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Updated: May 23, 2025
And with him music is dead and Dorian poetry perished " She had the conceited, exciting thought: "I am translating Moschus, the Funeral Song for Bion." Moschus was Bion's friend. She wondered whether he had been happy or unhappy, making his funeral song. If you could translate it all: if you could only make patterns out of English sounds that had the hardness and stillness of the Greek.
For the 'March' Spenser recasts in English surroundings Bion's fantasy of the fight with Cupid, without however achieving any conspicuous success. In the April eclogue Hobbinol recites to the admiring Thenot Colin's lay
I weep for Adonais he is dead. Modelled on the opening of Bion's Elegy for Adonis. See p. 63. The frost which binds so dear a head: sc. the frost of death. And thou, sad Hour,... rouse thy obscure compeers. The compeers are clearly the other Hours. Why they should be termed 'obscure' is not quite manifest.
The pastoral life, for example, then yields the forms of art which hold either the simple innocence of happy earthly love, as in Daphnis and Chloe, or the natural grief of elegy made beautiful, as in Bion's dirge, or the shepherding of Christ in his church on earth, as in many an English poet; the imagery has unclothed itself of actuality and shows a purely spiritual body.
'That word, that kiss, shall all thoughts else survive, &c. In Bion's Elegy the Cyprian Aphrodite is 'a goddess, and therefore immortal. In Shelley's Elegy the Uranian Aphrodite does not speak of herself under any designation of immortality or eternity, but as 'chained to Time, and incapable of departing from Time. As long as Time lives and operates, Urania must do the same.
Bees go booming among the blossoms, and the flocks crop their pasture, and night falls with Hesperus; but fruitless on my lips, as at some shrine whence the god is gone, is Bion's prayer: "Hesperus, golden lamp of the lovely daughter of the foam dear Hesperus, sacred jewel of the deep blue night, dimmer as much than the moon as thou art among the stars preeminent, hail, friend!"
A few valuable books were not forgotten, among them Bion's work on the "Construction and Use of Mathematical Instruments" nothing pertaining to his craft but he would know. King he would be in that, so everything was made to revolve around it. That was the foundation upon which he had to build. To the old home in Scotland our hero's face was now turned in the autumn of 1756, his twentieth year.
From our slight acquaintance with Bion's life, we are left in doubt whether he accompanied his friend Moschus to the court of Alexandria; but it is probable that he did.
The reader familiar with Adonais will recognise the passages in that poem of which we here have the originals. For other passages, also utilised by Shelley, I have recourse to the volume of Mr. And first, from Bion's Elegy on Adonis:
The woman translates the remembrance of those early lessons into her heart's verse: These "golden hours" were not without that earnest argument so welcome to candid minds: What high honor the scholar did her friend and teacher, and how nobly she could interpret the "rhythmic Greek," let those decide who have read Mrs. Browning's translations of "Prometheus Bound" and Bion's "Lament for Adonis."
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