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32 “ Soon her garments loose,” &c.—This picture is from Ovid , but the lovely and beautifully colored comparison of the garland is Spenser's own.
Character, Budding Beauty in male and female ; Animal Passion ;
Luminous Vernal coloring ; Painter, the same.
Then came fair May, the fairest maid on ground,33
And leap'd and danc'd as they had ravish'd been ;
33 “ Then came,” &c.—Raphael would have delighted (but Titian's colors would be required) in the lovely and liberal uniformity of this picture,—the young goddess May supported aloft; the two brethren on each side; animals and flowers below; birds in the air, and Cupid streaming overhead in his green mantle. Imagine the little fellow, with a body of Titian's carnation, tumbling in the air, and playfully holding the mantle, which is flying amply behind, rather than concealing him.
This charming stanza beats the elegant but more formal invocation to May by Milton, who evidently had it in his recollec. tion. Indeed the latter is almost a compilation from various poets. It is, however, too beautiful to be omitted here.
Now the bright morning-star, day's harbinger,
Hail beauteous May, that dost inspire
Woods and groves are of thy dressing,
Hill and dale doth boast thy blessing.
And welcome thee, and wish thee long.
Spenser's “ Lord! how all creatures laugh’d” is an instance of joyous and impulsive expression not common with English poets, out of the pale of comedy. They have geniality in abundance, but not animal spirits.
AN ANGEL, WITH A PILGRIM AND A FAINTING KNIGHT.
Character, Active Superhuman Beauty, with the finest coloring and
contrast; Painter, the same.
During the while that Guyon did abide
“ Come hither, hither, O come hastily !"
The palmer leant his ear unto the noise,
There the good Guyon he found slumbering fast
Beside his head there sat a fair young man,34
Like Phæbus' face adorn’d with sunny rays,
34 “ Beside his head,” &c.—The superhuman beauty of this angel should be Raphael's, yet the picture, as a whole, demands Ti. tian; and the painter of Bacchus was not incapable of the most imaginative exaltation of countenance. As to the angel's body, no one could have painted it like him,—nor the beautiful jay's wings; not to mention the contrast between the pilgrim's weeds and the knight's armor. See a picture of Venus blinding Cupid, beautifully engraved by Sir Robert Strange, in which the Cupid has variegated wings.
AURORA AND TITHONUS.
Character, Young and Genial Beauty, contrasted with Age,—the ac
cessories full of the mixed warmth and chillness of morning ; Painter, Guido.
The joyous day 'gan early to appear,
From heaven high to chase the cheerless dark:
THE BRIDE AT THE ALTAR.
Character, Flushed yet Lady-like Beauty, with ecstatic Angels regard
ing her ; Painter, the same.
Behold, while she before the altar stands,
Like crimson dyed in grain !
35 “ Oft peeping in her face,” &c.—I cannot think the words peeping and stare, the best which the poet could have used; but he is aggravating the beauties of his bride in a long epithalamium, and sacrificing everything to her superiority. The third line is felicitous.
A NYMPH BATHING.
Character, Ecstacy of Conscious and Luxurious Beauty; Paintes
-Her fair locks which formerly were bound
So that fair spectacle was from him reft,
So hid in locks and waves from looker's theft,
Withal she laughed, and she blush'd withal,36
36 * Withal she laugh’d,” &c.—Perhaps this is the loveliest thing of the kind, mixing the sensual with the graceful, that ever was painted. The couplet, So hid in locks and waves, &c., would be an excessive instance of the sweets of alliteration, could we bear to miss a particle of it.
THE CAVE OF DESPAIR.
Character, Savage and Forlorn Scenery, occupied by Squalid Misery
Painter, Salvator Rosa.
Ere long they come where that same wicked wight
Far from that haunt all other cheerful fowl,
And all about old stocks and stubs of trees,
Would fain have fled, nor durst approachen near,