Indeed there is nothing more easy than to discover
a system of allegory in the simplest narrative.
a system of allegory in the simplest narrative.
Camoes - Lusiades
His equity claimed this honour.
He saw them
all naked. Juno promised him riches, Minerva the sciences, but he
decided in favour of Venus, who promised him the possession of the most
beautiful woman. What a ray of light is contained in this philosophical
fable! Paris represents a studious man, who, in the silence of solitude,
seeks the supreme good. Juno is the emblem of riches and dignities;
Minerva, that of the sciences purely human; Venus is that of religion,
which contains the sciences both human and divine; the charming female,
which she promises to the Trojan shepherd, is that divine wisdom which
gives tranquillity of heart. A judge so philosophical as Paris would not
hesitate a moment to whom to give the apple of gold. "--CASTERA.
[132] "The allegory of Camoens is here obvious. If Acteon, and the
slaves of their violent passions, could discover the beauties of true
religion, they would be astonished and reclaimed: according to the
expression of Seneca, 'Si virtus cerni posset oculis corporeis, omnes ad
amorem suum pelliceret. '"--CASTERA.
[133] "That is Divine love, which always accompanies religion. Behold
how our author insinuates the excellence of his moral! "--CASTERA.
As the French translator has acknowledged, there is no doubt but several
readers will be apt to decry this allegorical interpretation of the
machinery of Camoens.
Indeed there is nothing more easy than to discover
a system of allegory in the simplest narrative. The reign of Henry VIII.
is as susceptible of it as any fable in the heathen mythology. Nay,
perhaps, more so. Under the names of Henry, More, Wolsey, Cromwell,
Pole, Cranmer, etc. , all the war of the passions, with their different
catastrophes, might be delineated. Though it may be difficult to
determine how far, yet one may venture to affirm that Homer and Virgil
sometimes allegorised. The poets, however, who wrote on the revival of
letters have left us in no doubt; we have their own authority for it
that their machinery is allegorical. Not only the pagan deities, but the
more modern adventures of enchantment were used by them to delineate the
affections, and the trials and rewards of the virtues and vices. Tasso
published a treatise to prove that his _Gerusalemme Liberata_ is no
other than the Christian spiritual warfare. And Camoens, as observed in
the preface, has twice asserted that his machinery is allegorical. The
poet's assertion, and the taste of the age in which he wrote,
sufficiently vindicate and explain the allegory of the Lusiad.
[134] The following speech of Venus and the reply of Jupiter, are a fine
imitation from the first AEneid, and do great honour to the classical
taste of the Portuguese poet.
[135] Imitated from Virg. AEn. i.
all naked. Juno promised him riches, Minerva the sciences, but he
decided in favour of Venus, who promised him the possession of the most
beautiful woman. What a ray of light is contained in this philosophical
fable! Paris represents a studious man, who, in the silence of solitude,
seeks the supreme good. Juno is the emblem of riches and dignities;
Minerva, that of the sciences purely human; Venus is that of religion,
which contains the sciences both human and divine; the charming female,
which she promises to the Trojan shepherd, is that divine wisdom which
gives tranquillity of heart. A judge so philosophical as Paris would not
hesitate a moment to whom to give the apple of gold. "--CASTERA.
[132] "The allegory of Camoens is here obvious. If Acteon, and the
slaves of their violent passions, could discover the beauties of true
religion, they would be astonished and reclaimed: according to the
expression of Seneca, 'Si virtus cerni posset oculis corporeis, omnes ad
amorem suum pelliceret. '"--CASTERA.
[133] "That is Divine love, which always accompanies religion. Behold
how our author insinuates the excellence of his moral! "--CASTERA.
As the French translator has acknowledged, there is no doubt but several
readers will be apt to decry this allegorical interpretation of the
machinery of Camoens.
Indeed there is nothing more easy than to discover
a system of allegory in the simplest narrative. The reign of Henry VIII.
is as susceptible of it as any fable in the heathen mythology. Nay,
perhaps, more so. Under the names of Henry, More, Wolsey, Cromwell,
Pole, Cranmer, etc. , all the war of the passions, with their different
catastrophes, might be delineated. Though it may be difficult to
determine how far, yet one may venture to affirm that Homer and Virgil
sometimes allegorised. The poets, however, who wrote on the revival of
letters have left us in no doubt; we have their own authority for it
that their machinery is allegorical. Not only the pagan deities, but the
more modern adventures of enchantment were used by them to delineate the
affections, and the trials and rewards of the virtues and vices. Tasso
published a treatise to prove that his _Gerusalemme Liberata_ is no
other than the Christian spiritual warfare. And Camoens, as observed in
the preface, has twice asserted that his machinery is allegorical. The
poet's assertion, and the taste of the age in which he wrote,
sufficiently vindicate and explain the allegory of the Lusiad.
[134] The following speech of Venus and the reply of Jupiter, are a fine
imitation from the first AEneid, and do great honour to the classical
taste of the Portuguese poet.
[135] Imitated from Virg. AEn. i.
