ftinct from this, I have not fo clear a conception.

Eug. The beauty of order may be proved by the following experiment. Were you, in the above description of a night scene, to change the order of the circumstances, you would find, that each particular idea would lofe a part of its force, and that the general effect would be confiderably weakened. What can be the reason of this, but that the arrangement of the ideas is, at prefent, fuch, as to give the greatest truth and evidence to the thing reprefented; fo that the imagination, not being delayed, or embarraffed by the neceffity of ftudying its object, receives every impreffion, as it offers, with facility and promptnefs? It is. on this principle, that, in the general plan, or difpofition of a subject, we are so well

pleased

pleased with that perfpicuity of order, that clearness of connexion, by which the feveral 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 thefe obfervations we may draw the following conclufions; first, that fine writing depends as much on a happinefs in the arrangement, as in the choice of our ideas: in the next place, that all such progreffive energy or beauty as has been here defcribed, 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 represent the various affections and paffions of the mind, by clothing them in images, and as it were, drawing forth the foul into fea

ture

ture and action. Here, it fhould 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 scene of imagery. As to your remark on the Painters advantage, I must observe to you, that the merit of thefe fimple Images, or Pictures, whether it be in poetry or painting, cannot confift 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

This

This Paladour,

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

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

The princely blood flows in his cheek, he fweats,

Strains his young nerves, and puts himself

in posture

That acts

my words.

Cymbeline.

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

fhe

the 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 lefs, ere left

To after eye him

Pifan. Madam, so I did,

Im. I would have broke mine eye strings,

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 laft example: the circumftances in this defcription, which tend to heighten the beauty

of