TWENTIETH SECTION. The Poet must abstain from the Delineation of corporeal Beauty.—Homer's Conduct in this Respect contrasted with that of some other Poets. The observations which I have already made in relation to bodily objects generally, will apply with still greater force to beautiful objects in particular. Corporeal beauty springs from the harmonious effect of multifarious parts which the eye surveys at one and the same instant. It is therefore necessary that the parts should lie in juxta-position with each other, and since objects thus relatively placed are peculiarly subjects for painting, it follows that corporeal beauty can be imitated by that art alone. The poet, who can indicate the elements of beauty only consecutively, abstains therefore altogether from the delineation of corporeal beauty, as an abstract quality. He feels that these elements, when arranged in succession, cannot possibly produce the same effect as when brought into immediate contact with each other; —that the concentrating glance which the reader throws backwards after their enumeration, cannot ensure the production of an harmonious image. He perceives that it will exceed the powers of human imagination to conceive the combined effect of the separate features detailed by him, except through the recollection of a similar composition of such parts in nature or in art. In this respect also does Homer stand preeminently a model for imitation. He simply tells us that Nireus was beautiful, Achilles was still more so, and that the beauty of Helen was divine. Nowhere do we find him entering into a circumstantial delineation of these examples of beauty. Yet the beauty of Helen is the very pivot on which the whole fabric of his poem turns. How luxuriantly would one of our modern poets have dwelt on its details! Constantinus Manasses has attempted to enrich his dry chronicle with a picture of Helen. I owe him my thanks for this attempt, for I know not where I could have found a more striking example of the absurdity of venturing on ground which Homer has so prudently avoided. Here is the passage : Ἡν ἡ γυνη περικαλλης, ἐνοφρυς, ἐυχρουστατη, ̔Ως ἐι τις τον ἐλεφαντα βαψει λαμπρα πορφυρα. In reading these lines I could fancy that I see a number of stones which had been brought together with a vast deal of labor to the summit * See Note 47, end of volume, † It would not be easy to give any thing like a tolerable translation of these lines. They consist altogether of the most common-place phrases, being composed of a tautological string of epithets expressive of the learned monk's ideas of the points of beauty in a lovely woman. The result of it all is that Helen was a 66 most beautiful woman," with σε exquisite eyebrows and color,”“ lovely rosy cheeks," large eyes," snowy skin, like ivory tinged with crimson," "white arms" and "swan-like neck."—Note of the Translator. 66 What of a hill for the purpose of erecting a splendid building, all rolling away down again of their own accord. What sort of impression does this crowd of words leave upon the mind? idea does it give of Helen's appearance? Read this passage to a thousand different men, and would not each one of the thousand form a different conception of the subject of it? But we need not, it is true, look for poetry in the political verses of a monk. Let us see then how Ariosto has delineated his enchanting Alcina : Di persona era tanto ben formata, Quanto mai finger san Pittori industri : Sotte due negri e sottilissimi archi E ch' indi tutta la faretra scarchi, E che visibilmente i cori involi. * Orlando Furioso, canto vii., st. 11—15. Quindi il naso per mezzo il viso scende, Sotto quel sta, quasi fra due vallette, Da render molle ogni cor rozzo e scabro; Ch' apre à sua posta in terra il paradiso. Bianca neve è il bel collo, e'1 petto latte; Non potria l'altre parti veder Argo: Mostran le braccia sue misura giusta; It has been said by Milton with reference to Pandemonium, that some praised the work, and some the author of the work. Admiration of |