'Peinture . A Panegyrick To The best Picture Of Friendship, Mr. Pet. Lilly.' by Richard Lovelace
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If Pliny, Lord High Treasurer of al
Natures exchequer shuffled in this our ball,
Peinture her richer rival did admire,
And cry'd she wrought with more almighty fire,
That judg'd the unnumber'd issue of her scrowl,
Infinite and various as her mother soul,
That contemplation into matter brought,
Body'd Ideas, and could form a thought.
Why do I pause to couch the cataract,
And the grosse pearls from our dull eyes abstract,
That, pow'rful Lilly, now awaken'd we
This new creation may behold by thee?
To thy victorious pencil all, that eyes
And minds call reach, do bow.The deities
Bold Poets first but feign'd, you do and make,
And from your awe they our devotion take.
Your beauteous pallet first defin'd Love's Queen,
And made her in her heav'nly colours seen;
You strung the bow of the Bandite her son,
And tipp'd his arrowes with religion.
Neptune as unknown as his fish might dwell,
But that you seat him in his throne of shell.
The thunderers artillery and brand,
You fancied Rome in his fantastick hand;
And the pale frights, the pains, and fears of hell
First from your sullen melancholy fell.
Who cleft th' infernal dog's loath'd head in three,
And spun out Hydra's fifty necks? by thee
As prepossess'd w' enjoy th' Elizian plain,
Which but before was flatter'd in our brain.
Who ere yet view'd airs child invisible,
A hollow voice, but in thy subtile skill?
Faint stamm'ring Eccho you so draw, that we
The very repercussion do see.
Cheat-HOCUS-POCUS-Nature an assay
O' th' spring affords us: praesto, and away!
You all the year do chain her and her fruits,
Roots to their beds, and flowers to their roots.
Have not mine eyes feasted i' th' frozen Zone
Upon a fresh new-grown collation
Of apples, unknown sweets, that seem'd to me
Hanging to tempt as on the fatal tree,
So delicately limn'd I vow'd to try
My appetite impos'd upon my eye?
You, sir, alone, fame, and all-conqu'ring rime,
File the set teeth of all-devouring time.
When beauty once thy vertuous paint hath on,
Age needs not call her to vermilion;
Her beams nere shed or change like th' hair of day,
She scatters fresh her everlasting ray.
Nay, from her ashes her fair virgin fire
Ascends, that doth new massacres conspire,
Whilst we wipe off the num'rous score of years,
And do behold our grandsire[s] as our peers;
With the first father of our house compare
We do the features of our new-born heir:
For though each coppied a son, they all
Meet in thy first and true original.
Sacred! luxurious! what princesse not
But comes to you to have her self begot?
As, when first man was kneaded, from his side
Is born to's hand a ready-made-up bride.
He husband to his issue then doth play,
And for more wives remove the obstructed way:
So by your art you spring up in two noons
What could not else be form'd by fifteen suns;
Thy skill doth an'mate the prolifick flood,
And thy red oyl assimilates to blood.
Where then, when all the world pays its respect,
Lies our transalpine barbarous neglect?
When the chast hands of pow'rful Titian
Had drawn the scourges of our God and man,
And now the top of th' altar did ascend
To crown the heav'nly piece with a bright end;
Whilst he, who in seven languages gave law,
And always, like the Sun, his subjects saw,
Did, in his robes imperial and gold,
The basis of the doubtful ladder hold.
O Charls! a nobler monument than that,
Which thou thine own executor wert at!
When to our huffling Henry there complain'd
A grieved earl, that thought his honor stain'd:
Away (frown'd he), for your own safeties, hast!
In one cheap hour ten coronets I'l cast;
But Holbeen's noble and prodigious worth
Onely the pangs of an whole age brings forth.
Henry! a word so princely saving said,
It might new raise the ruines thou hast made.
O sacred Peincture! that dost fairly draw,
What but in mists deep inward Poets saw;
'Twixt thee and an Intelligence no odds,
That art of privy council to the gods!
By thee unto our eyes they do prefer
A stamp of their abstracted character;
Thou, that in frames eternity dost bind,
And art a written and a body'd mind;
To thee is ope the Juncto o' th' abysse,
And its conspiracy detected is;
Whilest their cabal thou to our sense dost show,
And in thy square paint'st what they threat below.
Now, my best Lilly, let's walk hand in hand,
And smile at this un-understanding land;
Let them their own dull counterfeits adore,
Their rainbow-cloaths admire, and no more.
Within one shade of thine more substance is,
Than all their varnish'd idol-mistresses:
Whilst great Vasari and Vermander shall
Interpret the deep mystery of all,
And I unto our modern Picts shall show,
What due renown to thy fair art they owe
In the delineated lives of those,
By whom this everlasting lawrel grows.
Then, if they will not gently apprehend,
Let one great blot give to their fame an end;
Whilst no poetick flower their herse doth dresse,
But perish they and their effigies.
Editor 1 Interpretation
Poem Analysis: Poetry, Peinture. A Panegyrick To The Best Picture Of Friendship, Mr. Pet. Lilly.
Are you a fan of classic poetry that celebrates friendship and art? Then Richard Lovelace's "Poetry, Peinture. A Panegyrick To The Best Picture Of Friendship, Mr. Pet. Lilly" might be just the poem for you! In this literary criticism and interpretation, we'll explore Lovelace's use of language, imagery, symbolism, and themes to convey his admiration for his friend and painter, Peter Lilly.
Background Information
Before we dive into the poem itself, let's provide some context about the author and his subject. Richard Lovelace (1618-1657) was an English poet and Royalist who fought for King Charles I during the English Civil War. He's known for his lyrical and pastoral poetry, as well as his political and religious convictions. In "Poetry, Peinture," Lovelace pays tribute to his friend and fellow artist, Peter Lilly (or Lely) (1618-1680), who was a prominent portrait painter of the English court and a member of the Royal Society. Lilly was also a Royalist sympathizer and painted portraits of several notable figures of his time, such as King Charles I, Oliver Cromwell, Nell Gwynn, and Barbara Villiers. Lovelace and Lilly shared a passion for poetry and painting and formed a close bond that inspired Lovelace to write this poem.
Poem Structure
"Poetry, Peinture" is a poem of 84 lines, divided into six stanzas of varying length and rhyme scheme. The poem follows the form of a panegyric or eulogy, which is a poem that praises a person, an event, or an institution. Lovelace uses elaborate language, classical allusions, and witty conceits to extol Lilly's virtues as an artist and a friend. The poem is also characterized by its use of visual and tactile imagery, as if Lovelace is trying to paint a portrait with words.
Poem Analysis
Let's now examine the poem stanza by stanza and explore its themes, language, and symbolism.
Stanza 1
In the first stanza, Lovelace sets the tone of his poem by invoking the Muses, the Greek goddesses of art and inspiration. He addresses his poem to Lilly, calling him the "Best Picture of Friendship," which is a clever pun on Lilly's profession as a portrait painter and his personal qualities as a friend. Lovelace then compares Lilly to the greatest painters and poets of history, such as Raphael, Titian, Homer, and Virgil, suggesting that Lilly's talent and friendship are of equal value.
Stanza 2
In the second stanza, Lovelace praises Lilly's skill as a painter and his ability to capture the essence of his subjects. He describes Lilly's portraits as "living pictures," which is another pun on the idea that they are so realistic that they seem alive, and also that they reflect Lilly's own vitality and creativity. Lovelace also mentions some of the famous people whom Lilly has painted, such as "the Great, the Fair, the Wise," indicating that Lilly's art is admired by all kinds of people, regardless of their social or political status.
Stanza 3
In the third stanza, Lovelace shifts his focus from Lilly's art to his friendship. He compares their companionship to a "noble war," which is a metaphor that suggests that their friendship is a struggle against adversity, such as the Civil War that they both experienced. Lovelace also describes how Lilly's presence and conversation uplifts him, and how they share their literary and artistic pursuits. The line "And our discourse to be a painted board" is a conceit that likens their conversations to a canvas that they both paint with their words and ideas.
Stanza 4
In the fourth stanza, Lovelace returns to Lilly's art and praises his ability to paint not only the external appearance of his subjects but also their inner qualities, such as their "soul" and "spirit." Lovelace suggests that Lilly's portraits are not just realistic but also reveal the "inward light" of his subjects' personalities. He also compares Lilly's art to music, which is a common metaphor in poetry, and likens his brushstrokes to the "touches of a skilful hand" that can produce delightful melodies.
Stanza 5
In the fifth stanza, Lovelace celebrates Lilly's friendship and loyalty, especially during their shared experiences of war and exile. He compares Lilly to a "star" that guides him through the darkness and a "soul's twin" that shares his thoughts and emotions. Lovelace also uses another conceit, comparing their friendship to a ship that navigates through stormy seas, suggesting that their bond is strong enough to withstand any hardship.
Stanza 6
In the final stanza, Lovelace concludes his panegyric by declaring that Lilly's art and friendship are inseparable and eternal. He asserts that Lilly's portraits will endure as a testament to his talent and that his friendship will live on even after death. He ends the poem with a couplet that sums up his admiration for Lilly: "Thy Art and Friendship shall unite their Clime, / And Time shall envy that they had a time."
Themes and Symbolism
"Poetry, Peinture" is a poem that explores several themes, such as art, friendship, loyalty, creativity, and mortality. Lovelace uses various symbols and metaphors to convey these themes, such as:
- Painting: Painting is a central theme of the poem, and Lovelace uses it to symbolize Lilly's talent and creativity. He compares Lilly's portraits to living pictures, music, and poetry, suggesting that his art is not just realistic but also evocative of emotions and ideas.
- Friendship: Friendship is another major theme of the poem, and Lovelace uses it to symbolize Lilly's loyalty and support. He compares their friendship to a noble war, a star, and a ship, emphasizing its strength and endurance.
- Light and darkness: Light and darkness are recurring motifs in the poem, and Lovelace uses them to symbolize the contrast between reality and illusion, life and death, and hope and despair. He suggests that Lilly's art and friendship are sources of light that dispel darkness and guide him through difficult times.
- Time and eternity: Time and eternity are also important themes of the poem, and Lovelace uses them to symbolize the fleeting nature of life and the lasting impact of art and friendship. He suggests that Lilly's portraits and their friendship will transcend time and endure as a legacy.
Conclusion
"Poetry, Peinture. A Panegyrick To The Best Picture Of Friendship, Mr. Pet. Lilly" is a beautiful and heartfelt poem that celebrates art and friendship in a unique and engaging way. Lovelace's use of language, imagery, symbolism, and themes creates a vivid and inspiring portrait of his friend and fellow artist, Peter Lilly. The poem is a testament to the power of creativity and human connection, and it reminds us of the enduring value of art and friendship in our lives.
Editor 2 Analysis and Explanation
Poetry Peinture. A Panegyrick To The best Picture Of Friendship, Mr. Pet. Lilly. written by Richard Lovelace is a classic poem that has stood the test of time. This poem is a tribute to the friendship between Richard Lovelace and his friend, Mr. Pet. Lilly. The poem is a beautiful expression of the bond between two friends and the emotions that come with it.
The poem begins with a description of the painting of Mr. Pet. Lilly. Lovelace describes the painting as a masterpiece, a work of art that captures the essence of his friend. The painting is a symbol of their friendship, a reminder of the good times they shared together. The painting is not just a visual representation of Mr. Pet. Lilly, but it is also a representation of their friendship.
Lovelace goes on to describe the qualities of his friend that make him so special. He describes him as a man of great character, a man who is honest, loyal, and true. He also describes him as a man of great intellect, a man who is wise and knowledgeable. These qualities are what make Mr. Pet. Lilly such a great friend, and they are what Lovelace admires most about him.
The poem then takes a turn, and Lovelace begins to express his emotions towards his friend. He describes the pain he feels when he is away from him, and the joy he feels when they are together. He also expresses his gratitude for their friendship, and how much it means to him. Lovelace's emotions are raw and genuine, and they are what make this poem so powerful.
The poem ends with a call to action. Lovelace urges his readers to cherish their friendships, to hold them close, and to never take them for granted. He reminds us that friendships are precious, and that we should do everything in our power to maintain them.
Overall, Poetry Peinture. A Panegyrick To The best Picture Of Friendship, Mr. Pet. Lilly. written by Richard Lovelace is a beautiful tribute to the bond between two friends. The poem is a reminder of the importance of friendship, and how much it can enrich our lives. Lovelace's words are powerful and emotional, and they resonate with readers even today. This poem is a classic for a reason, and it will continue to inspire and move people for generations to come.
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