Spring in Botticelli and Milton

 then with voice 

Milde, as when Zephyrus on Flora breathes,

It's possible Milton saw Botticelli's Primavera while in Italy. He surely was familiar with Poliziano's Rusticus -- a poem of country life described as an updated version of Virgil's Georgics and Hesiod's Works and Days -- with which it is often associated. 


Botticelli's painting is understood to be allegorical, with sundry interpretations (here's one interesting example). It's also a literal anthology, with "500 identified plant species depicted," including 190 different flowers. If Emily Dickinson placed flowers and plants amid the leaves of books, Botticelli seems intent on naming Flora, or Chloris, through sheer abundance of example.


Similarly Milton will reel off a litany of floral names, and here, in Book V, the poem is permeated with the names and scents of flowers and herbs, and sounds of birds and water and gentle breezes:

 th' only sound 

Of leaves and fuming rills, Aurora's fan,

Lightly dispers'd, and the shrill Matin Song

Of Birds on every bough; 

For a stupendous virtual reproduction of Botticelli's Primavera, go here. The image is so rich it takes a while to load, then can be zoomed to a remarkable level of detail. A right-click of the mouse allows a full screen image, which itself can be zoomed in and out, or scoured from one edge to the other.

The opening of Paradise Lost V is imbued with the dawn and with spring. Perhaps it's mere coincidence that Hermes makes a cameo appearance both in Milton's garden and in Botticelli's painting. In the Primavera, the god appears on the left. His right hand holds the cadeceus that reaches the clouds; his left rests on his hip inches from his sword handle. 


In P.L. V, he's woven into the initial description of Raphael:

A Seraph wingd; six wings he wore, to shade

His lineaments Divine; the pair that clad
Each shoulder broad, came mantling o're his brest

With regal Ornament; the middle pair [ 280 ]

Girt like a Starrie Zone his waste, and round

Skirted his loines and thighes with downie Gold

And colours dipt in Heav'n; the third his feet

Shaddowd from either heele with featherd maile

Skie-tinctur'd grain. Like Maia's son he stood, [ 285 ]

And shook his Plumes, that Heav'nly fragrance filld

The circuit wide

If nothing else, both Raphael and Hermes traditionally are messengers connecting heaven and earth. The conversation between Adam, Eve and the angel will, among other things, depict an intricate and coherent account of that linkage. 

The Satyr in the corner

NPR had an interesting story recently about Botticelli's painting, Venus and Mars. Apparently no scholar had noticed until now that in the lower right corner, next to the little horned satyr, is a plant known to possess hallucinogenic powers.

This opened a new angle of interpretive interest in the painting, about which we can read more here. The point of interest just now is the presence of the satyr. Horace will also bring satyrs into the Ars Poetica more than once, and of course made his poetic reputation first as a writer of satires. While "satire" does not derive directly from the Greek word for satyr, Σάτυρος, the literary use of the term seems to have been influenced by it.


From Wikipedia:

The satyrs' chief was Silenus, a minor deity associated (like Hermes and Priapus) with fertility. These characters can be found in the only remaining satyr play Cyclops by Euripedes and the fragments of Sophocles' The Tracking Satyrs (Ichneutae). The satyr play was a lighthearted follow-up attached to the end of each trilogy of tragedies in Athenian festivals honoring Dionysus. These plays would take a lighthearted approach to the heavier subject matter of the tragedies in the series, featuring heroes speaking in tragic iambic verse and taking their situation seriously as to the flippant, irreverent and obscene remarks and antics of the satyrs. The groundbreaking tragic playwright Aeschylus is said to have been especially loved for his satyr plays, but none of them have survived.


More here.