As pictorial description this is all but completely empty. It tells you only that they stood upright, that they were like their Maker, and that they were possessed of the virtues that their appearance would lead you to expect. Their physical delineation is to be accommodated by the imagination of the reader to this long catalogue of moral qualities,--nobility, honour, majesty, lordliness, worth, divinity, glory, brightness, truth, wisdom, sanctitude, severity, and purity. In the following lines the poet proceeds to distinguish the one figure from the other, adding a few details with regard to each. The epithets he chooses are still vague. Adam's forehead is "fair" and "large," his eye is "sublime," his locks are "hyacinthine," and (a detail that has escaped the notice of many illustrators of _Paradise Lost_) they fall in clusters as low as his shoulders. From beginning to end of the description the aim of the poet is to preserve the right key of large emotion, and the words that he chooses are chosen chiefly for their emotional value. The emotions are given; the portraiture is left to be filled in by the imagination. Shakespeare commonly works in the reverse way. He does not, like Crabbe, describe "as if for the police"; he chooses his detail with consummate skill, but he makes use of it to suggest the emotions. It is impossible to set his description of persons over against Milton's; for the drama does not describe persons, it presents them in action; and a description, where it occurs, is often designed merely to throw light on the character and feelings of the speaker. "Her voice was ever soft, gentle, and low" is a description rather of Lear, as he hangs over the dead body of Cordelia, refusing to believe that she is dead, than of Cordelia herself. "An excellent thing in woman" is not a doctrine, but a last heartbreaking movement of defiance, as if to refute any stander-by who dares to think that there is something amiss, that a voice should not be so low as to be inaudible. The contrast of the methods may, therefore, be better noted in the description of scenes. There is no very close parallel obtainable; but the two passages compared by Lessing are not wholly dissimilar in theme, and serve well enough to illustrate the difference of the styles. The first, taken from the Seventh Book of _Paradise Lost_, tells how the King of Glory, from the verge of his heavenly domain, beholds the gulf of Chaos:-- On Heavenly ground they stood, and from the shore They viewed the vast immeasurable Abyss, Outrageous as a sea, dark, wasteful, wild, Up from the bottom turned by furious winds And surging waves, as mountains to assault Heaven's highth, and with the centre mix the pole. The other is the imaginary view from Dover Cliff, described by Edgar in _King Lear_:--