IV. TO THE SAME.[1]
I will sing hallowed, golden-crowned, beauteous Venus, who has obtained the fortresses of all maritime Cyprus, where the force of gentle-breathing Zephyr bore her o'er the wave of the much-resounding sea, on the soft foam. But her the golden-frontleted Hours joyfully received, and put on her immortal garments, and upon her immortal head they put a well-wrought crown, beauteous, golden, and in her perforated ears a gift of oricholchum and precious gold. And they decked her tender neck and white bosom around with golden carcanets, with which also the Hours themselves, with golden frontlets, were adorned, whenever they went to the pleasant dance of the gods and the dwelling of their sire. But after they had put the whole ornaments around her form, they led her to the immortals; but they, when they beheld, saluted her, and welcomed her with their right hands, and wished each that she might be his wedded wife, and to lead her home, marvelling at the form of violet-crowned Cytherea. Hail! thou eye-winker, sweet-voiced one, and grant that I may bear off the victory in this contest, and aid my song. But I will be mindful of thee and another song.
V. BACCHUS, OR THE PIRATES.
Concerning[2] Bacchus, the son of glorious Semele, I will make mention, how he appeared on the shore of the unfruitful sea, upon a jutting beach,[3] like unto a young man in the first
- ↑ These minor hymns are considered by Coleridge to be "mere preludes or short preparatory addresses to, or eulogies of, the divinity at whose festival the rhapsode was present, and was about to recite some poem of greater length." Introd. p. 285. The brief mythological notes of Barnes may prove useful to the student.
- ↑ This formula of commencing a hymn is well illustrated by Barnes from Aristoph. Nub. 505, and Suidas, v. ἀμφιανακτίζειν.
- ↑ But Ernesti would read ἄκρῃ, comparing Nonnus xlv. p. 1164,
