« EelmineJätka »
MALBECCO SEES HELLENORE DANCING WITH THE
Character, Luxurious Abandonment to Mirth; Painter, Nicholas Poussin.
-Afterwards, close creeping as he might,
He in a bush did hide his fearful head:
The jolly satyrs, full of fresh delight,
Whom their May-lady they had newly made:
She, proud of that new honour which they redd,*
The silly man then in a thicket lay,
Saw all this goodly sport, and grievèd sore,
Yet durst he not against it do or say,
But did his heart with bitter thoughts engore
To see the unkindness of his Hellenore.
All day they danced with great lusty head,
Till drooping Phœbus 'gan to hide his golden head.
* "That new honour which they redd."-Areaded, awarded.
WITH DAMSELS CONVEYING A WOUNDED SQUIRE ON HIS
Character, Select Southern Elegance, with an intimation of fine Architecture; Painter, Claude. (Yet "mighty" woods hardly belong to him.)
Into that forest far they thence him led,
Where was their dwelling, in a pleasant glade
With mountains round about environèd;
And mighty woods which did the valley shade
And in the midst a little river play'd
Amongst the pumy stones, which seem'd to plain
Beside the same a dainty place there lay,
Of God's high praise and of their sweet love's teen,
As it an earthly paradise had been;
In whose enclosed shadows there was pight
A fair pavilion, scarcely to be seen.
THE NYMPHS AND GRACES DANCING TO A SHEPHERD'S PIPE; OR,
APOTHEOSIS OF A POET'S MISTRESS.
Character, Nakedness without Impudency; Multitudinous and Innocent Delight; Exaltation of the principal Person from Circumstances rather than her own Ideality; Painter,
Unto this place whereas the elfin knight
He durst not enter into the open green,
There he did see (that pleased much his sight
A hundred naked maidens lily white,
All they without were rangèd in a ring
And in the midst of those same three were placed
Another damsel, as a precious gem
Amidst a ring most richly well enchaced,
That with her goodly presence all the rest much graced.
Those were the Graces, daughters of delight,
Is borrowed of them; but that fair one
She was, to weet, that jolly shepherd's lass
38 6 Thy love is there advanc'd," &c.-And there she remains, dancing in the midst of the Graces for ever, herself a Grace, made one by the ordinance of the poor but great poet who here addresses himself under his pastoral title, and justly prides himself on the power of conferring immortality on his love. The apostrophe is as affecting as it is elevating, and the whole scene conceived in the highest possible spirit of mixed wildness and delicacy.
A PLUME OF FEATHERS AND AN ALMOND TREE.
In this instance, which is the one he adduces in proof of his remark on the picturesque, the reader must agree with Coleridge, that the description (I mean of the almond tree), however charming, is not fit for a picture: it wants accessories; to say nothing of the reference to the image illustrated, and the feeling of too much minuteness and closeness in the very distance. Who is to paint the tender locks" every one," and the whisper of every little breath?"
Upon the top of all his lofty crest
A bunch of hairs discolour'd diversly,
With sprinkled pearl and gold full richly dress'd,
Did shake and seem to dance for jollity.
On top of green Selinis all alone,
With blossoms brave bedeckèd daintily,
Whose tender locks do tremble every one,
At every little breath that under heaven is blown.
What an exquisite last line! but the whole stanza is perfection. The word jollity seems to show the plumpness of the plume; what the fop in Molière calls its embonpoint.
Holà, porteurs, holà! Là, là, là, là, là, là. Je pense que ces marauds-là ont dessein de me briser à force de heurter contre les murailles et les pavés.