Far o'er the western ocean's distant bed
Apollo now his fiery coursers sped;
Far o'er the silver lake of Mexic[589] roll'd
His rapid chariot wheels of burning gold:
The eastern sky was left to dusky grey,
And o'er the last hot breath of parting day,
Cool o'er the sultry noon's remaining flame,
On gentle gales the grateful twilight came.
Apollo now his fiery coursers sped;
Far o'er the silver lake of Mexic[589] roll'd
His rapid chariot wheels of burning gold:
The eastern sky was left to dusky grey,
And o'er the last hot breath of parting day,
Cool o'er the sultry noon's remaining flame,
On gentle gales the grateful twilight came.
Camoes - Lusiades
Nor is it a greater honour to resemble a Homer and a Virgil,
than it is to be resembled by a Milton. Milton certainly heard of
Fanshaw's translation of the Lusiad, though he might never have seen the
original, for it was published fourteen years before he gave his
Paradise Lost to the world. But, whatever he knew of it, had the last
book of the Lusiad been two thousand years known to the learned, every
one would have owned that the two last boots of the Paradise Lost were
evidently formed upon it. But whether Milton borrowed any hint from
Camoens is of little consequence. That the genius of the great Milton
suggested the conclusion of his immortal poem in the manner and with the
machinery of the Lusiad, is enough. It is enough that the part of
Michael and Adam in the two last books of the Paradise Lost are, in
point of conduct, exactly the same with the part of Thetis and GAMA in
the conclusion of the Lusiad. Yet, this difference must be observed; in
the narrative of his last book, Milton has flagged, as Addison calls it,
and fallen infinitely short of the untired spirit of the Portuguese
poet.
END OF THE NINTH BOOK.
BOOK X.
THE ARGUMENT.
In the opening of this, the last canto, the poet resumes the allegory of
the Isle of Joy, or of Venus: the fair nymphs conduct their lovers to
their radiant palaces, where delicious wines sparkle in every cup.
Before the poet describes the song of a prophetic siren, who celebrates
the praise of the heroes who are destined in ennoble the name of their
country, he addresses himself to his muse in a tone of sorrow, which
touches us the more deeply when we reflect upon the unhappy situation to
which this great poet was at last reduced. In the song of the siren,
which follows, is afforded a prophetic view from the period of Gama's
expedition down to Camoens' own times, in which Pacheco, and other
heroes of Portugal, pass in review before the eye of the reader. When
the siren has concluded her prophetic song, Thetis conducts Gama to the
top of a mountain and addresses him in a set speech. The poem concludes
with the poet's apostrophe to King Sebastian.
Far o'er the western ocean's distant bed
Apollo now his fiery coursers sped;
Far o'er the silver lake of Mexic[589] roll'd
His rapid chariot wheels of burning gold:
The eastern sky was left to dusky grey,
And o'er the last hot breath of parting day,
Cool o'er the sultry noon's remaining flame,
On gentle gales the grateful twilight came.
Dimpling the lucid pools, the fragrant breeze
Sighs o'er the lawns, and whispers thro' the trees;
Refresh'd, the lily rears the silver head,
And opening jasmines o'er the arbours spread.
Fair o'er the wave that gleam'd like distant snow,
Graceful arose the moon, serenely slow;
Not yet full orb'd, in clouded splendour dress'd,
Her married arms embrace her pregnant breast.
Sweet to his mate, recumbent o'er his young,
The nightingale his spousal anthem sung;
From ev'ry bower the holy chorus rose,
From ev'ry bower the rival anthem flows.
Translucent, twinkling through the upland grove,
In all her lustre shines the star of love;
Led by the sacred ray from ev'ry bower,
A joyful train, the wedded lovers pour:
Each with the youth above the rest approv'd,
Each with the nymph above the rest belov'd,
They seek the palace of the sov'reign dame;
High on a mountain glow'd the wondrous frame:
Of gold the towers, of gold the pillars shone,
The walls were crystal, starr'd with precious stone.
Amid the hall arose the festive board,
With nature's choicest gifts promiscuous stor'd:
So will'd the goddess to renew the smile
Of vital strength, long worn by days of toil.
On crystal chairs, that shin'd as lambent flame,
Each gallant youth attends his lovely dame;
Beneath a purple canopy of state
The beauteous goddess and the leader sat:
The banquet glows-- Not such the feast, when all
The pride of luxury in Egypt's hall
Before the love-sick Roman[590] spread the boast
Of ev'ry teeming sea and fertile coast.
Sacred to noblest worth and Virtue's ear,
Divine, as genial, was the banquet here;
The wine, the song, by sweet returns inspire,
Now wake the lover's, now the hero's fire.
On gold and silver from th' Atlantic main,
The sumptuous tribute of the sea's wide reign,
Of various savour, was the banquet pil'd;
Amid the fruitage mingling roses smil'd.
In cups of gold that shed a yellow light,
In silver, shining as the moon of night,
Amid the banquet flow'd the sparkling wine,
Nor gave Falernia's fields the parent vine:
Falernia's vintage, nor the fabled power
Of Jove's ambrosia in th' Olympian bower
To this compare not; wild, nor frantic fires,
Divinest transport this alone inspires.
The bev'rage, foaming o'er the goblet's breast,
The crystal fountain's cooling aid confess'd;[591]
The while, as circling flow'd the cheerful bowl,
Sapient discourse, the banquet of the soul,
Of richest argument and brightest glow,
Array'd in dimpling smiles, in easiest flow
Pour'd all its graces: nor in silence stood
The powers of music, such as erst subdued
The horrid frown of hell's profound domains,[592]
And sooth'd the tortur'd ghosts to slumber on their chains.
To music's sweetest chords, in loftiest vein,
An angel siren joins the vocal strain;
The silver roofs resound the living song,
The harp and organ's lofty mood prolong
The hallow'd warblings; list'ning Silence rides
The sky, and o'er the bridled winds presides;
In softest murmurs flows the glassy deep,
And each, lull'd in his shade, the bestials sleep.
The lofty song ascends the thrilling skies,
The song of godlike heroes yet to rise;
Jove gave the dream, whose glow the siren fir'd,
And present Jove the prophecy inspir'd.
Not he, the bard of love-sick Dido's board,
Nor he, the minstrel of Phaeacia's lord,
Though fam'd in song, could touch the warbling string,
Or, with a voice so sweet, melodious sing.
And thou, my muse, O fairest of the train,
Calliope, inspire my closing strain.
No more the summer of my life remains,[593]
My autumn's length'ning ev'nings chill my veins;
Down the black stream of years by woes on woes
Wing'd on, I hasten to the tomb's repose,
The port whose deep, dark bottom shall detain
My anchor, never to be weigh'd again,
Never on other sea of life to steer
The human course.
than it is to be resembled by a Milton. Milton certainly heard of
Fanshaw's translation of the Lusiad, though he might never have seen the
original, for it was published fourteen years before he gave his
Paradise Lost to the world. But, whatever he knew of it, had the last
book of the Lusiad been two thousand years known to the learned, every
one would have owned that the two last boots of the Paradise Lost were
evidently formed upon it. But whether Milton borrowed any hint from
Camoens is of little consequence. That the genius of the great Milton
suggested the conclusion of his immortal poem in the manner and with the
machinery of the Lusiad, is enough. It is enough that the part of
Michael and Adam in the two last books of the Paradise Lost are, in
point of conduct, exactly the same with the part of Thetis and GAMA in
the conclusion of the Lusiad. Yet, this difference must be observed; in
the narrative of his last book, Milton has flagged, as Addison calls it,
and fallen infinitely short of the untired spirit of the Portuguese
poet.
END OF THE NINTH BOOK.
BOOK X.
THE ARGUMENT.
In the opening of this, the last canto, the poet resumes the allegory of
the Isle of Joy, or of Venus: the fair nymphs conduct their lovers to
their radiant palaces, where delicious wines sparkle in every cup.
Before the poet describes the song of a prophetic siren, who celebrates
the praise of the heroes who are destined in ennoble the name of their
country, he addresses himself to his muse in a tone of sorrow, which
touches us the more deeply when we reflect upon the unhappy situation to
which this great poet was at last reduced. In the song of the siren,
which follows, is afforded a prophetic view from the period of Gama's
expedition down to Camoens' own times, in which Pacheco, and other
heroes of Portugal, pass in review before the eye of the reader. When
the siren has concluded her prophetic song, Thetis conducts Gama to the
top of a mountain and addresses him in a set speech. The poem concludes
with the poet's apostrophe to King Sebastian.
Far o'er the western ocean's distant bed
Apollo now his fiery coursers sped;
Far o'er the silver lake of Mexic[589] roll'd
His rapid chariot wheels of burning gold:
The eastern sky was left to dusky grey,
And o'er the last hot breath of parting day,
Cool o'er the sultry noon's remaining flame,
On gentle gales the grateful twilight came.
Dimpling the lucid pools, the fragrant breeze
Sighs o'er the lawns, and whispers thro' the trees;
Refresh'd, the lily rears the silver head,
And opening jasmines o'er the arbours spread.
Fair o'er the wave that gleam'd like distant snow,
Graceful arose the moon, serenely slow;
Not yet full orb'd, in clouded splendour dress'd,
Her married arms embrace her pregnant breast.
Sweet to his mate, recumbent o'er his young,
The nightingale his spousal anthem sung;
From ev'ry bower the holy chorus rose,
From ev'ry bower the rival anthem flows.
Translucent, twinkling through the upland grove,
In all her lustre shines the star of love;
Led by the sacred ray from ev'ry bower,
A joyful train, the wedded lovers pour:
Each with the youth above the rest approv'd,
Each with the nymph above the rest belov'd,
They seek the palace of the sov'reign dame;
High on a mountain glow'd the wondrous frame:
Of gold the towers, of gold the pillars shone,
The walls were crystal, starr'd with precious stone.
Amid the hall arose the festive board,
With nature's choicest gifts promiscuous stor'd:
So will'd the goddess to renew the smile
Of vital strength, long worn by days of toil.
On crystal chairs, that shin'd as lambent flame,
Each gallant youth attends his lovely dame;
Beneath a purple canopy of state
The beauteous goddess and the leader sat:
The banquet glows-- Not such the feast, when all
The pride of luxury in Egypt's hall
Before the love-sick Roman[590] spread the boast
Of ev'ry teeming sea and fertile coast.
Sacred to noblest worth and Virtue's ear,
Divine, as genial, was the banquet here;
The wine, the song, by sweet returns inspire,
Now wake the lover's, now the hero's fire.
On gold and silver from th' Atlantic main,
The sumptuous tribute of the sea's wide reign,
Of various savour, was the banquet pil'd;
Amid the fruitage mingling roses smil'd.
In cups of gold that shed a yellow light,
In silver, shining as the moon of night,
Amid the banquet flow'd the sparkling wine,
Nor gave Falernia's fields the parent vine:
Falernia's vintage, nor the fabled power
Of Jove's ambrosia in th' Olympian bower
To this compare not; wild, nor frantic fires,
Divinest transport this alone inspires.
The bev'rage, foaming o'er the goblet's breast,
The crystal fountain's cooling aid confess'd;[591]
The while, as circling flow'd the cheerful bowl,
Sapient discourse, the banquet of the soul,
Of richest argument and brightest glow,
Array'd in dimpling smiles, in easiest flow
Pour'd all its graces: nor in silence stood
The powers of music, such as erst subdued
The horrid frown of hell's profound domains,[592]
And sooth'd the tortur'd ghosts to slumber on their chains.
To music's sweetest chords, in loftiest vein,
An angel siren joins the vocal strain;
The silver roofs resound the living song,
The harp and organ's lofty mood prolong
The hallow'd warblings; list'ning Silence rides
The sky, and o'er the bridled winds presides;
In softest murmurs flows the glassy deep,
And each, lull'd in his shade, the bestials sleep.
The lofty song ascends the thrilling skies,
The song of godlike heroes yet to rise;
Jove gave the dream, whose glow the siren fir'd,
And present Jove the prophecy inspir'd.
Not he, the bard of love-sick Dido's board,
Nor he, the minstrel of Phaeacia's lord,
Though fam'd in song, could touch the warbling string,
Or, with a voice so sweet, melodious sing.
And thou, my muse, O fairest of the train,
Calliope, inspire my closing strain.
No more the summer of my life remains,[593]
My autumn's length'ning ev'nings chill my veins;
Down the black stream of years by woes on woes
Wing'd on, I hasten to the tomb's repose,
The port whose deep, dark bottom shall detain
My anchor, never to be weigh'd again,
Never on other sea of life to steer
The human course.
