[Footnote 79: Dryden's AEneis, xii. 108:
The lover gazed, and burning with desire,
The more he looked the more he fed the fire.]
[Footnote 80:
Ut fugere accipitrem penna trepidante columbae,
Ut solet accipiter trepidas agitare columbas. Ovid, Met. lib. v.--WARBURTON.
Sandys' translation:
As trembling doves the eager hawks eschew;
As eager hawks the trembling dovers pursue.]
[Footnote 81: In the first edition:
As from the god with fearful speed she flew,
As did the god with equal speed pursue.
[Footnote 82: Wakefield remarks that Pope, yielding to the exigencies of
rhyme, has put "run" for "ran."]
[Footnote 83:
Sol erat a tergo: vidi praecedere longam
Ante pedes umbram; nisi timor illa videbat.
Sed certe sonituque pedum terrebar; et ingens
Crinales vittas afflabat anhelitus oris. Ovid, Met. lib. v.--WARBURTON.
Sandys, whom our bard manifestly consulted, renders thus:
The sun was at our backs; before my feet
I saw his shadow, or my fear did see't.
Howere his sounding steps, and thick-drawn breath
That fanned my hair, affrighted me to death.--WAKEFIELD.
Not only is the story of Lodona copied from the transformation of
Arethusa into a stream, but nearly all the particulars are taken from
different passages in Ovid, of which Warburton has furnished a
sufficient specimen.]
[Footnote 84: The river Loddon.--POPE.]
[Footnote 85: The idea of "augmenting the waves with tears" was very
common among the earliest English poets, but perhaps the most ridiculous
use ever made of this combination, was by Shakespeare:
Too much of water hast thou, poor Ophelia,
And therefore I forbid my tears.--BOWLES.
Dryden's translation of the first book of Ovid's Art of Love: