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Show [ J 28 ] Shine with fuch luftre as the tear, that flows Down Virtue's manly cheek for others' woes. 464 Here ceafed the MusE, and dropp'd her tunefulihell, Tutnultuous woes her panting bofom fwell, O'er her flufi1'd cheek her gauzy veil ilie throws, Folds her white anns, and bends her laurel' d brows ; For human guilt awhile the Goddefs fighs, And human farrows dim cele.fiial eyes. I N T E R L U D E III. Bookfl/ler. POETRY has been called a fifier-art both to Painting and to Mufic ; I wifh to know, what are the particulars of their relation !hip? Poet. It has been already obferved, that the principal part of the language of poetry confifis of thofe words, which are expreffive of the ideas, which we originally receive by the organ of fight; and in this it nearly indeed refembles painting; which can exprefs itfelf in no other way, but by exciting the ideas or fenfations belonging to the fenfe of vifion. But befides this effential fimilitude in the language of the poetic pen and pencil, thefe two fifiers refemble each other, if I may fo fay, in many of their habits and manners. The painter, to produce a firong effeCt, makes a few parts of his piCture large, diftinet, and luminous, and keeps the remainder in fhadow, or even beneath its natural fize and colour, to give eminence to the principal figure. This is fimilar to the common manner of poetic compofition, where the fubordinate charaCters are kept down, to elevate and give confeq uence to the hero or heroine of the p1ece. In the fouth aile of the cathedral church at Lichfield, there is an antient monument of a recumbent figure; the head and neck of which lie on a roll of matting in a kind of niche or cavern in the wall; and about five feet difiant horizontally in another opening or s |
