MrPunch's history of modern England . And again : — We had almost forgotten M. W. Turner, , and hiscelebrated MS. poem, the Fal-lacies of Hope, to which he con-stantly refers us as in formeryears, but on this occasion hehas obliged us by simply men-tioning the title of the poem,without troubling us with anextract. We will, however,supply a motto to his Morning—returning from the Ball, whichreally seems to need a littleexplanation; and as he is toomodest to quote the Fallacies ofHope, we will quote it for him : VENICE BY TO THE BALL MS. Fallacies of Hope (Anpublished P
MrPunch's history of modern England . And again : — We had almost forgotten M. W. Turner, , and hiscelebrated MS. poem, the Fal-lacies of Hope, to which he con-stantly refers us as in formeryears, but on this occasion hehas obliged us by simply men-tioning the title of the poem,without troubling us with anextract. We will, however,supply a motto to his Morning—returning from the Ball, whichreally seems to need a littleexplanation; and as he is toomodest to quote the Fallacies ofHope, we will quote it for him : VENICE BY TO THE BALL MS. Fallacies of Hope (Anpublished Poem).—TuRNER. Un-. VENICE BY DAYLIGHT.—RETURNING FROM THE BALL MS. Fallacies of Hope (An Un-published Poem).—Turner. 295 Mr. PimcJis History of Modern England Oh! what a scene!—Can this be Venice? yet methinks it is—because I seeAmid the lumps of yellow, red and blue,Something which looks like a Venetian dash of orange in the background thereBespeaks tis Morning ! And that little boat(Almost the colour of tomato sauce)Proclaims them now returning from the ball !This in my picture, I would fain convey,I hope I do. Alas ! ^o/mi FALLACY ! But there is some good horse sense niixed up with frivolityin an article on the canons of criticism a few pages later : — GENERAL MAXIMS L The power of criticism is a gift, and requires no previouseducation. n. The critic is greater than the artist. in. The artist cannot know his own meaning. The criticsoffice is to inform him of it. IV. Painting is a mystery. The language of pictorial criticism,like its subject, should be mysterious and uninte
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