INTELLECT AND EMOTION CONFLICTING. 277 This method might be happily combined with what is still the fundamental art of describing-plan and enumeration; due care being taken that the two modes shall support, and not confuse, each other. 16. One main difficulty in arriving at the picturesque is to keep in view the respective demands of Intellect and Emotion. The most usual design of picturesque description is to cater to our emotions. Incidentally, it is useful for adding to our knowledge, -as in Geographical and Historical delineations, and in the graphic illustration of scientific truth. The conditions in the two cases are different. Perfect clearness, coherence and accuracy are needed when the aim is knowledge; but, in order to secure these qualities in a high degree, we must make some sacrifice of the emotional interest. As regards Emotion, it will come out afterwards, partly by the examples, and partly in the fuller development of principles, that feeling may be roused, on the one hand, by a picture, the full conception of which is so necessary to the case, that if the picture fail, the emotion miscarries; or, on the other hand, by a copious use of the emotional vocabulary, well piled up and harmonized. But, in either case, the main point here is this: that, when a picture is intended to rouse emotion, its emotional bearings must be made prominent; while the language and the sound must be in keeping. The following from Goldsmith's Deserted Village is an example of a passage aiming at emotion, but depending for its impression on the clearness of the picture. Sweet was the sound, when oft, at evening's close, The watchdog's voice that bayed the whispering wind, The language here is not in itself emotional; but the collective impression is distinctly so. The particulars enumerated all contribute to this impression; the points are simply and clearly expressed; and the effect is still further aided by the picture that follows of the desolation and silence now reigning. Contrast this with Tennyson's picture of the islandvalley of Avilion,' to which Arthur is carried. Where falls not hail, or rain, or any snow; No very distinct impression of the valley is conveyed; but the particulars specified are suitable to the circumstances, and the language throughout is emotional, either directly or by association. Another example is Keats's description of the cave where the defeated Titans are represented as lying. It was a den where no insulting light Could glimmer on their tears; where their own groans Of thunderous waterfalls and torrents hoarse Pouring a constant bulk, uncertain where. Crag jutting forth to crag, and rocks that seem'd Ever as if just rising from a sleep, Forehead to forehead held their monstrous horns; Made a fit roofing to this nest of woe. The picture is indistinct, which may be intended to correspond with the darkness of the place; but the effect is sought by means of language strongly charged with appropriate emotion. PROMISCUOUS EXAMPLES. A large mass of emotion attaches to the description of Persons, whether in repose or in action, alone or in union with local surroundings. The following is a minute and highly suggestive description of the person of Mary Queen of Scots. 'She was confessed by everyone to be the most charming princess of her time. Her large sharp features might perhaps have been thought handsome rather than beautiful, but for the winning vivacity and high joyous spirit which beamed through them. It has been questioned whether her eyes were hazel or dark grey, but there is no question as to their star-like brightness. Her complexion, although fresh and clear, would seem to have been without the PERSONAL DESCRIPTIONS QUEEN MARY. 279 brilliance so common among our island beauties. Her hair appears to have changed with her years from a ruddy yellow to auburn, and from auburn to dark brown or black, turning grey long before its time. Her bust was full and finely shaped, and she carried her large stately figure with majesty and grace. She showed to advantage on horseback, and still more in the dance. The charm of her soft, sweet voice is described as irresistible; and she sang well, accompanying herself on the harp, the virginals, and still oftener on the lute, which set off the beauty of her long, delicate, white hand. The consciousness how that hand was admired may have made it more diligent in knitting and in embroidery, in both of which she excelled. Her manner was sprightly, affable, kindly, frank, perhaps to excess, if judged by the somewhat austere rule already beginning to prevail among her Scottish subjects.' The order of the particulars might be changed with advantage: figure, hand, bust, features as a whole, eyes, complexion, hair, voice, manner. As it stands, it is a good example of a picture made up by literal description. In poetry, the particulars are less exhaustively given, and more made up by help of picturesque figures; stress being laid on what has most emotional effect. The full account of personal delineation for poetical ends will fall under the EMOTIONAL QUALITIES. The following lines from Wordsworth will illustrate several points The sounding cataract Haunted me like a passion; the tall rock, In connection with cataract, the poet uses the adjunct of way. Campbell's Hohenlinden' is highly illustrative of the conditions of the picturesque. In the first stanza On Linden, when the sun was low there is a good choice of suggestive circumstances—‘the sun was low, the untrodden snow,' the Iser 'rolling rapidly'. There is a peculiarity in the epithet 'bloodless' a pure negative, not picturesque in itself, and merely pointing to what will come in due course. But Linden saw another sight The action here is vividly set forth the drums beat,' the time-dead of night," the powerful term ‘commanding,' the fires of death,' 'to light the darkness'. In these last there is an absence of coherence and appropriateness ; 'fires of death' has merely an emotional effect; it does not give a picture, such as we find later on. By torch and trumpet fast arrayed The torch would have answered here by itself, for although the trumpet may have been sounding through the ranks, it is not an habitual adjunct of the action meant. Each horseman drew his battle blade' is concrete by individuality, but a collective image would have been more powerful. 'And furious every charger neighed' is an adjunct of sound; but if it had been a reality, the multitudinous effect might have been indicated. The 'dreadful revelry' is emotional simply. Then shook the hills, with thunder riven- This is one of the eminently picturesque stanzas. The 'shaking of the hills' is a fine suggestive hyperbole; 'then rushed the steed to battle driven' is the poorest line, being common-place and not suited for a picture, The concluding lines are admirable for giving the play of the artillery-'the bolts of heaven,' 'far flash the red'; more could not be said with the same number of words. The fifth stanza But redder yet those fires shall glow hardly explains itself; but to us it is valuable as exemplifying what is always deemed an eminently central and suggestive circumstance of a battle-the blood effusion. Highly emotional as an accompaniment, it is also an essential element in the war combat; and in every way assists in evoking the picturesque. Its merits, however, have subjected it to the drawback of commonness, from perpetual usage. Examples are found in all descriptions of battles. Thus, in the Old Testament, we have 'garments rolled in blood'. -a circumstance closer to the action than CAMPBELL'S HOHENLINDEN. 281 rivers of blood, or the blood-stained ground. See, also, Macaulay's horseman in the 'Lay of Lake Regillus 'And many a curdling pool of blood Splashed him from heel to head. Horrible as well as picturesque ! Next stanza also affords illustrative points "Tis morn-but scarce yon level sun The point of time comes in with advantage; the action in the interval being left to imagination.Can pierce the war-clouds, rolling dun' is a well-selected grouping for a picture. Where furious Frank and fiery Hun' makes a seeming distinction without a difference; and brings in only at the end of the action the parties to the contest. Shout in their sulphurous canopy' gives the suggestiveness of sound and also of odour (sulphurous); otherwise, it but repeats the idea of a cloud of smoke. The poet persists in naming the individual when he should suggest the collective mass, which the words Frank and Hun fail to do. The seventh stanza The combat deepens embodies the final charge, by somewhat obscure suggestion, although with telling and powerful phraseology, being the picturesque of action. The poetry of battle scenes will be again fully exemplified under the Quality of Strength. The union of active circumstances with a concrete picture is well shown in Chaucer's cock-Chanticleer. Although the poet gives a minute and highly-wrought delineation of the figure and appearance of that magnificent bird, he cannot refrain from violating the natural order by beginning with an account of his superb crowing. The picturesque, in this instance, as is frequent in Chaucer, is attained by choice and telling figures of Similarity. Tennyson's picture of the Tropical island, in Enoch Arden,' is an instance combining still-life and action. It is as follows: The mountain wooded to the peak, the lawns |