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would have her propitious to the marriage of Jason and Creusa. He mentions her by her qualities, and not by her name.
Sen. Med. act. i.
The horn of plenty fills her hands. The description, says Eugenius, is a copy of the figure we have before us: and for the future, instead of
further note on this passage, I would have the reverse you have shown us stamped on the side of it. The interpreters of Seneca, says Philander, will understand the precedent verses as a description of Venus, though in my opinion there is only the first of them that can aptly relate to her, which at the same time agrees as well with Concord: and that this was a goddess who used to interest herself in marriages, we may see in the following description.
Jamdudum poste reclinis,
STATII EPITHALAMION. Silv. lib. i.
And Concord with her flaming torch attends. Peacel differs as little in her dress as in her character from Concord. You may observe in both these figures, that the vest is gathered up before them, like an apron, which you must suppose filled with fruits as well as the cornu-copia. It is to this part of the dress that Tibullus alludes.
At nobis, Pax alma, veni, spicamque teneto,
Kind Peace, appear,
From thy white lap the o'erflowing fruits shall fall. Prudentius has given us the same circumstance in his description of Avarice. - Avaritia gremio præcincta capaci.
PRUD. PsychoMACHIA. Fig. 4.
the emblems of Plenty are to Peace, may be seen in the same poet.
Interea Pax arva colat, Pax candida primùm
Duxit araturos sub juga curva boves;
Funderet ut nato testa paterna merum :
TIBUL. El. 10, lib. i.
The father's vintage for his drunken heir.
VIRG. Æn. 10.
Luc. lib. iii.
And thus in gentlest terms they greet his ear. MR. Rowe. Which, by the way, one would think had been spoken rather of an Attila, or a Maximin, than Julius Cæsar.
You see Abundance or Plentyl makes the same figure in medals as in Horace.
Hor. lib. i. Od. 17.
To raise the honour of the quiet plain. MR. Creech. The compliment on this reverse to Gordianus Pius is expressed in the same manner as that of Horace to Augustus.
Golden Plenty with a bounteous hand
1 Fig. 5.
picture of Fidelity, who was worshipped as a goddess among the Romans.
Si tu oblitus es at Dü meminerunt, meminit Fides.
CATUL. AD ALPHEN.
I should fancy, from the following verses of Virgil and Silius Italicus, that she was represented under the figure of an old woman.
Cana Fides, et Vesta, Remo cum fratre Quirinus
VIRG. Æn, lib. i.
Sil. It. lib. i.
The stedfast earth and rolling ocean know. There is a medal of Heliogabalus, inscribed Fides Exercitus, that receives a great light from the preceding verses. She is posted between two military ensigns, for the good quality that the poet ascribes to her, of preserving the public peace, by keeping the army true to its allegiance.
I fancy, says Eugenius, as you have discovered the age of this imaginary lady, from the description that the poets have made of her, you may find, too, the colour of the drapery that she wore in the old Roman paintings, from that verse in Horace,
Te Spes et alho rara Fides colit
Hor. Od. 35, lib. i.
One would think says Philander, by this verse, that Hope and Fidelity had both the same kind of dress. It is certain Hope might have a fair pretence to white, in allusion to those that were candidates for an employ.1
-quem ducit hiantem Cretata ambitio
PERS. Sat. 5. And how properly the epithet of rara agrees with her, you may see in the transparency of the next figure. She is here dressed in such a kind of vest as the Latins call a multicium, from the fineness of its tissue. Your Roman beaus bad their summer toga of such a light airy make.
Quem tenues decuere togæ nitidique capilli. Hor. Ep. 14, lib. i.
Curled powdered locks, a fine and gaudy gown. MR. CREECH. I remember, says Cynthio, Juvenal rallies Creticus, that was otherwise a brave, rough fellow, very handsomely, on this kind of garment.
Juv. Sat. 2.
Juv. Sat. 2.
Rome's pride, who com’st transparent to the bench ? Idem. But pray what is the meaning that this transparent lady holds up
her train in her left hand ? for I find your women on medals do nothing without a meaning. Besides, I suppose there is a moral precept at least couched under the figure she holds in her other hand. She draws back her garment, says Philander, that it may not encumber her in her march. For she is always drawn in a posture of walking, it being as natural for Hope to press forward to her proper objects, as for Fear to fly from them.
| Employ.] For "employment;" as before, " salute,” for “salutation.”—This way of turning a verb into a substantive, has a grace in poetry, which it has not in prose.
Ut canis in vacuo leporem cum Gallicus arvo
DE APOL. et Daph. Ov. Met. lib. i.
But he more ftly, who was urged by Love. MR. DRYDEN. This beautiful similitude is, I think, the prettiest emblem in the world of Hope and Fear in extremity. A flower or blossom that you see in the right hand is a proper ornament for Hope, since they are these that we term, in poetical language, the hopes of the year.
Vere novo, tunc herba nitens, et roboris expers
Ov. Met. lib. XV.
And lavishly perfumes the fields around. MR. DRYDEN.
Ov. de Fast. lib. v. The next on the list is a lady of a contrary character, and therefore in a quite different posture. As Security is free from all pursuits, she is represented leaning carelessly on a pillar. Horace has drawn a pretty metaphor from this posture.
Nulluni me a labore reclinat otium.
No ease doth lay me down from pain. MR. CREECH. She rests herself on a pillar, for the same reason as the poets often compare an obstinate resolution, or a great firmness of mind, to a rock that is not to be moved by all the assaults of winds or waves.