ll, 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
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