LANDSCAPE, WITH DAMSELS CONVEYING A WOUNDED SQUIRE ON HIS HORSE. Character, Select Southern Elegance, with an intimation of fine Architecture; Painter, Claude. (Yet "mighty” woods hardly belong to him.) Into that forest far they thence him led, Where was their dwelling, in a pleasant glade With mountains round about environèd; And like a stately theatre it made, Amongst the pumy stones, which seem'd to plain Beside the same a dainty place there lay, In which the birds sung many a lovely lay Of God's high praise and of their sweet love's teen, As it an earthly paradise had been ; In whose enclosed shadows there was pight A fair pavilion, scarcely to be seen. THE NYMPHS AND GRACES DANCING TO A SHEPHERD'S PIPE; OR, APOTHEOSIS OF A POET'S MISTRESS. Character, Nakedness without Impudency; Multitudinous and Innocent Delight; Exaltation of the principal Person from Circumstances rather than her own Ideality; Albano. Unto this place whereas the elfin knight And in the midst a shepherd piping he did see. He durst not enter into the open green, All they without were rangèd in a ring Painter, And in the midst of those same three were placed Amidst a ring most richly well enchaced, That with her goodly presence all the rest much graced. Those were the Graces, daughters of delight, She was, to weet, that jolly shepherd's lass Thy love is there advaunst to be another Grace.38 38 Thy love is there advanc'd," &c.-And there she remains, dancing in the midst of the Graces for ever, herself a Grace, made one by the ordinance of the poor but great poet who here addresses himself under his pastoral title, and justly prides himself on the power of conferring immortality on his love. The apostrophe is as affecting as it is elevating, and the whole scene conceived in the highest possible spirit of mixed wildness and delicacy. A PLUME OF FEATHERS AND AN ALMOND TREE. In this instance, which is the one he adduces in proof of his remark on the picturesque, the reader must agree with Coleridge, that the description (I mean of the almond tree), however charming, is not fit for a picture: it wants accessories; to say nothing of the reference to the image illustrated, and the feeling of too much minuteness and closeness in the very distance. Who is to paint the tender locks" every one," and the whisper of "every little breath?" Upon the top of all his lofty crest A bunch of hairs discolour'd diversly, With sprinkled pearl and gold full richly dress'd, On top of green Selinis all alone, With blossoms brave bedeckèd daintily, Whose tender locks do tremble every one, At every little breath that under heaven is blown. What an exquisite last line! but the whole stanza is perfection. The word jollity seems to show the plumpness of the plume; what the fop in Molière calls its embonpoint. Holà, porteurs, holà! Là, là, là, là, là, là. Je pense que ces marauds-là ont dessein de me briser force de heurter contre les murailles et les pavés. 1 Porteur. Dame, c'est que la porte est étroite. Vous avez voulu aussi que nous soyons entrés jusqu'ici. Mascarille. Je le crois bien. Voudriez-vous, faquins, que j'exposasse l'embonpoint de mes plumes aux inclémences de la saison pluvieuse, et que j'allasse imprimer mes souliers en boue?-Les Precieuses Ridicules, sc. 7. [Mascarille (to the sedan chairmen). Stop, stop! What the devil is all this? Am I to be beaten to pieces against the walls and pavement? Chairman. Why you see the passage is narrow. You told us to bring you right in. Mascarille. Unquestionably. Would you have me expose the embonpoint of my feathers to the inclemency of the rainy season, and leave the impression of my pumps in the mud?] Our gallery shall close with a piece of ENCHANTED MUSIC. Eftsoons they heard a most melodious sound Birds, voices, instruments, winds, waters, all agree. The joyous birds, shrouded in cheerful shade, |