Harry, whose tuneful and well-measured song First taught our English music how to span Words with just note and accent, not to scan With Midas' ears, committing short and long, Thy worth and skill exempts thee from the throng, With praise enough for envy to look wan; To after age thou shalt be writ the man That with smooth air couldst humour best our tongue. Thou honour'st verse, and verse must lend her wing To honour thee, the priest of Phoebus' choir, That tun'st their happiest lines in hymn or story. Dante shall give Fame leave to set thee higher Than his Casella, whom he wooed to sing, Met in the milder shades of Purgatory.
John Milton (1608 - 1674)
Source: Sonnet XIII, To Mr H. Lawes on the Publishing His Airs
Poetry often introduces a mythological dimension which reflects the close connections between the gods and commonly encountered trees. A passage from Vergil's Georgics, in which the poet enumerates grafted trees and miraculous growth, incorporates several such mythological references: myrtles, sacred to Venus; the poplar, crown of Hercules; and the acorns of Jupiter's symbolic oak, referring to his grove at Dodona. The pine was held sacred to Pan, the Roman Faunus, and in his Eclogues Vergil describes the pastoral god's home on Mt. Maenalus in Arcadia. Propertius stresses the god's fondness for the tree, and Horace, for his part, dedicates a pine to the goddess Diana in a famous ode.
There are veins in the hills where jewels hide And gold lies buried deep; There are harbor-towns where the great ships ride, And fame and fortune sleep; But land and sea though we tireless rove, And follow each trail to the end, Whatever the wealth of our treasure-trove, The best we shall find is a friend.