minerva on the bounding prow
Of Athens stood, and with the thunder's voice
Denounced her terrors on their impious heads,
And shook her burning aegis. Xerxes saw; [Y]
From Heracleum, on the mountain's height
Throned in his golden car, he knew the sign
Celestial; felt unrighteous hope forsake
His faltering heart, and turn'd his face with shame.

Hail, ye who share the stern Minerva's power;
Who arm the hand of Liberty for war,
And give to the renown'd Britannic name
To awe contending monarchs: yet benign,
Yet mild of nature, to the works of peace
More prone, and lenient of the many ills
Which wait on human life. Your gentle aid
Hygeia well can witness; she who saves,
From poisonous dates and cups of pleasing bane,
The wretch, devoted to the entangling snares
Of Bacchus and of Comus. Him she leads
To Cynthia's lonely haunts. To spread the toils,
To beat the coverts, with the jovial horn
At dawn of day to summon the loud hounds,
She calls the lingering sluggard from his dreams,
And where his breast may drink the mountain breeze,
And where the fervour of the sunny vale
May beat upon his brow, through devious paths
Beckons his rapid courser. Nor when ease,
Cool ease and welcome slumbers have becalm'd
His eager bosom, does the queen of health
Her pleasing care withhold. His decent board
She guards, presiding, and the frugal powers
With joy sedate leads in; and while the brown
Ennaean dame with Pan presents her stores,
While changing still, and comely in the change,
Vertumnus and the Hours before him spread
The garden's banquet, you to crown his feast,
To crown his feast, O Naiads, you the fair
Hygeia calls; and from your shelving seats,
And groves of poplar, plenteous cups ye bring,
To slake his veins, till soon a purer tide
Flows down those loaded channels, washeth off
The dregs of luxury, the lurking seeds
Of crude disease, and through the abodes of life
Sends vigour, sends repose. Hail, Naiads, hail!
Who give to labour, health; to stooping age,
The joys which youth had squander'd. Oft your urns
Will I invoke; and frequent in your praise,
Abash the frantic thyrsus [Z] with my song.

For not estranged from your benignant arts
Is he, the god, to whose mysterious shrine
My youth was sacred, and my votive cares
Belong, the learned Paeon. Oft when all
His cordial treasures he hath search'd in vain;
When herbs, and potent trees, and drops of balm
Rich with the genial influence of the sun
(To rouse dark fancy from her plaintive dreams,
To brace the nerveless arm, with food to win
Sick appetite, or hush the unquiet breast
Which pines with silent passion), he in vain
Hath proved; to your deep mansions he descends.
Your gates of humid rock, your dim arcades,
He entereth; where empurpled veins of ore
Gleam on the roof; where through the rigid mine
Your trickling rills insinuate. There the god
From your indulgent hands the streaming bowl
Wafts to his pale-eyed suppliants; wafts the seeds
Metallic and the elemental salts
Wash'd from the pregnant glebe. They drink, and soon
Flies pain; flies inauspicious care; and soon
The social haunt or unfrequented shade
Hears Io, Io Paean, [AA] as of old,
When Python fell. And, O propitious Nymphs,
Oft as for hapless mortals I implore
Your sultry springs, through every urn,
Oh, shed your healing treasures! With the first
And finest breath, which from the genial strife
Of mineral fermentation springs, like light
O'er the fresh morning's vapours, lustrate then
The fountain, and inform the rising wave.

My lyre shall pay your bounty. Scorn not ye
That humble tribute. Though a mortal hand
Excite the strings to utterance, yet for themes
Not unregarded of celestial powers,
I frame their language; and the Muses deign
To guide the pious tenor of my lay.
The Muses (sacred by their gifts divine)
In early days did to my wondering sense
Their secrets oft reveal; oft my raised ear
In slumber felt their music; oft at noon,
Or hour of sunset, by some lonely stream,
In field or shady grove, they taught me words
Of power from death and envy to preserve
The good man's name. Whence yet with grateful mind,
And offerings unprofaned by ruder eye,
My vows I send, my homage, to the seats
Of rocky Cirrha, (BB) where with you they dwell,
Where you their chaste companions they admit,
Through all the hallow'd scene; where oft intent,
And leaning o'er Castalia's mossy verge,
They mark the cadence of your confluent urns,
How tuneful, yielding gratefullest repose
To their consorted measure, till again,
With emulation all the sounding choir,
And bright Apollo, leader of the song,
Their voices through the liquid air exalt,
And sweep their lofty strings; those powerful strings
That charm the mind of gods, [CC] that fill the courts
Of wide Olympus with oblivion sweet
Of evils, with immortal rest from cares,
Assuage the terrors of the throne of Jove,
And quench the formidable thunderbolt
Of unrelenting fire. With slacken'd wings,
While now the solemn concert breathes around,
Incumbent o'er the sceptre of his lord
Sleeps the stern eagle, by the number'd notes,
Possess'd, and satiate with the melting tone,
Sovereign of birds. The furious god of war,
His darts forgetting, and the winged wheels
That bear him vengeful o'er the embattled plain,
Relents, and soothes his own fierce heart to ease,
Most welcome ease. The sire of gods and men
In that great moment of divine delight,
Looks down on all that live; and whatsoe'er
He loves not, o'er the peopled earth and o'er
The interminated ocean, he beholds
Cursed with abhorrence by his doom severe,
And troubled at the sound. Ye, Naiads, ye
With ravish'd ears the melody attend
Worthy of sacred silence. But the slaves
Of Bacchus with tempestuous clamours strive
To drown the heavenly strains, of highest Jove
Irreverent, and by mad presumption fired
Their own discordant raptures to advance
With hostile emulation. Down they rush
From Nysa's vine-empurpled cliff, the dames
Of Thrace, the Satyrs, and the unruly Fauns,
With old Silenus, reeling through the crowd
Which gambols round him, in convulsions wild
Tossing their limbs, and brandishing in air
The ivy-mantled thyrsus, or the torch
Through black smoke flaming, to the Phrygian pipe's [DD]
Shrill voice, and to the clashing cymbals, mix'd
With shrieks and frantic uproar. May the gods
From every unpolluted ear avert
Their orgies! If within the seats of men,
Within the walls, the gates, where Pallas holds [EE]
The guardian key, if haply there be found
Who loves to mingle with the revel-band
And hearken to their accents, who aspires
From such instructors to inform his breast
With verse, let him, fit votarist, implore
Their inspiration. He perchance the gifts
Of young Lyaeus, and the dread exploits,
May sing in aptest numbers; he the fate
Of sober Pentheus, [FF] he the Paphian rites,
And naked Mars with Cytherea chain'd,
And strong Alcides in the spinster's robes,
May celebrate, applauded. But with you,
O Naiads, far from that unhallow'd rout,
Must dwell the man whoe'er to praised themes
Invokes the immortal Muse. The immortal Muse
To your calm habitations, to the cave
Corycian[GG] or the Delphic mount, [HH] will guide
His footsteps, and with your unsullied streams
His lips will bathe; whether the eternal lore
Of Themis, or the majesty of Jove,
To mortals he reveal; or teach his lyre
The unenvied guerdon of the patriot's toils,
In those unfading islands of the bless'd,
Where sacred bards abide. Hail, honour'd Nymphs;
Thrice hail! For you the Cyrenaic shell, [II]
Behold, I touch, revering. To my songs
Be present ye with favourable feet,
And all profaner audience far remove.

1746.

NOTES.

[Footnote A: 'Love,.... Elder than Chaos.'--L. 25. Hesiod in his Theogony gives a different account, and makes Chaos the eldest of beings, though he assigns to Love neither father nor superior; which circumstance is particularly mentioned by Phaedrus, in Plato's Banquet, as being observable not only in Hesiod, but in all other writers both of verse and prose; and on the same occasion he cites a line from Parmenides, in which Love is expressly styled the eldest of all the gods. Yet Aristophanes, in 'The Birds,' affirms, that 'Chaos, and Night, and Erebus, and Tartarus were first; and that Love was produced from an egg, which the sable-winged Night deposited in the immense bosom of Erebus.' But it must be observed, that the Love designed by this comic poet was always distinguished from the other, from that original and self-existent being the TO ON [Greek] or AGAThON [Greek] of Plato, and meant only the DAeMIOURGOS [Greek] or second person of the old Grecian Trinity; to whom is inscribed a hymn among those which pass under the name of Orpheus, where he is called Protogonos, or the first-begotten, is said to have been born of an egg, and is represented as the principal or origin of all these external appearances of nature. In the fragments of Orpheus, collected by Henry Stephens, he is named Phanes, the discoverer or discloser, who unfolded the ideas of the supreme intelligence, and exposed them to the perception of inferior beings in this visible frame of the world; as Macrobius, and Proclus, and Athenagoras, all agree to interpret the several passages of Orpheus which they have preserved.

But the Love designed in our text is the one self-existent and infinite mind; whom if the generality of ancient mythologists have not introduced or truly described in accounting for the production of the world and its appearances, yet, to a modern poet, it can be no objection that he hath ventured to differ from them in this particular, though in other respects he professeth to imitate their manner and conform to their opinions; for, in these great points of natural theology, they differ no less remarkably among themselves, and are perpetually confounding the philosophical relations of things with the traditionary circumstances of mythic history; upon which very account Callimachus, in his hymn to Jupiter, declareth his dissent from them concerning even an article of the national creed, adding, that the ancient bards were by no means to be depended on. And yet in the exordium of the old Argonautic poem, ascribed to Orpheus, it is said, that 'Love, whom mortals in later times call Phanes, was the father of the eternally-begotten Night;' who is generally represented by these mythological poets as being herself the parent of all things; and who, in the 'Indigitamenta,' or Orphic Hymns, is said to be the same with Cypris, or Love itself. Moreover, in the body of this Argonautic poem, where the personated Orpheus introduceth himself singing to his lyre in reply to Chiron, he celebrateth 'the obscure memory of Chaos, and the natures which it contained within itself in a state of perpetual vicissitude; how the heaven had its boundary determined, the generation of the earth, the depth of the ocean, and also the sapient Love, the most ancient, the self-sufficient, with all the beings which he produced when he separated one thing from another.' Which noble passage is more directly to Aristotle's purpose in the first book of his metaphysics than any of those which he has there quoted, to show that the ancient poets and mythologists agreed with Empedocles, Anaxagoras, and the other more sober philosophers, in that natural anticipation and common notion of mankind concerning the necessity of mind and reason to account for the connexion, motion, and good order of the world. For though neither this poem, nor the hymns which pass under the same name, are, it should seem, the work of the real Orpheus, yet beyond all question they are very ancient. The hymns, more particularly, are allowed to be older than the invasion of Greece by Xerxes, and were probably a set of public and solemn forms of devotion, as appears by a passage in one of them which Demosthenes hath almost literally cited in his first oration against Aristogiton, as the saying of Orpheus, the founder of their most holy mysteries. On this account, they are of higher authority than any other mythological work now extant, the Theogony of Hesiod himself not excepted. The poetry of them is often extremely noble; and the mysterious air which prevails in them, together with its delightful impression upon the mind, cannot be better expressed than in that remarkable description with which they inspired the German editor, Eschenbach, when he accidentally met with them at Leipsic: --'Thesaurum me reperisse credidi,' says he, 'et profecto thesaurum reperi. Incredibile dictu quo me sacro horrore afflaverint indigitamenta ista deorum: nam et tempus ad illorum lectionem eligere cogebar, quod vel solum horrorem incutere animo potest, nocturnum; cum enim totam diem consumserim in contemplando urbis splendore, et in adeundis, quibus scatet urbs illa, viris doctis; sola nox restabat, quam Orpheo consecrare potui. In abyesum quendam mysteriorum venerandae antiquitatis descendere videbar, quotiescunque silente mundo, solis vigilantibus astris et luna, [Greek: melanaephutous] istos hymnos ad manus sumsi.']

[Footnote B: 'Love, the sire of Fate.'--L. 25. Fate is the universal system of natural causes; the work of the Omnipotent Mind, or of Love: so Minucius Felix:--'Quid enim aliud est fatum, quam quod de unoquoque nostrum deus fatus est.' So also Cicero, in the First Book on Divination:--'Fatum autem id appello, quod Graeci EIMAPMENIIN: id est, ordinem seriemque causarum, cum causa causae nexa rem ex se gignat--ex quo intelligitur, ut fatum sit non id quod superstitiose, sed id quod physice dicitur causa asterna rerum.' To the same purpose is the doctrine of Hierocles, in that excellent fragment concerning Providence and Destiny. As to the three Fates, or Destinies of the poets, they represented that part of the general system of natural causes which relates to man, and to other mortal beings: for so we are told in the hymn addressed to them among the Orphic Indigitamenta, where they are called the daughters of Night (or Love), and, contrary to the vulgar notion, are distinguished by the epithets of gentle and tender-hearted. According to Hesiod, Theog. ver. 904, they were the daughters of Jupiter and Themis: but in the Orphic hymn to Venus, or Love, that goddess is directly styled the mother of Necessity, and is represented, immediately after, as governing the three Destinies, and conducting the whole system of natural causes.]

[Footnote C: 'Chaos.'--L. 26. The unformed, undigested mass of Moses and Plato; which Milton calls 'The womb of nature.']

[Footnote D: 'Born of Fate was Time.'--L. 26. Chronos, Saturn, or Time, was, according to Apollodorus, the son of Caelum and Tellus. But the author of the hymns gives it quite undisguised by mythological language, and calls him plainly the offspring of the earth and the starry heaven; that is, of Fate, as explained in the preceding note.]

[Footnote E: 'Who many sons ... devour'd.'--L. 27. The known fable of Saturn devouring his children was certainly meant to imply the dissolution of natural bodies, which are produced and destroyed by Time.]

[Footnote F: 'The Child of Rhea.'-L. 29. Jupiter, so called by Pindar.]

[Footnote G: 'Drove him from the upper sky.'--L. 29. That Jupiter dethroned his father Saturn is recorded by all the mythologists. Phurnutus, or Cornutus, the author of a little Greek treatise on the nature of the gods, informs us that by Jupiter was meant the vegetable soul of the world, which restrained and prevented those uncertain alterations which Saturn, or Time, used formerly to cause in the mundane system.]

[Footnote H: 'Then social reign'd The kindred powers.'--L. 31. Our mythology here supposeth, that before the establishment of the vital, vegetative, plastic nature (represented by Jupiter), the four elements were in a variable and unsettled condition, but afterwards well-disposed, and at peace among themselves. Tethys was the wife of the Ocean; Ops, or Rhea, the Earth; Vesta, the eldest daughter of Saturn, Fire; and the Cloud-Compeller, or [Greek: Zeus nephelaegeretaes], the Air, though he also represented the plastic principle of nature, as may be seen in the Orphic hymn inscribed to him.]

NOTE I.

'The sedgy-crowned race.'--L. 34.

The river-gods, who, according to Hesiod's Theogony, were the sons of Oceanus and Tethys.

NOTE J.

'From them are ye, O Naiads.'--L. 37.

The descent of the Naiads is less certain than most points of the Greek mythology. Homer, Odyss. xiii. [Greek: kourai Dios]. Virgil, in the eighth book of the AEneid, speaks as if the Nymphs, or Naiads, were the parents of the rivers: but in this he contradicts the testimony of Hesiod, and evidently departs from the orthodox system, which represented several nymphs as retaining to every single river. On the other hand, Callimachus, who was very learned in all the school-divinity of those times, in his hymn to Delos, maketh Peneus, the great Thessalian river-god, the father of his nymphs: and Ovid, in the fourteenth book of his Metamorphoses, mentions the Naiads of Latium as the immediate daughters of the neighbouring river-gods. Accordingly, the Naiads of particular rivers are occasionally, both by Ovid and Statius, called by patronymic, from the name of the river to which they belong.

NOTE K.

'Syrian Daphne.'--L. 40.

The grove of Daphne in Syria, near Antioch, was famous for its delightful fountains.

NOTE L.

'The tribes beloved by Paeon.'--L. 40.

Mineral and medicinal springs. Paeon was the physician of the gods.

NOTE M.

'The winged offspring.'--L. 43.

The winds; who, according to Hesiod and Apollodorus, were the sons of Astraeus and Aurora.

NOTE N.

'Hyperion.'--L. 46.

A son of Caelum and Tellus, and father of the Sun, who is thence called, by Pindar, Hyperionides. But Hyperion is put by Homer in the same manner as here, for the Sun himself.

NOTE O.

'Your sallying streams.'--L. 49.

The state of the atmosphere with respect to rest and motion is, in several ways, affected by rivers and running streams; and that more especially in hot seasons: first, they destroy its equilibrium, by cooling those parts of it with which they are in contact; and secondly, they communicate their own motion: and the air which is thus moved by them, being left heated, is of consequence more elastic than other parts of the atmosphere, and therefore fitter to preserve and to propagate that motion.

NOTE P.

'Delian king.'--L. 70.

One of the epithets of Apollo, or the Sun, in the Orphic hymn inscribed to him.

NOTE Q.

'Chloris.'--L. 79.

The ancient Greek name for Flora.

NOTE R.

'Amalthea.'--L. 83.

The mother of the first Bacchus, whose birth and education was written, as Diodorus Siculus informs us, in the old Pelasgic character, by Thymoetes, grandson to Laomedon, and contemporary with Orpheus. Thymoetes had travelled over Libya to the country which borders on the western ocean; there he saw the island of Nysa, and learned from the inhabitants, that 'Ammon, King of Libya, was married in former ages to Rhea, sister of Saturn and the Titans: that he afterwards fell in love with a beautiful virgin whose name was Amalthea; had by her a son, and gave her possession of a neighbouring tract of land, wonderfully fertile; which in shape nearly resembling the horn of an ox, was thence called the Hesperian horn, and afterwards the horn of Amalthea: that fearing the jealousy of Rhea, he concealed the young Bacchus in the island of Nysa;' the beauty of which, Diodorus describes with great dignity and pomp of style. This fable is one of the noblest in all the ancient mythology, and seems to have made a particular impression on the imagination of Milton; the only modern poet (unless perhaps it be necessary to except Spenser) who, in these mysterious traditions of the poetic story, had a heart to feel, and words to express, the simple and solitary genius of antiquity. To raise the idea of his Paradise, he prefers it even to--

'That Nysean isle
Girt by the river Triton, where old Cham
(Whom Gentiles Ammon call, and Libyan Jove)
Hid Amalthea and her florid son,
Young Bacchus, from his stepdame Rhea's eye.'

NOTE S.

'Edonian band.'--L. 94.

The priestesses and other ministers of Bacchus: so called from Edonus, a mountain of Thrace, where his rites were celebrated.

NOTE T.

'When Hermes.'--L. 105.

Hermes, or Mercury, was the patron of commerce; in which benevolent character he is addressed by the author of the Indigitamenta in these beautiful lines:--

[Greek:
Ermaeuen panton, kerdempore, lusimerimue,
O? cheiresthiu echei? oplun aremphe?]

NOTE U.

'Dispense the mineral treasure'.--L. 121.

The merchants of Sidon and Tyre made frequent voyages to the coast of Cornwall, from whence they carried home great quantities of tin.

NOTE V.

'Hath he not won'?--L. 136.

Mercury, the patron of commerce, being so greatly dependent on the good offices of the Naiads, in return obtains for them the friendship of Minerva, the goddess of war: for military power, at least the naval part of it, hath constantly followed the establishment of trade; which exemplifies the preceding observation, that 'from bounty issueth power.'

NOTE W.

'C'alpe ... Cantabrian surge'--L. 143.

Gibraltar and the Bay of Biscay.

NOTE X.

'AEgina's gloomy surge'--L. 150.

Near this island, the Athenians obtained the victory of Salamis, over the Persian navy.

NOTE Y.

'Xerxes saw'--L. 160.

This circumstance is recorded in that passage, perhaps the most splendid among all the remains of ancient history, where Plutarch, in his Life of Themistocles, describes the sea-fights of Artemisium and Salamis.

NOTE Z.

'Thyrsus'--L. 204.

A staff, or spear, wreathed round with ivy: of constant use in the bacchanalian mysteries.

NOTE AA.

'Io Paean.'--L. 227.

An exclamation of victory and triumph, derived from Apollo's encounter with Python.

NOTE BB.

'Rocky Cirrha'--L. 252.

One of the summits of Parnassus, and sacred to Apollo. Near it were several fountains, said to be frequented by the Muses. Nysa, the other eminence of the same mountain, was dedicated to Bacchus.

NOTE CC.

'Charm the mind of gods'--L. 263.

This whole passage, concerning the effects of sacred music among the gods, is taken from Pindar's first Pythian ode.

NOTE DD.

'Phrygian pipe.'--L. 297.

The Phrygian music was fantastic and turbulent, and fit to excite disorderly passions.

NOTE EE.

'The gates where Pallas holds
The guardian key.'--L. 302.

It was the office of Minerva to be the guardian of walled cities; whence she was named IIOAIAS and HOAIOYXOS, and had her statues placed in their gates, being supposed to keep the keys; and on that account styled KAHAOYXOS.

NOTE FF.

'Fate of sober Pentheus.'--L. 311.

Pentheus was torn in pieces by the bacchanalian priests and women, for despising their mysteries.

NOTE GG.

'The cave Corycian:--L. 318.

Of this cave Pausanias, in his tenth book, gives the following description:--'Between Delphi and the eminences of Parnassus is a road to the grotto of Corycium, which has its name from the nymph Corycia, and is by far the most remarkable which I have seen. One may walk a great way into it without a torch. 'Tis of a considerable height, and hath several springs within it; and yet a much greater quantity of water distils from the shell and roof, so as to be continually dropping on the ground. The people round Parnassus hold it sacred to the Corycian nymphs and to Pan.'

NOTE HH.

'Delphic mount.'--L. 319.

Delphi, the seat and oracle of Apollo, had a mountainous and rocky situation, on the skirts of Parnassus.

NOTE II.

'Cyrenaic shell.'--L. 327.

Cyrene was the native country of Callimachus, whose hymns are the most remarkable example of that mythological passion which is assumed in the preceding poem, and have always afforded particular pleasure to the author of it, by reason of the mysterious solemnity with which they affect the mind. On this account he was induced to attempt somewhat in the same manner; solely by way of exercise: the manner itself being now almost entirely abandoned in poetry. And as the mere genealogy, or the personal adventures of heathen gods, could have been but little interesting to a modern reader, it was therefore thought proper to select some convenient part of the history of nature, and to employ these ancient divinities as it is probable they were first employed; to wit, in personifying natural causes, and in representing the mutual agreement or opposition of the corporeal and moral powers of the world: which hath been accounted the very highest office of poetry.

[The end]
Mark Akenside's poem: Hymn To The Naiads

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