Book 8
Pastorem Musam Damonis et Alphesiboei
of Damon and Alphesiboeus now,
immemor herbarum quos est mirata iuvenca
those shepherd-singers at whose rival strains
certantis, quorum stupefactae carmine lynces,
the heifer wondering forgot to graze,
et mutata suos requierunt flumina cursus
the lynx stood awe-struck, and the flowing streams,
5 Illonis Musam dicemus et Alphesiboei.
unwonted loiterers, stayed their course to hear—
Tu mihi seu magni superas iam saxa Timavi,
how Damon and Alphesiboeus sang
sive oram Illyrici legis aequoris, en erit umquam
their pastoral ditties, will I tell the tale.
ille dies, mihi cum liceat tua dicere facta?
Thou, whether broad Timavus' rocky banks
en erit ut liceat totum mihi ferre per orbem
thou now art passing, or dost skirt the shore
10 sola Sophocleo tua carmina digna coturno?
of the Illyrian main,—will ever dawn
A te principium, tibi desinam: accipe iussis
that day when I thy deeds may celebrate,
carmina coepta tuis, atque hanc sine tempora circum
ever that day when through the whole wide world
inter victrices hederam tibi serpere laurus.
I may renown thy verse—that verse alone
Frigida vix caelo noctis decesserat umbra,
of Sophoclean buskin worthy found?
15 cum ros in tenera pecori gratissimus herba;
With thee began, to thee shall end, the strain.
incumbens tereti Damon sic coepit olivae.
Take thou these songs that owe their birth to thee,
Nascere, praeque diem veniens age, Lucifer, almum,
and deign around thy temples to let creep
coniugis indigno Nisae deceptus amore
this ivy-chaplet 'twixt the conquering bays.
dum queror, et divos, quamquam nil testibus illis
Scarce had night's chilly shade forsook the sky
20 profeci, extrema moriens tamen adloquor hora.
what time to nibbling sheep the dewy grass
Incipe Maenalios mecum, mea tibia, versus.
tastes sweetest, when, on his smooth shepherd-staff
Maenalus argutumque nemus pinosque loquentis
of olive leaning, Damon thus began.
semper habet; semper pastorum ille audit amores,
“Rise, Lucifer, and, heralding the light,
Panaque, qui primus calamos non passus inertis.
bring in the genial day, while I make moan
25 Incipe Maenalios mecum, mea tibia, versus.
fooled by vain passion for a faithless bride,
Mopso Nisa datur: quid non speremus amantes?
for Nysa, and with this my dying breath
Iungentur iam grypes equis, aevoque sequenti
call on the gods, though little it bestead—
cum canibus timidi venient ad pocula dammae.
the gods who heard her vows and heeded not.
Mopse, novas incide faces: tibi ducitur uxor;
‘Begin, my flute, with me Maenalian lays.’
30 sparge, marite, nuces: tibi deserit Hesperus Oetam.
Ever hath Maenalus his murmuring groves
Incipe Maenalios mecum, mea tibia, versus.
and whispering pines, and ever hears the songs
O digno coniuncta viro, dum despicis omnes,
of love-lorn shepherds, and of Pan, who first
dumque tibi est odio mea fistula, dumque capellae,
brooked not the tuneful reed should idle lie.
hirsutumque supercilium promissaque barba,
‘Begin, my flute, with me Maenalian lays.’
35 nec curare deum credis mortalia quemquam!
Nysa to Mopsus given! what may not then
Incipe Maenalios mecum, mea tibia, versus.
we lovers look for? soon shall we see mate
Saepibus in nostris parvam te roscida mala
griffins with mares, and in the coming age
dux ego vester eramvidi cum matre legentem.
shy deer and hounds together come to drink.
Alter ab undecimo tum me iam acceperat annus;
‘Begin, my flute, with me Maenalian lays.’
40 iam fragilis poteram ab terra contingere ramos.
Now, Mopsus, cut new torches, for they bring
Ut vidi, ut perii! Ut me malus abstulit error!
your bride along; now, bridegroom, scatter nuts:
Incipe Maenalios mecum, mea tibia, versus.
forsaking Oeta mounts the evening star!
Nunc scio, quid sit Amor: duris in cotibus illum
‘Begin, my flute, with me Maenalian lays.’
aut Tmaros, aut Rhodope, aut extremm Garamantes,
O worthy of thy mate, while all men else
45 nec generis nostri puerum nec sanguinis edunt.
thou scornest, and with loathing dost behold
Incipe Maenalios mecum, mea tibia, versus.
my shepherd's pipe, my goats, my shaggy brow,
saevus Amor docuit natorum sanguine matrem
and untrimmed beard, nor deem'st that any god
commaculare manus; crudelis tu quoque, mater:
for mortal doings hath regard or care.
crudelis mater magis, an puer improbus ille?
‘Begin, my flute, with me Maenalian lays.’
50 improbus ille puer; crudelis tu quoque, mater.
Once with your mother, in our orchard-garth,
Incipe Maenalios mecum, mea tibia, versus.
a little maid I saw you—I your guide—
nunc et ovis ultro fugiat lupus; aurea durae
plucking the dewy apples. My twelfth year
mala ferant quercus; narcisso floreat alnus;
I scarce had entered, and could barely reach
pinguia corticibus sudent electra myricae;
the brittle boughs. I looked, and I was lost;
55 certent et cycnis ululae; sit Tityrus Orpheus,
a sudden frenzy swept my wits away.
Orpheus in silvis, inter delphinas Arion.
‘Begin, my flute, with me Maenalian lays.’
Incipe Maenalios mecum, mea tibia, versus.
Now know I what Love is: 'mid savage rocks
Omnia vel medium fiant mare: vivite, silvae!
tmaros or Rhodope brought forth the boy,
praeceps aerii specula de montis in undas
or Garamantes in earth's utmost bounds—
60 deferar; extremum hoc munus morientis habeto.
no kin of ours, nor of our blood begot.
desine Maenalios, iam desine, tibia, versus.
‘Begin, my flute, with me Maenalian lays.’
Haec Damon: vos, quae responderit Alphesiboeus,
Fierce Love it was once steeled a mother's heart
dicite, Pierides; non omnia possumus omnes.
with her own offspring's blood her hands to imbrue:
Effer aquam, et molli cinge haec altaria vitta,
mother, thou too wert cruel; say wert thou
65 verbenasque adole pinguis et mascula tura,
more cruel, mother, or more ruthless he?
coniugis ut magicis sanos avertere sacris
Ruthless the boy, thou, mother, cruel too.
experiar sensus nihil hic nisi carmina desunt.
‘Begin, my flute, with me Maenalian lays.’
Ducite ab urbe domum, mea carmina, ducite Daphnim.
Now let the wolf turn tail and fly the sheep,
Carmina vel caelo possunt deducere Lunam;
tough oaks bear golden apples, alder-trees
70 carminibus Circe socios mutavit Ulixi;
bloom with narcissus-flower, the tamarisk
frigidus in pratia cantando rumpitur anguis.
sweat with rich amber, and the screech-owl vie
Ducite ab urbe domum, mea carmina, ducite Daphnim.
in singing with the swan: let Tityrus
terna tibi haec primum triplici diversa colore
be Orpheus, Orpheus in the forest-glade,
licia circumdo, terque haec altaria circum
arion 'mid his dolphins on the deep.
75 effigiem duco: numero deus impare gaudet.
‘Begin, my flute, with me Maenalian lays.’
Ducite ab urbe domum, mea carmina, ducite Daphnim.
Yea, be the whole earth to mid-ocean turned!
Necte tribus nodis ternos, Amarylli, colores,
Farewell, ye woodlands I from the tall peak
necte, Amarylli, modo, etVenerisdicvincula necto.”
of yon aerial rock will headlong plunge
Ducite ab urbe domum, mea carmina, ducite Daphnim.
into the billows: this my latest gift,
80 Limus ut hic durescit et haec ut cera liquescit
from dying lips bequeathed thee, see thou keep.
uno eodemque igni, sic nostro Daphnis amore.
Cease now, my flute, now cease Maenalian lays.’”
Sparge molam, et fragilis incende bitumine laurus.
thus Damon: but do ye, Pierian Maids—
Daphnis me malus urit, ego hanc in Daphnide laurum.
we cannot all do all things—tell me how
Ducite ab urbe domum, mea carmina, ducite Daphnim.
alphesiboeus to his strain replied.
85 Talis amor Daphnim, qualis cum fessa iuvencum
“Bring water, and with soft wool-fillet bind
per nemora atque altos quaerendo bucula lucos
these altars round about, and burn thereon
propter aquae rivum viridi procumbit in ulva,
rich vervain and male frankincense, that I
perdita, nec serae meminit decedere nocti,
may strive with magic spells to turn astray
talis amor teneat, nec sit mihi cura mederi.
my lover's saner senses, whereunto
90 Ducite ab urbe domum, mea carmina, ducite Daphnim.
there lacketh nothing save the power of song.
Has olim exuvias mihi perfidus ille reliquit,
‘Draw from the town, my songs, draw Daphnis home.’
pignora cara sui, quae nunc ego limine in ipso,
Songs can the very moon draw down from heaven
terra, tibi mando; debent haec pignora Daphnim.
circe with singing changed from human form
Ducite ab urbe domum, mea carmina, ducite Daphnim.
the comrades of Ulysses, and by song
95 Has herbas atque haec Ponto mihi lecta venena
is the cold meadow-snake, asunder burst.
ipse dedit Moeris; nascuntur plurima Ponto.
‘Draw from the town, my songs, draw Daphnis home.’
His ego saepe lupum fieri et se condere silvis
These triple threads of threefold colour first
Moerim, saepe animas imis excire sepulcris,
I twine about thee, and three times withal
atque satas alio vidi traducere messis.
around these altars do thine image bear:
100 Ducite ab urbe domum, mea carmina, ducite Daphnim.
uneven numbers are the god's delight.
Fer cineres, Amarylli, foras, rivoque fluenti
‘Draw from the town, my songs, draw Daphnis home.’
transque caput iace, nec respexeris: his ego Daphnim
Now, Amaryllis, ply in triple knots
adgrediar, nihil ille deos, nil carmina curat.
the threefold colours; ply them fast, and say
Ducite ab urbe domum, mea carmina, ducite Daphnim.
this is the chain of Venus that I ply.
105 Aspice, corripuit tremulis altaria flammis
‘Draw from the town, my songs, draw Daphnis home.’
sponte sua, dum ferre moror, cinis ipse: bonum sit!
As by the kindling of the self-same fire
Nescio quid certe est, et Hylas in limine latrat.
harder this clay, this wax the softer grows,
Credimus, an, qui amant, ipsi sibi somnia fingunt?
so by my love may Daphnis; sprinkle meal,
Parcite, ab urbe venit, iam carmina, parcite, Daphnis.
and with bitumen burn the brittle bays.
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Greenough 1881
Greenough, Ginn and Company, 1881 · 1881
The Editor

James Bradstreet Greenough (1833–1901) was Professor of Latin at Harvard University and one of the most influential American Latinists of the 19th century. He is best remembered for Allen and Greenough's New Latin Grammar (1888), which became the standard Latin grammar textbook in American schools and universities for over a century. His edition of Virgil, produced with collaborators for the American classroom, combined a reliable text with extensive commentary aimed at students.

About This Edition

Greenough's Virgil, published by Ginn and Company (1881), is a school/university text rather than a critical edition in the Teubner or OCT sense. It does not present an independent critical apparatus but follows the best available text of its time, with editorial choices aimed at clarity for students. For a pure critical text of Virgil, the OCT editions by Mynors (Aeneid, 1969; revised 1972) and Clausen (Eclogues, 1994) should be preferred. Greenough's text remains historically interesting as one of the first major American contributions to Virgilian scholarship.

Tap any Latin word to look it up