monstrous fish, be was disgorged alive on the shore af ler three days. Here was an obvious symbol of Christ's resurrection. John Waleys, an English Franciscan of the thirteenth century, in his moral exposition of Ovid's Metamorphoses, affords many other instances equally ridiculous; and who forgot that he was describing a move heterogeneous chaos, than that which makes so conspicuous a figure in his author's exordium, and which combines, amid the monstrous and indigested aggregate of its unnatural associations,
———Sine pondere habentia pondus.[1]
"At length, compositions professedly allegorical, with which that age abounded, were resolved into allegories for which they were never intended. In the famous Romaunt of the Rose, written about the year 1310, the poet couches the difficulties of an ardent lover in attaining the object of his passion, under the allegory of a rose, which is gathered in a delicious but almost inaccessible garden. The theologists proved this rose to be the white rose of Jericho, the new Jerusalem, a state of grace, divine wisdom, the holy Virgin, or eternal beatitude, at none of which obstinate heretics can ever arrive. The chemists pretended that it was the philosopher's stone; the civilians, that it was the most consummate point of equitable decision; and the physicians, that it was the infallible panacea. In a word, other professions, in the most elaborate commentaries, explained away the lover's rose into the mysteries of their own respective science. In conformity to this practice, Tasso allegorized his own poem; and a flimsy structure of morality was raised on the chimerical conceptions of Ariosto's Orlando. In the year 1557, a translation of a part of Amadis de Gaule appeared in France; with a learned preface, developing the valuable stores of profound instruction, concealed imder the naked letters of the old romances, which were discernible only to the intelligent, and totally unperceived by common readers; who, instead of plucking the fruit, were obliged to rest contented with la simple Fleur de la Lecture litterale. Even Spenser, at a later period, could not indulge his native impulse to descriptions of chivalry, without framing such a story, as conveyed, under the dark conceit of ideal champions, a set of historic transactions, and an exemplification of the nature of the twelve moral virtues. He presents his fantastic queen with a rich romantic mirror, which shewed the wondrous achievements of her magnificent ancestry:—
- ↑ Met. lib. i. 20.
