

The English Lyric 5 



literature and the least fundamental character, let us consider 

 what he calls the Greek " luminous " mode. Its salient qualities 

 are startling clearness of profile, bell-like purity of tone, a 

 lambent sunniness of atmosphere, and in sentiment a delicate 

 expressiveness most lovely because so utterly free from introspec- 

 tion and its attendant modesties. In illustration Arnold cites 

 Theocritus : 



\eip.wv yap C(pi.v tKei.ro fxeyas, o-Tifiadeacnv 6veiap} 



With which he might well have set the exquisite fragment from 

 Sappho's description of the garden of the nymphs, wherein is 

 centered all the drowse and dream of the Lotos-Eaters: 



ap.<pi 5e xpvxpov KeXddei Si tiadwv 

 p-aXLvuiv, a.idvo'o'op.e'vwv Se cpvXXuiv 

 Kw/xa KCLTappei — 



which John Addington Symonds translates : 



All around through branches of apple-orchards 

 Cool streams call, while down from the leaves atremble 

 Slumber distilleth. 



From the English he cites Oberon's description of Titania's couch: 



I know a bank where the wild thyme blows, 

 Where oxlips and the nodding violet grows, 

 Quite over-canopied with luscious woodbine, 

 With sweet musk-roses and with eglantine. 



And again, Keats : 



What little town, by river or seashore. 

 Or mountain-built with quiet citadel. 

 Is emptied of its folk this pious morn? 



1 Idylls, XIII, 34. So cited by Arnold. Paley and other editors read 

 the verse 



Xeifitbv yap <r<piv etceiro, fJ.iya <rrif3dS€(ro~iv 6veiap 



— " for they found a meadow lying, rich in couches of strown grass and 

 leaves" (Lang). 



347 



