of displaying his talent in picturesque comparison. But it becomes obvious that this talent must have been formed on the model of Ariosto rather than on that of Homer. There occur indeed in his representations of the tumult of the battle, some imitations of Ariostic exuberance, which do not strictly harmonize with the prevailing style of the Lusiad.[145] In the second canto the singularity of the mythological machinery becomes still more remarkable, when at Mombassa, on the coast of Africa, Bacchus assumes the disguise of a Christian priest, and on an enchanted altar goes through the ceremony of the christian worship for the purpose of deceiving the Portuguese.[146] But the grotesque application of the machinery in this passage, prepares the mind for scenes of a similar character, and thus the comic effect of subsequent parts of the poem is in anticipation softened. The reader who enters into the spirit of the poet becomes unconsciously accustomed to this view of the ancient mythology; and he is even soon reconciled to the incongruity of Vasco da Gama offering up prayers as a christian to Providence, and those prayers being heard by Venus. The description of Venus, who once more intercedes with Jupiter in favour of the Portuguese, resembles Ariosto’s description of Alcina. Here the poet for the first time evinces his predilection for voluptuous pictures of beauty. This charming description may be said to possess a nationally classic character.[147] The speech by which Vasco da Gama’s ambassador gains the King of Melinda to the interests of the Portuguese is excellent, and the pompous meeting of the king with Vasco, on board the Portuguese admiral ship, is elegantly and picturesquely described.