EXHIBITION OF PERSONAL QUALITIES. 73 them with character in all respects suitable to their exalted station. Attitude and propriety of figure will sometimes essentially aid in the foregoing respects. Truth to nature forms as it were the climax which crowns the whole. There is, moreover, to a certain extent an expression and a character too, not only in the face, but in the form and figure, which serves to correspond with, and to carry out the expression of the countenance. In the works of Michael Angelo, not merely the features of the persons represented display their peculiarities of character and emotion, but also their bodies and limbs and gestures, each essentially contribute to this end. The artists of our day being so much limited in the exhibition of the naked figure, which afforded such extensive scope to the ancients in the display of their skill, and being also less aided by drapery, should rely more exclusively upon expression and character for the manifestation of their powers, and the full development of their genius. Thus, instead of being driven from a higher position to take refuge in a lower, are they expelled from a lower walk only to ascend to that exalted rank where those of the most sublime genius have excelled, and to shine in which is the most noble and the most intellectual attainment to which the artist can aspire. This alone ought to raise and dignify modern art, and to atone for many of the deficiencies under which it is supposed to labour. IV. (2.) The qualities or moral attributes which any one possesses, constitute another main element in his character, and may be represented in the same way as his personal endowments. In the consideration of the subject of the present section, it should be borne in mind that grace or beauty in a countenance, may be quite independent of its intellectual or moral qualities, as the most virtuous person may be hideously ugly, or the most depraved and wicked extremely handsome, and as such his appearance may be gratifying to the sight. . Probably the surest and most efficient mode of representing correctly the intellectual and moral character of any one, would be, in the first place, to sketch from nature a head which appeared generally suitable for the individual to be por trayed; and then to adapt, as exactly as possible, one by one, the different features according to the character intended, from the assortment of those classified for this purpose, as contained in the proposal in a subsequent section.* Much, both as regards truth and vigour of expression in the representation of the disposition and moral character, may be gained by the observation of animals, and even of creation at large. Each animal has a distinct and forcible expression of its own, and when excited, both its countenance and general action vividly exhibit without affectation the qualities which characterize, and the feelings which agitate it. At different periods, too, of their growth, the various characters of animals, as affected by age and other circumstances, are fully and forcibly developed. And among them the greatest diversity of character-corresponding with that in the human species-is exhibited. In landscape scenery, and especially in vegetation, in clouds, in water, and in mountain views, every variety, both of emotion and character, is also displayed. Possibly, indeed, there is no character, no quality, and no passion in man, but what is here typified and reflected. The gestures, if not the expression of the countenances of animals, may afford many suggestions to the artist, and to the actor as well, in the delineation of those of man, more especially as animals are entirely natural and unaffected in all their actions. The real character is here fully evinced, and is more distinctly marked, and also more diversified than will be found to be the case,―or, strictly speaking, than is outwardly observable-in human nature. In animals, however, the general attitude of the figure, rather than the features, is what serves to characterize them. In man, both character and emotion are mainly developed through the countenance, which is far more expressive than in animals, while the motions of his body are retarded and concealed by clothing. Some of the most distinguished poets have resorted to the habits and demeanour of animals, for the purpose of adding effect to their description of the personal qualities possessed by their heroes. Thus, Homer† compares Menelaus, while re* Vide post, Sect. 8. Iliad,' book xvii. lines 106–119. ARTISTICAL SUGGESTIONS FROM ANIMAL ACTION. 75 tiring from the dead body of Patroclus, to a fierce shaggy lion, driven unwillingly and sullenly by men and dogs from the fold: "Slow he recedes, and, sighing quits the dead. And through the cloud the godlike Ajax knew." The portrait of Charon, as drawn by Virgil,* is very striking and effective, on account of the personal qualities by which he is characterized; and the gloomy shade which the poet contrives to throw over the whole scene, contributes much to heighten the description. Every attribute ascribed to the grim ferryman is, moreover, in strict keeping and harmony with the general representation;- his terrible look, hoary beard, rude garments, and stern deportment, each alike add to the effect: "Portitor has horrendus aquas et flumina servat Jam senior; sed cruda Deo viridisque senectus."+ *Eneid,' lib. vi. lines 298-304. "There Charon stands, who rules the dreary coast- A length of beard descends, uncombed, unclean: His eyes, like hollow furnaces on fire; A girdle, foul with grease, binds his obscene attire. He spreads his canvas; with his pole he steers; The freights of flitting ghosts in his thin bottom bears. He looked in years; yet, in his years were seen A youthful vigour and autumnal green." Dryden's 'Virgil.' Chaucer's description of Licurge derives its efficiency also from the same source. The poet depicts him with every characteristic calculated to give force and vigour to the representation, and to develope the qualities by which he is distinguished, alike as regards his appearance, his action, his demeanour, and each attendant circumstance about him : "Blake was his berd, and manly was his face. The cercles of his eyen in his hed They gloweden betwixen yelwe and red, And like a griffon loked he about, With kemped heres on his browes stout; His limmes gret, his braunes hard and stronge, His shouldres brode, his armes round and longe." So also as regards the description of Emetrius,† which follows:: "Upon a stede bay, trapped in stele, Covered with cloth of gold diapred wele, His crispe here like ringes was yronne, Of five and twenty yere his age I caste. The portrayal of Arcite by the same poet, is effected, both by the account which he affords of his personal appearance, and also by the information that he gives as to the conduct and demeanour of his hero; which together constitute a very vivid and moving picture, each aiding the other, and the two uniting their forces to add vigour to the whole :— "His eyen holwe, and grisly to behold, His hewe falwe, and pale as ashen cold * The Knightes Tale. † Ibid. ‡ Ibid. EXHIBITION OF ANIMAL FEELINGS. And solitary he was and ever alone, And wailing all the night, making his mone. Than wold he wepe, he mighte not be stent." 77 In his description of the Nun,* Chaucer heightens his account of her by detailing her good qualities, her delicate manners, and the tenderness of her heart : "At mette was she wel ytaughte withalle She lette no morsel from hire lippes falle, She was so charitable and so pitous, And all was conscience and tendre herte." V. (3.) The animal passions emotions and excitements by which any person is agitated, may be represented in the same mode as that by which we describe his endowments and qualities. It must, however, here be borne in mind that the more apparent and visible any emotion or passion is as regards its effects or operation, the more easy it is of imitation. Thus grief and anger may be counterfeited without difficulty by a skilful actor or cautious observer; but affection and love, which lie too deep to be seen on the surface, cannot be either described or represented with the same facility. There is, nevertheless, not a feeling of joy however vivid, nor of sorrow however poignant; of mirth how buoyant it may be, nor of grief however piercing, that has not its corresponding chord in artistical melody, which may not be touched, and which will not echo to the full its sympathies. Thoughts and emotions are here as well, and as truly and forcibly developed, * Prologue. |