THE DANCE OF DEATH. 59 PLATE XXV.THE MISER. Thou fool, this night shall thy soul be required: of thee : then whose shall those things be, which thou hast provided ? Luke, xi. 2. The charact... Show more
THE DANCE OF DEATH. 59 PLATE XXV.THE MISER. Thou fool, this night shall thy soul be required: of thee : then whose shall those things be, which thou hast provided ? Luke, xi. 2. The character of the Miser is very forcibly expressed in this sketch. Shut up in a vault, which receives the light only through a wicket, secured with a double grate of thick iron bars, he is.entirely taken up with his beloved treasure, a considerable part whereof Death is snatching up before his eyes. This loss excites in him all the symptoms of the most violent desperation, and it plainly appears that his gold is an hundred times dearer to his heart than his life. PLANGHE XXV.L'AVARE. Le caractere de TAvare est rendu dans ce dessein avec beaucoup d'energie. Renferme dans un caveau qui ne re^oit du jour que par une lu-carne garnie d'une double grille d'epais barrcaux de fer, il n'est occupe que de son cher tresor, dont la Mort lui enleve a ses yeux une portion tres-con-siderable. Cette perte excite en lui tous les symp-tomes du plus violent desespoir, & l'on voit bien que son or lui tient cent fois plus a coeur que la vie.
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THE DANCE OF DEATH. PLATE XXVI.-THE WAGGONER. But when they in their trouble did turn unto the Lord God of Israel, and sought him, lie was found of them. 2 Chkon. xv. 4. We see Death here ven... Show more
THE DANCE OF DEATH. PLATE XXVI.-THE WAGGONER. But when they in their trouble did turn unto the Lord God of Israel, and sought him, lie was found of them. 2 Chkon. xv. 4. We see Death here venting his capricious fury on a cart of wine that a poor Waggoner is conducting. Without doubt, the man himself will soon come, in his turn, to be the sport of his caprice; and the same cause that has now produced, will ere long effectually finish his despair. PLANCHE XXVI.LE VOITURIER. On voit ici la Mort exercer ses bizarres fu-reurs sur un char de vin que conduit un pauvre Voiturier. Sans doute que lui-meme va devenir a son tour le jouet de ses caprices, & que la meme cause qui vient d'occasionner son desespoir ne tar-dera pas a le terminer.
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THE DANCE OF DEATH. 61 PLATE XXV1LTHE GAMESTERS. For what is a man profited, if he shall gain the whole world, and lose his own soul? or what shall a man give in exchange for his soul? Matt. ... Show more
THE DANCE OF DEATH. 61 PLATE XXV1LTHE GAMESTERS. For what is a man profited, if he shall gain the whole world, and lose his own soul? or what shall a man give in exchange for his soul? Matt. xvi. 20. The Devil and Death are disputing which of them shall carry off the losing Gamester. It is a contest, if we may say so., frightful as well as ludicrous, so much the more so, that the second Gamester, interesting himself in the fate of the first, is addressing fervent prayers to the Devil on his behalf; but the third is doing still better, taking the advantage of this moment of trouble and terror, to gather in the money that is lying on the table. PLANCHE XXVILLES JOUEURS. Le Diable & la Mort se disputent qui des deux emportera le Joueur qui a perdu. C'est un combat, s'il est permis de le dire, aussi effroyable que comique, d'autant plus que le second Joueur, s'interessant au sort du premier, addresse de fer-ventes prieres au Diable en sa faveur ; mais le troisieme fait encore mieux, & profite de ce moment de trouble & d'effroi, pour ramasser Tar-gent qui se trouve sur la table.
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THE DANCE OF DEATH. PLATE XXVIILTHE OLD MAN. My breath is corrupt, my days are extinct, the graves are ready for me. Job, xvii. 1. Here we see Death leading away, playing on a psaltery, an Ol... Show more
THE DANCE OF DEATH. PLATE XXVIILTHE OLD MAN. My breath is corrupt, my days are extinct, the graves are ready for me. Job, xvii. 1. Here we see Death leading away, playing on a psaltery, an Old Man to the brink of the grave* bent under the load of years, and verging to the last degree of frailty. The Old Man allows himself to be carried off, with that calmness and tranquillity, which are the effects of wisdom, and the fruits of a good conscience. PLANCHE XXVIILLE VIEILLARD. L'on voit ici la Mort qui conduit sur le bord de sa fosse, en jouant du psalterion, un Vieillard courbe sous le poids des annees, & parvenu au dernier degr de la caducite, Le Vieillard se laisse emmener avec ce calme & cette tranquillite qui sont Papanage de la sagesse, & les fruits d'une bonne conscience.
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THE DANCE OF DEATH. PLATE XXIX.THE OLD WOMAN. Death is better than a bitter life, or continual sickness. Eccles. xxx. 17. The grim countenance of this good old Dame does not indicate the same... Show more
THE DANCE OF DEATH. PLATE XXIX.THE OLD WOMAN. Death is better than a bitter life, or continual sickness. Eccles. xxx. 17. The grim countenance of this good old Dame does not indicate the same resignation as appears in the former subject. Wholly occupied in mumbling her rosary, she pays no attention to the sound of a dulcimer,, on which one of her conductors is playing. The other skeleton, impatient of the slowness of the Old Woman's march, is employing menaces and, blows to make her advance. : PLANCHE XXIX.LA VIE1LLE. Le visage rechigne de cette bonne Vieille n'annonce pas la merne resignation que dans le sujet precedent. Toute occupee a marmotter son rosaire, elle ne prete aucune attention au son du timpanon dont joue Tune de ses conductrices. L'autre squelette^ impatient de la lenteur que la bonne Vieille met dans sa marche, emploie les menaces & les coups pour la faire avancer.
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64 THE DANCE OF DEATH. PLATE XXX.THE CHILD. Man that is born of a woman is of few days, and full of trouble. He cometh forth like a flower, and is cut down: he fleeth also as a shadow, and co... Show more
64 THE DANCE OF DEATH. PLATE XXX.THE CHILD. Man that is born of a woman is of few days, and full of trouble. He cometh forth like a flower, and is cut down: he fleeth also as a shadow, and continueth not. Job, xiv. 1. If under the roof of poverty there is any comfort, it is in having children, by whom we may hope one day to be solaced. This is the case with this poor widow ; but Death is of a different opinion,, and is come to carry off her youngest Child, unmoved by her prayers and lamentations. PLANCHE XXX.L'ENFANT. Si sous le toit de la pauvrete il y a quelque consolation, e'est d'avoir des enfans dont on peut esperer d'etre un jour soulage. C'esl le cas de cette pauvre veuve, mais la Mort n'est point de cet avis, & vient de lui enlever le plus petit sans se laisser flechir, ni par ses prieres ni par ses lamentations. END OF THE DANCE OF DEATH-
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THE DANCE OF MACABER. JOHN LYDGATE, a monk of the Benedictine Abbey of Bury in Suffolk,, flourished in the reign of Henry VI. He was an uncommon ornament of his profession., his genius being ... Show more
THE DANCE OF MACABER. JOHN LYDGATE, a monk of the Benedictine Abbey of Bury in Suffolk,, flourished in the reign of Henry VI. He was an uncommon ornament of his profession., his genius being so lively, and his accomplishments so numerous, that it is hardly probable the holy father St. Benedict would have acknowledged him for a genuine disciple. After a short education at Oxford, he travelled into France and Italy, and returned a complete master of the language and the literature of both countries. He chiefly studied the Italian and French poets, particularly Dante, Boccaccio, and Alain Chartier ; and became so distinguished a proficient in polite learning, that he opened a school in his monastery for teaching the sons of the nobility the arts of versification, and the elegancies of composition. Yet although philology was his object, he was not unfamiliar with the fashionable philosophy; he was not only a poet and a rhetorician, but a geometrician, an astronomer, a theologist, and a disputant. He made considerable addition to those amplifications
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68 THE DANCE OF MACABEIi. of our language, in which Chaucer, Gower, and Occleve led the way, and is the first of our writers whose style is clothed with that perspicuity in which the English ... Show more
68 THE DANCE OF MACABEIi. of our language, in which Chaucer, Gower, and Occleve led the way, and is the first of our writers whose style is clothed with that perspicuity in which the English phraseology appears at this day to an English reader. His muse was of universal access, and he was not only the poet of his monastery, but of the world in general. If a disguising was intended by the Company of Goldsmiths, a mask before his Majesty at Eltham, a Maygame for the Sheriffs and Aldermen of London, a mumming before the Lord Mayor, a procession of pageants from the creation, for the festival of Corpus Christi, or a carrol for the coronation, Lydgate was consulted, and gave the poetry. Mr. War ton, from whose elegant History of English Poetry the above account of Lydgate is extracted, further informs us, that he translated Macaber's Dance of Death from the French, at the request of the Chapter of St. Paul's, to be inscribed under the painting of that subject in their cloister; but it appears from the verses themselves, that he undertook the translation at the instance of a French clerk. Lydgate's poem is neither a literal or complete translation of the French version from Macaber* : and this he himself confesses, " Out of the French I drough it of intent " Not word by word, but following in substance." * This French translation has been erroneously given to Michael Marot, who was not born at the time when it was first
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THE DANCE OF MACABER. 69 Again, the number of the characters in Lyd-gate is much less than in the French,, being only thirty-five,, whilst the other contains seventy-six, and he has not only... Show more
THE DANCE OF MACABER. 69 Again, the number of the characters in Lyd-gate is much less than in the French,, being only thirty-five,, whilst the other contains seventy-six, and he has not only omitted several, but supplied their places with others; so that if these lines were inscribed under the painting at Saint Paul's, it must have differed materially from that at Saint Innocent's at Paris. Stowe, upon whose sole authority all the information concerning this painting depends, says, that on the north side of Saint Paul's church was a great cloister, environing a plot of ground, of old time called Pardon Church-yard, whereof Thomas More, Dean of Saint Paul's, was either the first builder, or a great benefactor, and was buried there. About this cloister was artificially and richly painted the Dance of Machabray, a Dance of Death commonly called the Dance of Paul's; the like xvhereof was painted about St. Innocent's cloister at Paris. The metres or poetry of this Dance were translated out of the French into English, by John Lydgate, Monk of Bury. He adds, that this was done at the expence of Jenken Carpenter*, in the reign of Henry the Vlth, so that the poem and the painting appear to have been finished about the same time. printed. See De Bure Bibliog. Instruct. No. 3109, and War-ton's Correct, and Add. to Vol. II. of Hist, of Engl. Poetry. * This Jenken Carpenter was town-clerk of London, 1430, and executor of Richard Whittington. Weever's Funeral Monum. p. 379, fo edition.
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