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What Tiresias sees, in fact, is the substance of the poem. The whole passage from Ovid is of great anthropological interest:

. . . Cum Iunone iocos et maior vestra profecto est
Quam, quae contingit maribus', dixisse, 'voluptas.'
Illa negat; placuit quae sit sententia docti
Quaerere Tiresiae: venus huic erat utraque nota.
Nam duo magnorum viridi coeuntia silva
Corpora serpentum baculi-violaverat ictu
Deque viro factus, mirabile, femina septem
Egerat autumnos; octavo rursus eosdem
Vidit et 'est vestrae si tanta potentia plagae,'
Dixit' ut auctoris sortem in contraria mutet,
Nunc quoque vos feriam!' percussis anguibus isdem
Forma prior rediit genetivaque venit imago.
Arbiter hic igitur sumptus de lite iocosa
Dicta Iovis firmat; gravius Saturnia iusto
Nec pro materia fertur doluisse suique
Iudicis aeterna damnavit lumina nocte,
At pater omnipotens (neque enim licet inrita cuiquam
Facta dei fecisse deo) pro lumine adempto
Scire futura dedit poenamque levavit honore.

221. This may not appear as exact as Sappho's lines, but I had in mind the "longshore" or "dory" fisherman, who returns at nightfall.

253. V. Goldsmith, the song in The Vicar of Wakefield.

257. V. The Tempest, as above.

264. The interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors. See The Proposed Demolition of Nineteen City Churches: (P. S. King & Son, Ltd.).

266. The Song of the (three) Thames-daughters

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