The Miscellany’s Picture Poems and Haywood’s Poems on Several Occasions

Abstract

In 1726, when Savage finally published his long-delayed Miscellaneous Poems and Translations by members of the Hillarian circle, 8 of the 92 poems were explicitly devoted to the theme of paintings or pictures, exploring how the medium is effective (or not) in communicating the essence, or soul, of the subject portrayed.¹ Three years earlier, John Dyer, a 24-year-old Welshman, poet, aspiring painter, and member of the circle, painted Martha Fowke’s portrait. Like other men within the coterie, he had come under Fowke’s spell. His portrait of Fowke, a physical artifact of his youthful passion for her, has long since been lost, leaving us to wonder whether he destroyed it after renouncing their relationship in 1727. ² While the painting did exist, it was admired by members of Hill’s literary group and inspired a number of poetic responses. In the Miscellany, Hill and Savage each address a poem to Dyer specifically about his Clio portrait. Savage’s “To Mr. John Dyer, a Painter, Advising Him to Draw a Certain Noble and Illustrious Person, Occasioned by Seeing His Picture of the Celebrated Clio,” and Hill’s “To the Author of the Foregoing Verses, a Painter, on His Attempting a Lady’s Picture” commend the artist for trying to capture Clio’s soul on canvas but must ultimately admit that he fails. Unfortunately, for them, their poetic endeavors also fall short of communicating her sublimity.

A skilful Painter, to express (as much as in him lyes) the thoughts and passions of the person whom he draws, gives his Picture such touches and lines, as he observes to be in the Face after extraordinary provocation; which strokes, are great indications of the temper of the Mind.

—Bernard Lamy, The Art of Speaking

It is impossible to describe you, either in your mind, or your person … One may see you for ever, unwearied, and admiring; but to speak you, is as impossible, as to excell you!

—Aaron Hill to Martha Fowke