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But vulgar hands may vulgar likeness raise
This is the least attendant on thy praise :
From hence the rudiments of art began;
A coal, or chalk, first imitated man:
Perhaps the shadow, taken on a wall,
Gave outlines to the rude original;
Ere canvas yet was strain'd, before the grace
Of blended colours found their use and place,
Or cypress tablets first received a face.

By slow degrees the godlike art advanced ;
As man grew polish'd, picture was enhanced :
Greece added posture, shade, and perspective,
And then the mimic piece began to live.
Yet perspective was lame, no distance true,
But all came forward in one common view.
No point of light was known, no bounds of art;
When light was there, it knew not to depart,
But glaring on remoter objects play'd ;
Not languish'd and insensibly decay'd.*

Rome raised not art, but barely kept alive,
And with old Greece unequally did strive ;
Till Goths and Vandals, a rude northern race,
Did all the matchless monuments deface.
Then all the Muses in one ruin lie,
And rhyme began to enervate poetry.

* The ancients did not understand perspective; accordingly their figures represent those on an Indian paper. It seems long before it was known in England; for so late as 1634, Sir John Harrington thought it necessary to give the following explanation, in the advertisement to his translation of Orlando Furioso.

“ The use of the picture is evident;--that, having read over the book, they may read it as it were again in the very picture; and one thing is to be noted, which every one haply will not observe, namely, the perspective in every figure. For the personages of men, the shapes of horses, and such like, are made large at the bottom, and lesser upward; as, if you were to behold all the same in a plain, that which is nearest seems greatest, and the farther shews smallest, which is the chief art in picture.”

Thus, in a stupid military state,
The pen and pencil find an equal fate.
Flat faces, such as would disgrace a skreen,
Such as in Bantam's embassy were seen,
Unraised, unrounded, were the rude delight
Of brutal nations, only born to fight.

Long time the sister arts, in iron sleep,
A heavy sabbath did supinely keep;
At length, in Raphael's age, at once they rise,
Stretch all their limbs, and open all their eyes.

Thence rose the Roman, and the Lombard line;
One colour'd best, and one did best design.
Raphael's, like Homer's, was the nobler part,
But Titian's painting look'd like Virgil's art.

Thy genius gives thee both ; where true design, Postures unforced, and lively colours join, Likeness is ever there; but still the best, (Like proper thoughts in lofty language drest,) Where light, to shades descending, plays, not strives, Dies by degrees, and by degrees revives. Of various parts a perfect whole is wrought; Thy pictures think, and we divine their thought.

Shakespeare, thy gift, I place before my sight ;* With awe, I ask his blessing ere I write; With reverence look on his majestic face; Proud to be less, but of his godlike race.

* This portrait was copied from one in the possession of Mr Betterton, and afterwards in that of the Chandos family. Twelve engravings were executed from this painting, which, however, the ingenious Mr Stevens, and other commentators on Shakespeare, pronounced a forgery. The copy presented by Kneller to Dryden, is in the collection of Earl Fitzwilliam, at Wentworth-house; and may claim that veneration, from having been the object of our author's respect and enthusiasm, which has been denied to its original, as a genuine portrait of Shakespeare. It is not, however, an admitted point, that the Chandos picture is a forgery: the contrary has been keenly maintained ; and Mr Malone's opinion has given weight to those who have espoused its defence.

His soul inspires me, while thy praise I write,
And I, like Teucer, under Ajax fight;
Bids thee, through me, be bold; with dauntless breast
Contemn the bad, and emulate the best.
Like his, thy critics in the attempt are lost;
When most they rail, know then, they envy most.
In vain they snarl aloof; à noisy crowd,
Like women's anger, impotent and loud.
While they their barren industry deplore,
Pass on secure, and mind the goal before,
Old as she is, my muse shall march behind,
Bear off the blast, and intercept the wind.
Our arts are sisters, though not twins in birth,
For hymns were sung in Eden's happy earth :
But oh, the painter muse, though last in place,
Has seized the blessing first, like Jacob's face.
Apelles' art an Alexander found,
And Raphael did with Leo's gold abound;
But Homer was with barren laurel crown'd.
Thou hadst thy Charles a while, and so had I;
But pass we that unpleasing image by.
Rich in thyself, and of thyself divine,
All pilgrims come and offer at thy shrine.
A graceful truth thy pencil can command ;
The fair themselves go mended from thy hand.
Likeness appears in every lineament,
But likeness in thy work is eloquent.
Though nature there her true resemblance bears,
A nobler beauty in thy piece appears.
So warm thy work, so glows the generous frame,
Flesh looks less living in the lovely dame.
Thou paint'st as we describe, improving still

, When on wild nature we ingraft our skill, Yet not creating beauties at our will.

But poets are confined in narrower space, To speak the language of their native place;

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The painter widely stretches his command,
Thy pencil speaks the tongue of every land.
From hence, my friend, all climates are your own,
Nor can you forfeit, for you hold of none.
All nations all immunities will give
To make you theirs, where'er you please to live;
And not seven cities, but the world, would strive.

Sure some propitious planet then did smile,
When first you were conducted to this isle ;
Our genius brought you here, to enlarge our fame,
For your good stars are every where the same.
Thy matchless hand, of every region free,
Adopts our climate, not our climate thee.

* Great Rome and Venice early did impart To thee the examples of their wondrous art. Those masters, then but seen, not understood, With generous emulation fired thy blood; For what in nature's dawn the child admired, The youth endeavour'd, and the man acquired.

If yet thou hast not reach'd their high degree, 'Tis only wanting to this age, not thee. Thy genius, bounded by the times, like mine, Drudges on petty draughts, nor dare design A more exalted work, and more divine. For what a song, or senseless opera, Is to the living labour of a play ; Or what a play to Virgil's work would be, Such is a single piece to history. But we, who life bestow, ourselves must live; Kings cannot reign unless their subjects give; And they, who pay the taxes, bear the rule : Thus thou, sometimes, are forced to draw a fool ;t

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* He travelled very young into Italy. Dryden.

+ Mr Walpole says, that « where Sir Godfrey offered one picture to fame, he sacrificed twenty to lucre, and he met with customers of so little judgment, that they were fond of being paint

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But so his follies in thy posture sink,
The senseless idiot seems at last to think.
Good heaven! that sots and knaves should be so vain,
To wish their vile resemblance may remain,
And stand recorded, at their own request,
To future days, a libel or a jest !

Else should we see your noble pencil trace
Our unities of action, time, and place;
A whole composed of parts, and those the best,
With every various character exprest;
Heroes at large, and at a nearer view ;
Less, and at distance, an ignoble crew;
While all the figures in one action join,
As tending to complete the main design.

More cannot be by mortal art exprest,
But venerable age shall add the rest :
For time shall with his ready pencil stand,
Retouch your figures with his ripening hand,
Mellow your colours, and imbrown the teint,
Add every grace, which time alone can grant;
To future ages shall your fame convey,
And give more beauties than he takes away.

ed by a man who would gladly have disowned his works the moment they were paid for. The same author gives us Sir Godfrey's apology for preferring the lucrative, though less honourable, line of portrait painting. “ Painters of history," said he, “ make the dead live, and do not begin to live themselves till they are dead. I paint the living, and they make me live.”Lord ORFORD's Lives of the Painters. See his Works, Vol. III. p. 359. Dryden seems to allude to this expression in the above lines.

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