No More Learning

The nymphs, while they
are bathing, in place of the modesty of the bride as in Camoens, employ
all the arts of the lascivious wanton. They stay not to be wooed; but,
as Spenser gives it--

_The amorous sweet spoils to greedy eyes reveal. _

One stanza from our English poet, which, however, is rather fuller than
the original, shall here suffice:--

"Withal she laughed and she blush'd withal,
That blushing to her laughter gave more grace,
And laughter to her blushing, as did fall.
Now when they spy'd the knight to slack his pace,
Them to behold, and _in his sparkling face
The secret signs of kindled lust appear_,
Their wanton merriments they did increase,
And to him beckon'd to approach more near,
_And show'd him many sights, that courage cold could rear_.

This and other descriptions--

"Upon a bed of roses she was laid
As faint through heat, or dight to pleasant sin"--

present every idea of lascivious voluptuousness. The allurements of
speech are also added. Songs, which breathe every persuasive, are heard;
and the nymphs boldly call to the beholder:--

_E' dolce campo di battaglia il letto
Fiavi, e l'herbetta morbida de' prati. _--TASSO.

"Our field of battle is the downy bed,
Or flow'ry turf amid the smiling mead. "--HOOLE.

These, and the whole scenes in the domains of Armida and Acrasia, are in
a turn of manner the reverse of the island of Venus. In these the
expression and idea are meretricious. In Camoens, though the colouring
is even warmer, yet the modesty of the Venus de Medicis is still
preserved. In everything he describes there is still something strongly
similar to the modest attitude of the arms of that celebrated statue.
Though prudery, that usual mask of the impurest minds, may condemn him,
yet those of the most chaste, though less gloomy turn, will allow, that
in comparison with others, he might say,--_Virginibus puerisque canto_.
Spenser also, where he does not follow Tasso, is often gross; and even
in some instances, where the expression is most delicate, the picture is
nevertheless indecently lascivious.

[585] _The hunter. _--Acteon.

[586] _Madd'ning as he said. _--At the end of his Homer Mr. Pope has
given an index of the instances of imitative and sentimental harmony
contained in his translations. He has also often even in his notes
pointed out the adaptation of sound to sense. The translator of the
Lusiad hopes he may for once say, that he has not been inattentive to
this great essential of good versification: how he has succeeded the
judicious only must determine. The speech of Leonard to the cursory
reader may perhaps sometimes appear careless, and sometimes turgid and
stiff. That speech, however, is an attempt at the imitative and
sentimental harmony, and with the judicious he rests its fate. As the
translation in this instance exceeds the original in length, the
objection of a foreign critic requires attention. An old pursy Abbe,
(and critics are apt to judge by themselves) may indeed be surprised
that a man out of breath with running should be able to talk so long.
But, had he consulted the experiences of others, he would have found it
was no wonderful matter for a stout and young cavalier to talk twice as
much, though fatigued with the chase of a couple of miles, provided the
supposition be allowed, that he treads on the last steps of his flying
mistress.

[587] _Hence, ye profane. _--We have already observed, that in every
other poet the love scenes are generally described as those of guilt and
remorse. The contrary character of those of Camoens not only gives them
a delicacy unknown to other moderns, but, by the fiction of the spousal
rites, the allegory and machinery of the poem are most happily
conducted.