pleased with that perfpicuity of order, that clearness of connexion, by which the several parts feem to grow out of each other, and the fatisfaction of the understanding every where keeps pace with the pleasures of the imagination. From these observations we may draw the following conclufions; first, that fine writing depends as much on a happiness in the arrangement, as in the choice of our ideas: in the next place, that all fuch progreffive energy or beauty as has been here described, muft, equally with those images which are founded on comparison, be entirely foreign to painting.

Hor. We cannot, it is true, paint a comparison or a metaphor; but, we may reprefent the various affections and passions of the mind, by clothing them in images, and as it were, drawing forth the foul into fea

ture

ture and action. Here, it should seem, that the Painter and Poet go hand in hand; and it may be, with fome advantage to the former, as his imitations come nearer to a re ality.

Eug. You have opened upon us a new fcene of imagery. As to your remark on the Painters advantage, I muft obferve to you, that the merit of thefe fimple Images, or Pictures, whether it be in poetry or painting, cannot consist merely in their justness ; for, this is no more than what we expect ; it must therefore fpring, either, from an exquifiteness in the degree of beauty; or, from a happiness in the circumftances. Of the former, we have a fine example in the defcription given by Bellarius of his princely pupil

The heir of Cymbeline and Britain) Jove! When on my three-foot ftool I fit, and tell The warlike feats I've done, his fpirits fly

out

nto my story; fay, Thus mine enemy fell, nd thus I fet my foot on's neck ;- even then,

princely blood flows in his cheek, he fweats,

trains his young nerves, and puts himself

in posture

That acts my words.

Cymbeline.

Of equal beauty, tho' in a different kind, the following picture of Love and Sorrow.-Imogen, on her husband's going into banishment, had fent her fervant Pifanio to attend him to the fhip; on his return,

The

fhe questions him as to the particulars of her husband's departure

Imogen.

Thou fhoud'ft have made him ev❜n

As little as a Crow, or less, ere left

To after-eye him

Pifan. Madam, fo I did,

Im. I would have broke mine eye ftrings, crack't 'em but

To look upon him

Nay, follow'd him, 'till he had melted from The smallness of a gnat, to air, and then Have turn'd mine eye, and wept.

Cymbeline.

THE difference between poetic and real Painting, may be clearly feen in this last example: the circumftances in this defcrip. tion, which tend to heighten the beauty

of

of the image in the laft line, cannot be expreffed by the Painter; he can have no advantage from a fucceffion of ideas. If, in fubjects that are in common to the Poet and Painter, the latter be limited; so again, there are many, from which he is totally excluded. In this view, I fhall continue, as I began, to mark the advantages peculiar to poetry. In each of thefe two laft examples, the image furprises by the degree of its beauty. But, there are others. which owe their effect, as I have said, to a happiness in the circumstances. Of this, we have, I think, an example in that beautiful fcence, in the Tempeft, between Ferdinand and Miranda.

Mir. Do you love me?

Ferd. O heav'n, O earth, bear witnefs to this

found,

And