8, 9), the poetry
consists
entirely in the
happiness of the epithets.
happiness of the epithets.
Camoes - Lusiades
A profusion of it
is pedantry; a moderate use of it, however, in a poem of those times
pleases, because it discovers the stages of composition, and has in
itself a fine effect, as it illustrates its subject by presenting the
classical reader with some little landscapes of that country through
which he has travelled. The description of forests is a favourite topic
in poetry. Chaucer, Tasso, and Spenser, have been happy in it, but both
have copied an admired passage in Statius:--
"Cadit ardua fagus,
Chaoniumque nemus, brumaeque illaesa cupressus;
Procumbunt piceae, flammis alimenta supremis,
Ornique, iliceaeque trabes, metuandaque sulco
Taxus, et infandos belli potura cruores
Fraxinus, atque situ non expugnabile robur:
Hinc audax abies, et odoro vulnere pinus
Scinditur, acclinant intonsa cacumina terrae
Alnus amica fretis, nec inhospita vitibus ulmus. "
In rural descriptions three things are necessary to render them
poetical: the happiness of epithet, of picturesque arrangement, and of
little landscape views. Without these, all the names of trees and
flowers, though strung together in tolerable numbers, contain no more
poetry than a nurseryman or a florist's catalogue. In Statius, in Tasso
and Spenser's admired forests (Ger. Liber. c. 3. st. 75, 76, and F.
Queen, b. 1 c. 1. st.
8, 9), the poetry consists entirely in the
happiness of the epithets. In Camoens, all the three requisites are
admirably attained and blended together.
[578] _And stain'd with lover's blood. _--Pyramus and Thisbe:--
"Arborei foetus aspergine caedis in atram
Vertuntur faciem: madefactaque sanguine radix
Puniceo tingit pendentia mora colore. . . . .
At tu quo ramis arbor miserabile corpus
Nunc tegis unius, mox es tectura duorum;
Signa tene caedis: pullosque et lectibus aptos
Semper habe foetus gemini monumenta cruoris. "
OVID, Met.
[579] _The shadowy vale. _--Literal from the original,--_O sombrio
valle_--which Fanshaw, however, has translated, "the gloomy valley," and
thus has given us a funereal, where the author intended a festive,
landscape. It must be confessed, however, that the description of the
island of Venus, is infinitely the best part of all of Fanshaw's
translation. And indeed the dullest prose translation might obscure, but
could not possibly throw a total eclipse over, so admirable an original.
[580] _The woe-mark'd flower of slain Adonis--water'd by the tears of
love. _--The Anemone.
is pedantry; a moderate use of it, however, in a poem of those times
pleases, because it discovers the stages of composition, and has in
itself a fine effect, as it illustrates its subject by presenting the
classical reader with some little landscapes of that country through
which he has travelled. The description of forests is a favourite topic
in poetry. Chaucer, Tasso, and Spenser, have been happy in it, but both
have copied an admired passage in Statius:--
"Cadit ardua fagus,
Chaoniumque nemus, brumaeque illaesa cupressus;
Procumbunt piceae, flammis alimenta supremis,
Ornique, iliceaeque trabes, metuandaque sulco
Taxus, et infandos belli potura cruores
Fraxinus, atque situ non expugnabile robur:
Hinc audax abies, et odoro vulnere pinus
Scinditur, acclinant intonsa cacumina terrae
Alnus amica fretis, nec inhospita vitibus ulmus. "
In rural descriptions three things are necessary to render them
poetical: the happiness of epithet, of picturesque arrangement, and of
little landscape views. Without these, all the names of trees and
flowers, though strung together in tolerable numbers, contain no more
poetry than a nurseryman or a florist's catalogue. In Statius, in Tasso
and Spenser's admired forests (Ger. Liber. c. 3. st. 75, 76, and F.
Queen, b. 1 c. 1. st.
8, 9), the poetry consists entirely in the
happiness of the epithets. In Camoens, all the three requisites are
admirably attained and blended together.
[578] _And stain'd with lover's blood. _--Pyramus and Thisbe:--
"Arborei foetus aspergine caedis in atram
Vertuntur faciem: madefactaque sanguine radix
Puniceo tingit pendentia mora colore. . . . .
At tu quo ramis arbor miserabile corpus
Nunc tegis unius, mox es tectura duorum;
Signa tene caedis: pullosque et lectibus aptos
Semper habe foetus gemini monumenta cruoris. "
OVID, Met.
[579] _The shadowy vale. _--Literal from the original,--_O sombrio
valle_--which Fanshaw, however, has translated, "the gloomy valley," and
thus has given us a funereal, where the author intended a festive,
landscape. It must be confessed, however, that the description of the
island of Venus, is infinitely the best part of all of Fanshaw's
translation. And indeed the dullest prose translation might obscure, but
could not possibly throw a total eclipse over, so admirable an original.
[580] _The woe-mark'd flower of slain Adonis--water'd by the tears of
love. _--The Anemone.
