Nulla potest; operisque sui concepit amorem.'
In the margin of E. Hn. is the note—'Quere in Methamorphosios'; which supplies the reference; but cf. note to l. 16 below, shewing that Chaucer also had in his mind Le Roman de la Rose, l. 16379. So also the author of the Pearl, l. 750; see Morris, Allit. Poems.
16. In the margin of E. Hn. we find the note:—'Apelles fecit mirabile opus in tumulo Darii; vide in Alexandri libro .1.º [Hn. has .6.º]; de Zanze in libro Tullii.' This note is doubtless the poet's own; see further, as to Apelles, in the note to D. 498.
Zanzis, Zeuxis. The corruption of the name was easy, owing to the confusion in MSS. between n and u.[[26]] In the note above, we are referred to Tullius, i. e. Cicero. Dr. Reid kindly tells me that Zeuxis is mentioned, with Apelles, in Cicero's De Oratore, iii. § 26, and Brutus, § 70; also, with other artists, in Academia, ii. § 146; De Finibus, ii. § 115; and alone, in De Inventione, ii. § 52, where a long story is told of him. Cf. note to Troil. iv. 414.
However, the fact is that Chaucer really derived his knowledge of Zeuxis from Le Roman de la Rose (ed. Méon, l. 16387); for comparison with the context of that line shews numerous points of resemblance to the present passage in our author. Jean de Meun is there speaking of Nature, and of the inability of artists to vie with her, which is precisely Chaucer's argument here. The passage is too long for quotation, but I may cite such lines as these:—
'Ne Pymalion entaillier' (l. 16379),
'voire Apelles
Que ge moult bon paintre appelles,
Biautés de li james descrive