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On the west of the royal chapel a screen depicts the legends of the Confessor's life; on the east is the mutilated tomb of Henry V., the victor of Agincourt; above it the Chantry Chapel, where, after centuries of neglect, rest the remains of his wife, the French Catherine, ancestress of the great Tudor line.
"Such poetry," said I, "might surely be made very charming; and we have critics amongst us who consider it a higher kind than that which depicts the crimes, or analyses the passions, of man. At all events, poetry of the inspired kind you mention is a poetry that nowadays commands more readers than any other among the people I have left above ground."
Another circumstance of this picture ought to be redeemed from oblivion. We suspect that the general impressions of the readers of this day is, that the first hunters and settlers of Kentucky and Tennessee were a sort of demi-savages. Imagination depicts them with long beard, and a costume of skins, rude, fierce, and repulsive. Nothing can be wider from the fact.
Thirdly, art, the Emperor says, can only be educative when it elevates instead of descending into the gutter. Hogarth descended into the gutter. Gustav Doré depicts the horrors of hell. Yet both Hogarth and Doré were great artists, and educative too.
She might even challenge Hugo, because where he depicts strange and monstrous figures, exaggerated beyond the limits of actual life, George Sand portrays living men and women, whose instincts and desires she understands, and whom she makes us see precisely as if we were admitted to their intimacy. But George Sand puzzles us most by peculiarities which it is difficult for us to reconcile.
It must be obvious even to the most careless and least perspicacious what a striking contrast there is in the descriptive powers of the two; the objects that Tacitus depicts are not only few in number and telling in character, but seem to be presented to us on the principle of truth, as of actual occurrences; the method he adopts reminds one of that pursued by Sir Walter Scott, no matter whether the descriptive passage occur in one of his poems, as The Lady of the Lake, or in one of his romances, as The Heart of Mid-Lothian: Bracciolini, on the other hand, appears to be inventing, or, at least, heaping together a number of real circumstances, one or two of which might have happened together, but scarcely all of them at the same time, while he so arranges them as to produce a highly poetic effect: he writes as Lord Byron made up his shipwreck in Don Juan, as Moore shows us in his Life of the eminent poet, by selecting here and there a telling incident from the narrative of this or that shipwrecked mariner.
I therefore prevailed on my indulgent parent, with the aid of my mother's intercession, to purchase for me a neat country-seat near Huntingdon, which presented a beautiful view of the Sound, and where, surrounded by the scenes of my childhood, I promised myself to realise, with my Susanna, that life of tranquil felicity which fancy, warmed by love, so vividly depicts.
More than anything else, it is psychology that beguiles the artist; it is only through psychology that Korolenko depicts men and their mentalities. He studies the strong and the weak, the simple and the complex; exaltation, triumph, revolt, and downfall all interest him equally.
The inky ragged wrack, flying before a nor'-west wind, makes you dizzy with its headlong speed that depicts the rush of the invisible air. A hard sou'-wester startles you with its close horizon and its low gray sky, as if the world were a dungeon wherein there is no rest for body or soul.
When he depicts the workings of nature the wind roaring through the woods, the storm above the convent roof, the flash of the lightning, the thunderbolt he does not accomplish it with the wonderful point and accuracy of Weber, nor with the ethereal delicacy of Purcell, but with a breadth, a sympathy with the passion of nature, that no other composer save Wagner has ever attained to.
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