Analysis of A Description Of One Of The Pieces Of Tapistry At Long-Leat



THUS Tapistry of old, the Walls adorn'd,
Ere noblest Dames the artful Shuttle scorn'd:
Arachne, then, with Pallas did contest,
And scarce th' Immortal Work was judg'd the Best.
Nor valorous Actions, then, in Books were fought;
But all the Fame, that from the Field was brought,
Employ'd the Loom, where the kind Consort wrought:
Whilst sharing in the Toil, she shar'd the Fame,
And with the Heroes mixt her interwoven Name.
No longer, Females to such Praise aspire,
And seldom now We rightly do admire.

So much, All Arts are by the Men engross'd,
And Our few Talents unimprov'd or cross'd;
Even I, who on this Subject wou'd compose,
Which the fam'd Urbin for his Pencil chose,
(And here, in tinctur'd Wool we now behold
Correctly follow'd in each Shade, and Fold)
Shou'd prudently from the Attempt withdraw,
But Inclination proves the stronger Law:
And tho' the Censures of the World pursue
These hardy Flights, whilst his Designs I view;
My burden'd Thoughts, which labour for a Vent,
Urge me t'explain in Verse, what by each Face is meant.

Of SERGIUS first, upon his lofty Seat,
With due Regard our Observations treat;
Who, whilst he thence on ELYMAS looks down,
Contracts his pensive Brow into a Frown,
With Looks inquistive he seeks the Cause
Why Nature acts not still by Natures Laws.
'Twas but a Moment, since the Sorcerer's Sight
Receiv'd the Day, and blaz'd infernal Light:
Untouch'd, the Optiques in a Moment fail'd,
Their fierce Illumination quench'd, or veil'd;
Throughout th' Extention of his ample Sway,
No Fact, like this, the Roman cou'd survey,
Who, with spread Hands, invites Mankind to gaze,
And sympathize in the profound Amaze.
To share his Wonder every one combines,
By diff'rent Aspects shewn, and diff'rent Signs.
A comely Figure, near the Consul plac'd,
With serious Mildness and Instruction grac'd,
To Others seems imparting what he saw,
And shews the Wretch with reverential Awe:
Whilst a more eager Person next we find,
Viewing the Wizard with a Skeptic's Mind;
Who his fixt Eyes so near him do's apply,
We think, enliv'ning Beams might from them fly,
To re-inkindle, by so just an Aim,
The radial Sparks, but lately check'd and tame,
As Tapers new put-out will catch approaching Flame.
But dire Surprize th' Enquiry do's succeed,
Whilst full Conviction in his Face we read,
And He, who question'd, now deplores the Deed.

To sacred PAUL a younger Figure guides,
With seeming Warmth, which still in Youth presides;
And pointing forward, Elder Men directs,
In Him, to note the Cause of these Effects;
Upon whose Brow do's evidently shine
Deputed Pow'r, t' inflict the Wrath Divine;
Whilst sad and solemn, suited to their Years,
Each venerable Countenance appears,
Where, yet we see Astonishment reveal'd,
Tho' by the Aged often 'tis conceal'd;
Who the Emotions of their Souls disguize,
Lest by admiring they shou'd seem less Wise.

But to thy Portrait, ELYMAS, we come
Whose Blindness almost strikes the Poet dumb;
And whilst She vainly to Describe thee seeks,
The Pen but traces, where the Pencil speaks.
Of Darkness to be felt, our Scriptures write,
Thou Darken'd seem'st, as thou would'st feel the Light;
And with projected Limbs, betray'st a Dread,
Of unseen Mischiefs, levell'd at thy Head.
Thro' all thy Frame such Stupefaction reigns,
As Night it self were sunk into thy Veins:
Nor by the Eyes alone thy Loss we find,
Each Lineament helps to proclaim thee Blind.
An artful Dimness far diffus'd we grant,
And failing seem all Parts through One important Want.

Oh! Mighty RAPHAEL, justly sure renown'd!
Since in thy Works such Excellence is found;
No Wonder, if with Nature Thou'rt at strife,
Who thus can paint the Negatives of Life;
And Deprivation more expressive make,
Than the most perfect Draughts, which Others take.
Whilst to this Chiefest Figure of the Piece,
All that surround it, Heightnings do encrease:
In some, Amazement by Extreams is shewn,
Who viewing his clos'd Lids, extend their Own.
Nor can, by that, enough their Thoughts express,
Which op'ning Months seem ready to confess.

Thus stand the LICTORS gazing on a Deed,
Which do's all humane Chastisements exceed;
Enfeebl'd seem their Instruments of smart,
When keener Words can swifter Ills impart.

Thou, BARNABAS, though Last, not least our Care,
Seem'st equally employ'd in Praise, and Prayer,
Acknowledging th' Omnipotent Decree,
Yet soft C


Scheme Text too long
Poetic Form
Metre 11110101 1101010101 11110110 011101011101 111010101 1101110111 0101101011 1100011101 01010100101 110111101 0101110101 1111110101 0101100111 10111101101 101111101 010111101 0101001101 1100100101 101010101 010110101 1101110111 110111101 1110101111111 1101011101 1101100101 11111111 111010101 1111101 1101111101 110101011 0101010101 010100101 110010111 0111111101 1111010101 1111011111 010000101 11110100101 111110111 0101010101 1100100101 1101010111 010110101 1011010111 100101011 1111111101 11111111 11111111 01001110101 110111110101 111111101 1101001111 0111010101 1101010101 1101110101 0101010101 0111011101 0111110001 1111010101 1101010111 1100010001 1111010001 110110101 100101111 1101011111 11110111 110110101 0111010111 0111010101 11011110101 110111111101 01010101101 101110111 1111111 1111010111 1101011111 11110111 110110111 010111110101 1100110101 1011110011 1101110111 1111010011 001010101 1010111101 111110101 11011111 010101111 1101110111 1111011101 1111110101 110110101 11101101 0101110011 1101110101 11001111101 11100010101 010011010001 111
Closest metre Iambic pentameter
Characters 4,340
Words 728
Sentences 21
Stanzas 8
Stanza Lengths 11, 12, 30, 12, 14, 12, 4, 4
Lines Amount 99
Letters per line (avg) 34
Words per line (avg) 7
Letters per stanza (avg) 425
Words per stanza (avg) 91
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Submitted on May 13, 2011

Modified on March 05, 2023

3:54 min read
96

Anne Kingsmill Finch

Anne Finch, Countess of Winchilsea (née Kingsmill), was an English poet and courtier. Finch's works often express a desire for respect as a female poet, lamenting her difficult position as a woman in the literary establishment and the court, while writing of "political ideology, religious orientation, and aesthetic sensibility". Her works also allude to other female authors of the time, such as Aphra Behn and Katherine Phillips. Through her commentary on the mental and spiritual equality of the genders and the importance of women fulfilling their potential as a moral duty to themselves and to society, she is regarded as one of the integral female poets of the Restoration Era. Finch died in Westminster in 1720 and was buried at her home at Eastwell, Kent.  more…

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