[158] Many of these words occur in the translations by Dryden but in none of the instances quoted is there any justification in the Latin phrase for the adjective “watery.” For instance, “watery way” = _spumantibus undis_; “watery reign” = _altum_; “watery deep” = _pelago_, and so on through the list. [159] Milton, “Paradise Lost,” iv, 239; vii, 302. [160] Blair, “The Grave.” [161] Falconer, “The Shipwreck,” i, 359. [162] Gay, “Rural Sports,” i, 226. [163] Dyer, “Ruins of Rome,” l. 86. [164] Armstrong, “Art of Preserving Health,” ii, 7. [165] Addison, “To the King,” l. 115. [166] Thomson, “Autumn,” l. 626; cf. also “Summer,” l. 1574; “Autumn,” l. 628. [167] Pitt, “Ode to John Pitt,” st. 5; Mallet, “Amyntor and Theodora,” i, 153; Shenstone, “To a Lady;” “Rural Elegance,” st. 17. [168] See Thomson, “Spring,” ll. 215, 767; “Summer,” l. 1547. [169] Parnell, “Hymn to Contentment.” [170] Wordsworth, “Three Years She Grew.” [171] Dryden, “Works,” II, 360; IX, 104. [172] Fenton, “Florelio,” l. 43. [173] Gray, “Progress of Poetry.” [174] Thomson, “Autumn,” l. 843. [175] Garth, “Dispensary,” ii, 3, 14; iv, 260. [176] Virgil, “Georgics,” i, 329, “quo maxuma motu Terra tremit;” Dryden, “Georgics,” i, 430, “the mountains nod and earth’s entrails tremble.” Virgil, “Eclogue 6,” “rigidas motare cacumina quercus;” Dryden, “Pastoral 6,” “nodding forests to the numbers danced;” cf. Pope, “Messiah,” “nodding forests on the mountain dance,” and Milton, “Comus,” l. 38, “nodding horror of the wood.” [177] Virgil, “Georgics,” iii, 243; “Aeneid,” iv, 525. [178] Milton, “Paradise Lost,” vii, 434. [179] Pope, “Windsor Forest,” l. 118; cf. note in Courthope edition. [180] Shenstone, “Virtuoso.” [181] Parnell, “Anacreontic.” [182] Waller, “On a Brede of Divers Colors.” [183] Hugo Blümner, “Die Farbenbezeichnungen bei den römischen Dichtern,” pp. 184–98. Blümner shows that πορφύρεος was used by the Greeks with widely varying meanings, and adds, “Ganz ähnlich ist der Gebrauch, den die römischen Dichter von _purpureus_ machen nur zweilfellos in viel weniger ursprünglicher Weise.” He says further that the Latin poetical use of “purpureus” did not follow the speech of daily life. [184] This constant use of Latin and Greek names for English peasants was frequently satirized. Dryden makes Limberham say to Brainsick, “But why, of all names, would you choose a Phyllis? There have been so many Phyllises in song I thought there was not another to be had for love or money.”--“Works,” VI, 62. Cf. Watts, “Meditation in a Grove”: No Phyllis shall infect the air With her unhallow’d name. [185] Compare Ridley’s characteristic commendation of Christopher Pitt’s poems, In every line, in every word you speak I read the Roman and confess the Greek, and Pitt’s precept in Vida’s “Art of Poetry,” i, 102, Explore the ancients with a watchful eye, Lay all their charms and elegancies by, Then to their use the precious spoils apply.