No More Learning

Amphimedon, one of the suitors, in the very episode which gave birth to
Dacier's conjecture, tells his story very articulately to the shade of
Agamemnon, though he had not received the funereal rites:--

"Our mangled bodies, now deform'd with gore,
Cold and neglected spread the marble floor:
No friend to bathe our wounds! or tears to shed
O'er the pale corse! the honours of the dead. "

ODYS. XXIV.

On the whole, the defence of Pope is almost as idle as the conjectures
of Dacier. The plain truth is, poetry delights in personification;
everything in it, as Aristotle says of the Iliad, has manners; poetry
must therefore personify according to our ideas. Thus in Milton:--

"Tears, such as angels weep, burst forth. "

And thus in Homer, while the suitors are conducted to hell:--

"Trembling, the spectres glide, and plaintive vent
Thin, hollow screams, along the deep descent:"

and, unfettered with mythological distinctions, either shriek or
articulately talk, according to the most poetical view of their supposed
circumstances.

[434] Exod. xiv. 29.

[435] Noah.

[436] Venus.

[437] For the fable of Eolus see the tenth Odyssey.
[438]

_And vow, that henceforth her Armada's sails
Should gently swell with fair propitious gales. _

In innumerable instances Camoens discovers himself a judicious imitator
of the ancients. In the two great masters of the epic are several
prophecies oracular of the fate of different heroes, which give an air
of solemn importance to the poem. The fate of the Armada thus obscurely
anticipated, resembles in particular the prophecy of the safe return of
Ulysses to Ithaca, foretold by the shade of Tiresias, which was
afterwards fulfilled by the Phaeacians. It remains now to make some
observations on the machinery used by Camoens in this book. The
necessity of machinery in the epopea, and the, perhaps, insurmountable
difficulty of finding one unexceptionably adapted to a poem where the
heroes are Christians, or, in other words, to a poem whose subject is
modern, have already been observed in the preface. The machinery of
Camoens has also been proved, in every respect, to be less exceptionable
than that of Tasso in his Jerusalem, or that of Voltaire in his
Henriade. The descent of Bacchus to the palace of Neptune, in the depths
of the sea, and his address to the watery gods, are noble imitations of
Virgil's Juno in the first AEneid. The description of the storm is also
masterly. In both instances the conduct of the AEneid is joined with the
descriptive exuberance of the Odyssey. The appearance of the star of
Venus through the storm is finely imagined; the influence of the nymphs
of that goddess over the winds, and their subsequent nuptials, are in
the spirit of the promise of Juno to Eolus:--

_Sunt mihi bis septum praestanti corpore nymphae:
Quarum, quae forma pulcherrima; Deiopeiam_
_Connubio jungam stabili, propriamque dicabo:
Omnes ut tecum meritis pro talibus annos
Exigat, et pulchra faciat te prole parentem. _--VIRGIL, AEn. bk. i.

And the fiction itself is an allegory, exactly in the manner of Homer.
Orithia, the daughter of Erecteus, and queen of the Amazons, was
ravished and carried away by Boreas.