No More Learning

When Gaspar Poussin painted clouds and trees in his
landscapes, he did not borrow the green and the blue of the leaf and
the sky from Claude Lorraine. Neither did Camoens, when he painted his
island of Venus, spend the half of his life in collecting his colours
from all his predecessors who had described the beauties of the vernal
year, or the stages of passion. Camoens knew how others had painted the
flowery bowers of love; these formed his taste, and corrected his
judgment. He viewed the beauties of nature with poetical eyes, from
thence he drew his landscapes; he had felt all the allurements of love,
and from thence he describes the agitations of that passion.

Nor is the description of fairy bowers and palaces, though most
favourite topics, peculiar to the romances of chivalry. The poetry of
the orientals also abounds with them, yet, with some characteristic
differences. Like the constitutions and dress of the Asiatics, the
landscapes of the eastern muse are warm and feeble, brilliant and
slight, and, like the manners of the people, wear an eternal sameness.
The western muse, on the contrary, is nervous as her heroes, sometimes
flowery as her Italian or English fields, sometimes majestically great
as her Runic forests of oak and pine; and always various, as the
character of her inhabitants. Yet, with all those differences of
feature, several oriental fictions greatly resemble the island of Circe,
and the flowery dominions of Alcina. In particular, the adventures of
Prince Agib, or the third Calender, in the Arabian Tales, afford a
striking likeness of painting and catastrophe.

If Ariosto's, however, seem to resemble any eastern fiction, the island
of Venus in Camoens bears a more striking resemblance to a passage in
Chaucer. The following beautiful piece of poetical painting occurs in
the Assembly of the Fowles:--

"The bildir oak, and eke the hardie ashe,
The pillir elme, the coffir unto caraine,
The boxe pipetre, the holme to whippis lasshe,
The sailing firre, the cypres deth to plaine,
The shortir ewe, the aspe for shaftis plaine,
The olive of pece, and eke the dronkin vine,
The victor palme, the laurir to divine.
A gardein sawe I full of blossomed bowis,
Upon a river, in a grene mede
There as sweetness evirmore inough is,
With flouris white, and blewe, yelowe, and rede,
And colde and clere wellestremis, nothing dede,
That swommin full of smale fishis light,
With finnis rede, and scalis silver bright.

On every bough the birdis herd I syng
With voice of angell, in ther harmonie
That busied 'hem, ther birdis forthe to bryng,
And little pretie conies to ther plaie gan hie;
And furthir all about I gan espie
The dredful roe, the buck, the hart and hind,
Squirils, and bestis smal of gentle kind.
Of instrumentes of stringis, in accorde
Herd I so plaie a ravishyng swetnesse,
That God, that makir is of all and Lorde,
Ne herd nevir a better, as I gesse,
There with a winde, unneth it might be lesse,
Made in the levis grene a noise soft
Accordant to the foulis song en loft.
The aire of the place so attempre was,
That ner was there grevaunce of hot ne cold--

* * *

Under a tre beside a well I seye
Cupid our lorde his arrowes forge and file,
And at his fete his bowe all redie laye,
And well his doughtir temprid all the while
The heddis in the well, and with her wile
She couchid 'hem aftir as thei should serve,
Some for to flea, and some to wound and carve.

* * *

And upon pillirs grete of Jaspir long
I saw a temple of Brasse ifoundid strong.

And about the temple dauncid alwaie
Women inow, of which some there ywere
Faire of 'hemself, and some of 'hem were gaie,
In kirtils all disheveled went thei there,
That was ther office or from yere to yere,
And on the temple sawe I white and faire
Of dovis sittyng many a thousande paire. "

Here we have Cupid forging his arrows, the woodland, the streams, the
music of instruments and birds, the frolics of deer and other animals;
and _women enow_. In a word, the island of Venus is here sketched out,
yet Chaucer was never translated into Latin or any language of the
continent, nor did Camoens understand a line of English. The subject was
common, and the same poetical feelings in Chaucer and Camoens pointed
out to each what were the beauties of landscapes and of bowers devoted
to pleasure.

Yet, though the fiction of bowers, of islands, and palaces, was no
novelty in poetry, much, however, remains to be attributed to the
poetical powers and invention of Camoens. The island of Venus contains,
of all others, by much the completest gradation, and fullest assemblage
of that species of luxuriant painting. Nothing in the older writers is
equal to it in fulness. Nor can the island of Armida, in Tasso, be
compared to it, in poetical embroidery or passionate expression; though
Tasso as undoubtedly built upon the model of Camoens, as Spenser
appropriated the imagery of Tasso when he described the bower of
Acrasia, part of which he has literally translated from the Italian
poet. The beautiful fictions of Armida and Acrasia, however, are much
too long to be here inserted, and they are well known to every reader of
taste.

But the chief praise of our poet is yet unmentioned. The introduction of
so beautiful a fiction as an essential part of the conduct and machinery
of an epic poem, does the greatest honour to the invention of Camoens.
The machinery of the former part of the poem not only acquires dignity,
but is completed by it. And the conduct of Homer and Virgil has, in
this, not only received a fine imitation, but a masterly contrast. In
the finest allegory the heroes of the Lusiad receive their reward: and,
by means of this allegory, our poet gives a noble imitation of the
noblest part of the AEneid.