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Now, for the rhyme, though we do not observe quantity, yet we observe the accent very precisely: which other languages either cannot do, or will not do so absolutely. That Caesura, or breathing place in the midst of the verse, neither Italian nor Spanish have; the French, and we, never almost fail of. Lastly, even the very rhyme itself, the Italian cannot put in the last syllable, by the French named the masculine rhyme, but still in the next to the last, which the French call the female, or the next before that, which the Italians termed Sdrucciola. [Footnote: Hence the Italian verse is always of eleven, not ten, syllables.] The example of the former, is Buono, Suono; of the Sdrucciola, Femina, Semina. The French, on the other side, hath both the male, as Bon, Son, and the female, as Plaise, Taise. But the Sdrucciola he hath not: where English hath all three, as Due, True, Father, Rather, Motion, Potion with much more which might be said, but that I find already, the triflingness of this discourse is much too much enlarged. So that sith the ever-praiseworthy poesy is full of virtue-breeding delightfulness, and void of no gift, that ought to be in the noble name of learning: sith the blames laid against it are either false, or feeble: sith the cause why it is not esteemed in England, is the fault of poet-apes, not poets: sith lastly, our tongue is most fit to honour poesy, and to be honoured by poesy, I conjure you all, that have had the evil luck to read this ink-wasting toy of mine, even in the name of the nine Muses, no more to scorn the sacred mysteries of poesy: no more to laugh at the name of poets, as though they were next inheritors to fools: no more to jest at the reverend title of a rhymer: but to believe with Aristotle, that they were the ancient treasurers of the Grecians' Divinity. To believe with Bembus, that they were first bringers in of all civility. To believe with Scaliger, that no philosopher's precepts can sooner make you an honest man, than the reading of Virgil. To believe with Clauserus, the translator of Cornutus, that it pleased the heavenly Deity, by Hesiod and Homer, under the veil of fables, to give us all knowledge, logic, rhetoric, philosophy, natural and moral, and Quid non? To believe with me, that there are many mysteries contained in poetry, which of purpose were written darkly, lest by profane wits it should be abused. To believe with Landin, that they are so beloved of the Gods, that whatsoever they write proceeds of a divine fury. Lastly, to believe themselves, when they tell you they will make you immortal, by their verses.

Thus doing, your name shall flourish in the printers' shops; thus doing, you shall be of kin to many a poetical preface; thus doing, you shall be most fair, most rich, most wise, most all, you shall dwell upon superlatives. Thus doing, though you be libertino patre natus, you shall suddenly grow Herculis proles:

Si quid mea carmina possunt.

Thus doing, your soul shall be placed with Dante's Beatrix, or Virgil's Anchises. But if (fie of such a but) you be born so near the dull making Cataphract of Nilus, that you cannot hear the planet-like music of poetry, if you have so earth-creeping a mind, that it cannot lift itself up, to look to the sky of poetry: or rather, by a certain rustical disdain, will become such a mome [Footnote: scorner.], as to be a momus of poetry: then, though I will not wish unto you the ass's ears of Midas, nor to be driven by a poet's verses (as Bubonax was) to hang himself, nor to be rhymed to death, as is said to be done in Ireland: yet thus much curse I must send you, in the behalf of all poets, that, while you live, you live in love, and never get favour, for lacking skill of a sonnet: and when you die, your memory die from the earth, for want of an epitaph.



JOHN DRYDEN.

(1631-1700)

II. PREFACE TO THE FABLES.

The following Preface belongs to the last few months of Dryden's life (1700), and introduces the collection, mainly of translations and adaptations, to which he gave the title of Fables Apart from Alexander's Feast (written in 1697), the most notable pieces in this collection were the versions of Chaucer's Knightes Tale and Nonne Prestes Tale, and of three stories to be found in Boccaccio Sigismunda and Guiscardo, Cymon and Iphigenia, Theodore and Honoria. The Preface is memorable for its critical judgments on Homer, Virgil, and Ovid, still more memorable for its glowing praise of Chaucer. It closes as it was fitting that the last work of Dryden should close, with an apology, full of manliness and dignity, for the licentiousness of his comedies. For his short-comings in this matter he had lately been attacked by Collier, and in his reply he more than wins back any esteem that he may have lost by his transgression.

It is with a poet, as with a man who designs to build, and is very exact, as he supposes, in casting up the cost beforehand; but, generally speaking, he is mistaken in his account, and reckons short in the expense he first intended. He alters his mind as the work proceeds, and will have this or that convenience more, of which he had not thought when he began. So has it happened to me. I have built a house, where I intended but a lodge; yet with better success than a certain nobleman, who, beginning with a dog-kennel, never lived to finish the palace he had contrived.

From translating the first of Homer's Iliads (which I intended as an essay to the whole work) I proceeded to the translation of the twelfth book of Ovid's Metamorphoses, because it contains, among other things, the causes, the beginning, and ending, of the Trojan war. Here I ought in reason to have stopped; but the speeches of Ajax and Ulysses lying next in my way, I could not baulk them. When I had compassed them, I was so taken with the former part of the fifteenth book (which is the masterpiece of the whole Metamorphoses), that I enjoined myself the pleasing task of rendering it into English. And now I found, by the number of my verses, that they began to swell into a little volume; which gave me an occasion of looking backward on some beauties of my author, in his former books: there occurred to me the Hunting of the Boar, Cinyras and Myrrha, the good-natured story of Baucis and Philemon, with the rest, which I hope I have translated closely enough, and given them the same turn of verse which they had in the original; and this, I may say without vanity, is not the talent of every poet. He who has arrived the nearest to it, is the ingenious and learned Sandys, the best versifier of the former age, if I may properly call it by that name, which was the former part of this concluding century. For Spenser and Fairfax both flourished in the reign of Queen Elizabeth; great masters in our language, and who saw much farther into the beauties of our numbers than those who immediately followed them. Milton was the poetical son of Spenser, and Mr. Waller of Fairfax, for we have our lineal descents and clans as well as other families. Spenser more than once insinuates that the soul of Chaucer was transfused into his body, and that he was begotten by him two hundred years after his decease. Milton has acknowledged to me that Spenser was his original, and many besides myself have heard our famous Waller [Footnote: "He first made writing easily an art"—was Dryden's verdict on Waller.—English Garner, iii. 492.] own that he derived the harmony of his numbers from the Godfrey of Bulloigne, which was turned into English by Mr. Fairfax.

But to return. Having done with Ovid for this time, it came into my mind that our old English poet, Chaucer, in many things resembled him, and that with no disadvantage on the side of the modern author, as I shall endeavour to prove when I compare them; and as I am, and always have been, studious to promote the honour of my native country, so I soon resolved to put their merits to the trial, by turning some of the Canterbury Tales into our language, as it is now refined; for by this means, both the poets being set in the same light, and dressed in the same English habit, story to be compared with story, a certain judgment may be made betwixt them by the reader, without obtruding my opinion on him. Or if I seem partial to my countryman, and predecessor in the laurel, the friends of antiquity are not few; and besides many of the learned, Ovid has almost all the beaux, and the whole fair sex, his declared patrons. Perhaps I have assumed somewhat more to myself than they allow me, because I have adventured to sum up the evidence; but the readers are the jury, and their privilege remains entire, to decide according to the merits of the cause, or, if they please, to bring it to another hearing before some other court.

In the meantime, to follow the thread of my discourse (as thoughts, according to Mr. Hobbes, have always some connection), so from Chaucer I was led to think on Boccace, who was not only his contemporary, but also pursued the same studies; wrote novels in prose, and many works in verse; particularly is said to have invented the octave rhyme, or stanza of eight lines, which ever since has been maintained by the practice of all Italian writers, who are, or at least assume the title of Heroic Poets; he and Chaucer, among other things, had this in common, that they refined their mother tongue; but with this difference, that Dante had began to file their language, at least in verse, before the time of Boccace, who likewise received no little help from his master Petrarch. But the reformation of their prose was wholly owing to Boccace himself, who is yet the standard of purity in the Italian tongue, though many of his phrases are become obsolete, as in process of time it must needs happen. Chaucer (as you have formerly been told by our learned Mr. Rymer) first adorned and amplified our barren tongue from the Provencal, [Footnote: No one now believes this. An excellent discussion of the subject will be found in Professor Lounsbury's Studies in Chaucer, ii. 429-458.] which was then the most polished of all the modern languages; but this subject has been copiously treated by that great critic, who deserves no little commendation from us, his countrymen. For these reasons of time, and resemblance of genius in Chaucer and Boccace, I resolved to join them in my present work, to which I have added some original papers of my own, which, whether they are equal or inferior to my other poems, an author is the most improper judge, and therefore I leave them wholly to the mercy of the reader. I will hope the best, that they will not be condemned; but if they should, I have the excuse of an old gentleman, who, mounting on horseback before some ladies, when I was present, got up somewhat heavily, but desired of the fair spectators that they would count four-score-and-eight before they judged him. By the mercy of God, I am already come within twenty years of his number, a cripple in my limbs; but what decays are in my mind, the reader must determine. I think myself as vigorous as ever in the faculties of my soul, excepting only my memory, which is not impaired to any great degree; and if I lose not more of it, I have no great reason to complain. What judgment I had, increases rather than diminishes; and thoughts, such as they are, come crowding in so fast upon me, that my only difficulty is to choose or to reject; to run them into verse, or to give them the other harmony of prose. I have so long studied and practised both, that they are grown into a habit, and become familiar to me. In short, though I may lawfully plead some part of the old gentleman's excuse, yet I will reserve it till I think I have greater need, and ask no grains of allowance for the faults of this my present work, but those which are given of course to human frailty. I will not trouble my reader with the shortness of time in which I writ it, or the several intervals of sickness: they who think too well of their own performances, are apt to boast in their prefaces how little time their works have cost them, and what other business of more importance interfered; but the reader will be as apt to ask the question, why they allowed not a longer time to make their works more perfect, and why they had so despicable an opinion of their judges, as to thrust their indigested stuff upon them, as if they deserved no better.

With this account of my present undertaking, I conclude the first part of this discourse: in the second part, as at a second sitting, though I alter not the draught, I must touch the same features over again, and change the dead colouring of the whole. In general, I will only say, that I have written nothing which savours of immorality or profaneness; at least, I am not conscious to myself of any such intention. If there happen to be found an irreverent expression, or a thought too wanton, they are crept into my verses through my inadvertency; if the searchers find any in the cargo, let them be staved or forfeited, like contrabanded goods; at least, let their authors be answerable for them, as being but imported merchandise, and not of my own manufacture. On the other side, I have endeavoured to choose such fables, both ancient and modern, as contain in each of them some instructive moral, which I could prove by induction, but the way is tedious; and they leap foremost into sight, without the reader's trouble of looking after them. I wish I could affirm, with a safe conscience, that I had taken the same care in all my former writings; for it must be owned, that supposing verses are never so beautiful or pleasing, yet if they contain anything which shocks religion, or good manners, they are at best what Horace says of good numbers without good sense:

Versus inopes rerum, nugaeque canorae.

Thus far, I hope, I am right in court, without renouncing my other right of self-defence, where I have been wrongfully accused, and my sense wire-drawn into blasphemy or bawdry, as it has often been by a religious lawyer, [Footnote: Jeremy Collier. See conclusion of the Preface.] in a late pleading against the stage; in which he mixes truth with falsehood, and has not forgotten the old rule of calumniating strongly, that something may remain.

I resume the thread of my discourse with the first of my translation, which was the first Iliad of Homer. If it shall please God to give me longer life, and moderate health, my intentions are to translate the whole Ilias; provided still that I meet with those encouragements from the public, which may enable me to proceed in my undertaking with some cheerfulness. And this I dare assure the world beforehand, that I have found, by trial, Homer a more pleasing task than Virgil (though I say not the translation will be less laborious). For the Grecian is more according to my genius than the Latin poet. In the works of the two authors we may read their manners and inclinations, which are wholly different. Virgil was of a quiet, sedate temper; Homer was violent, impetuous, and full of fire. The chief talent of Virgil was propriety of thoughts, and ornament of words; Homer was rapid in his thoughts, and took all the liberties, both of numbers and of expressions, which his language, and the age in which he lived, allowed him: Homer's invention was more copious, Virgil's more confined; so that if Homer had not led the way, it was not in Virgil to have begun heroic poetry; for nothing can be more evident, than that the Roman poem is but the second part of the Ilias; a continuation of the same story, and the persons already formed; the manners of Aeneas are those of Hector superadded to those which Homer gave him. The Adventures of Ulysses in the Odysseis are imitated in the first six books of Virgil's Aeneis; and though the accidents are not the same (which would have argued him of a servile copying, and total barrenness of invention), yet the seas were the same in which both the heroes wandered; and Dido cannot be denied to be the poetical daughter of Calypso. The six latter books of Virgil's poem are the four and twenty Iliads contracted; a quarrel occasioned by a lady, a single combat, battles fought, and a town besieged. I say not this in derogation to Virgil, neither do I contradict anything which I have formerly said in his just praise: for his Episodes are almost wholly of his own invention; and the form which he has given to the telling, makes the tale his own, even though the original story had been the same. But this proves, however, that Homer taught Virgil to design; and if invention be the first virtue of an Epic poet, then the Latin poem can only be allowed the second place. Mr. Hobbes, in the preface to his own bald translation of the Ilias (studying poetry as he did mathematics, when it was too late), Mr. Hobbes, I say, begins the praise of Homer where he should have ended it. He tells us that the first beauty of an Epic poem consists in diction, that is, in the choice of words, and harmony of numbers; now the words are the colouring of the work, which in the order of nature is the last to be considered. The design, the disposition, the manners, and the thoughts are all before it; where any of those are wanting or imperfect, so much wants or is imperfect in the imitation of human life; which is in the very definition of a poem. Words, indeed, like glaring colours, are the first beauties that arise, and strike the sight: but if the draught be false or lame, the figures ill-disposed, the manners obscure or inconsistent, or the thoughts unnatural, then the finest colours are but daubing, and the piece is a beautiful monster at the best. Neither Virgil nor Homer were deficient in any of the former beauties; but in this last, which is expression, the Roman poet is at least equal to the Grecian, as I have said elsewhere; supplying the poverty of his language by his musical ear, and by his diligence. But to return: our two great poets, being so different in their tempers, one choleric and sanguine, the other phlegmatic and melancholic; that which makes them excel in their several ways is, that each of them has followed his own natural inclination, as well in forming the design, as in the execution of it. The very heroes show their authors; Achilles is hot, impatient, revengeful, Impiger, iracundus, inexorabilis, acer, &c. Aeneas patient, considerate, careful of his people, and merciful to his enemies; ever submissive to the will of heaven, quo fata trahunt, retrahuntque, sequamur. I could please myself with enlarging on this subject, but am forced to defer it to a fitter time. From all I have said I will only draw this inference, that the action of Homer being more full of vigour than that of Virgil, according to the temper of the writer, is of consequence more pleasing to the reader. One warms you by degrees; the other sets you on fire all at once, and never intermits his heat. 'T is the same difference which Longinus makes betwixt the effects of eloquence in Demosthenes and Tully. One persuades, the other commands. You never cool while you read Homer, even not in the second book (a graceful flattery to his countrymen); but he hastens from the ships, and concludes not that book till he has made you an amends by the violent playing of a new machine. From thence he hurries on his action with variety of events, and ends it in less compass than two months. This vehemence of his, I confess, is more suitable to my temper; and therefore I have translated his first book with greater pleasure than any part of Virgil; but it was not a pleasure without pains: the continual agitations of the spirits must needs be a weakening of any constitution, especially in age; and many pauses are required for refreshment betwixt the heats; the Iliad of itself being a third part longer than all Virgil's works together.

This is what I thought needful in this place to say of Homer. I proceed to Ovid and Chaucer, considering the former only in relation to the latter. With Ovid ended the golden age of the Roman tongue; from Chaucer the purity of the English tongue began. The manners of the poets were not unlike: both of them were well-bred, well-natured, amorous, and libertine, at least in their writings, it may be also in their lives. Their studies were the same, philosophy and philology. Both of them were known in astronomy, of which Ovid's books of the Roman feasts, and Chaucer's treatise of the Astrolabe, are sufficient witnesses. But Chaucer was likewise an astrologer, as were Virgil, Horace, Persius, and Manilius. Both writ with wonderful facility and clearness: neither were great inventors; for Ovid only copied the Grecian fables; and most of Chaucer's stories were taken from his Italian contemporaries, or their predecessors. Boccace's Decameron was first published, and from thence our Englishman has borrowed many of his Canterbury tales; [Footnote: It is doubtful whether Chaucer had any knowledge of the Decameron.] yet that of Palamon and Arcite was written in all probability by some Italian wit in a former age, as I shall prove hereafter. The tale of Grizild was the invention of Petrarch; by him sent to Boccace, from whom it came to Chaucer. Troilus and Cressida was also written by a Lombard author [Footnote: Boccaccio himself.], but much amplified by our English translator, as well as beautified; the genius of our countrymen in general being rather to improve an invention than to invent themselves, as is evident not only in our poetry, but in many of our manufactures.

I find I have anticipated already, and taken up from Boccace before I come to him; but there is so much less behind; and I am of the temper of most kings, who love to be in debt, are all for present money, no matter how they pay it afterwards; besides, the nature of a preface is rambling, never wholly out of the way, nor in it. This I have learned from the practice of honest Montaigne, and return at my pleasure to Ovid and Chaucer, of whom I have little more to say. Both of them built on the inventions of other men; yet since Chaucer had something of his own, as the Wife of Bath's Tale, The Cock and the Fox, which I have translated, and some others, I may justly give our countryman the precedence in that part, since I can remember nothing of Ovid which was wholly his. Both of them understood the manners, under which name I comprehend the passions, and, in a larger sense, the descriptions of persons, and their very habits; for an example, I see Baucis and Philemon as perfectly before me, as if some ancient painter had drawn them; and all the pilgrims in the Canterbury Tales, their humours, their features, and the very dress, as distinctly as if I had supped with them at the Tabard in Southwark; yet even there too the figures in Chaucer are much more lively, and set in a better light: which though I have not time to prove, yet I appeal to the reader, and am sure he will clear me from partiality. The thoughts and words remain to be considered in the comparison of the two poets; and I have saved myself one half of that labour, by owning that Ovid lived when the Roman tongue was in its meridian, Chaucer in the dawning of our language; therefore that part of the comparison stands not on an equal foot, any more than the diction of Ennius and Ovid, or of Chaucer and our present English. The words are given up as a post not to be defended in our poet, because he wanted the modern art of fortifying. The thoughts remain to be considered, and they are to be measured only by their propriety, that is, as they flow more or less naturally from the persons described, on such and such occasions. The vulgar judges, which are nine parts in ten of all nations, who call conceits and jingles wit, who see Ovid full of them, and Chaucer altogether without them, will think me little less than mad, for preferring the Englishman to the Roman; yet, with their leave, I must presume to say, that the things they admire are only glittering trifles, and so far from being witty, that in a serious poem they are nauseous, because they are unnatural. Would any man, who is ready to die for love, describe his passion like Narcissus? Would he think of inopem me copia fecit, and a dozen more of such expressions, poured on the neck of one another, and signifying all the same thing? If this were wit, was this a time to be witty, when the poor wretch was in the agony of death? This is just John Littlewit in Bartholomew Fair, [Footnote: Jonson's play of that name, act i. sc. i.] who had a conceit (as he tells you) left him in his misery; a miserable conceit. On these occasions the poet should endeavour to raise pity; but instead of this, Ovid is tickling you to laugh. Virgil never made use of such machines, when he was moving you to commiserate the death of Dido: he would not destroy what he was building. Chaucer makes Arcite violent in his love, and unjust in the pursuit of it; yet when he came to die, he made him think more reasonably: he repents not of his love, for that had altered his character, but acknowledges the injustice of his proceedings, and resigns Emilia to Palamon. What would Ovid have done on this occasion? He would certainly have made Arcite witty on his death-bed. He had complained he was farther off from possession by being so near, and a thousand such boyisms, which Chaucer rejected as below the dignity of the subject. They, who think otherwise, would by the same reason prefer Lucan and Ovid to Homer and Virgil, and Martial to all four of them. As for the turn of words, in which Ovid particularly excels all poets, they are sometimes a fault, and sometimes a beauty, as they are used properly or improperly; but in strong passions always to be shunned, because passions are serious, and will admit no playing. The French have a high value for them; and I confess, they are often what they call delicate, when they are introduced with judgment; but Chaucer writ with more simplicity, and followed nature more closely, than to use them. I have thus far, to the best of my knowledge, been an upright judge betwixt the parties in competition, not meddling with the design nor the disposition of it, because the design was not their own, and in the disposing of it they were equal. It remains that I say somewhat of Chaucer in particular.

In the first place, as he is the father of English poetry, so I hold him in the same degree of veneration as the Grecians held Homer or the Romans Virgil: he is a perpetual fountain of good sense, learned in all sciences, and therefore speaks properly on all subjects; as he knew what to say, so he knows also when to leave off, a continence which is practised by few writers, and scarcely by any of the ancients, excepting Virgil and Horace. One of our late great poets is sunk in his reputation, because he could never forgive any conceit which came in his way, but swept like a drag net great and small. [Footnote: Cowley. See Johnson's criticism of the metaphysical poets.] There was plenty enough, but the dishes were ill-sorted; whole pyramids of sweetmeats for boys and women, but little of solid meat for men: all this proceeded not from any want of knowledge, but of judgment; neither did he want that in discerning the beauties and faults of other poets, but only indulged himself in the luxury of writing, and perhaps knew it was a fault, but hoped the reader would not find it. For this reason, though he must always be thought a great poet, he is no longer esteemed a good writer; and for ten impressions, which his works have had in so many successive years, yet at present a hundred books are scarcely purchased once a twelvemonth; for as my last Lord Rochester said, though somewhat profanely, "Not being of God, he could not stand".

Chaucer followed nature everywhere, but was never so bold to go beyond her; and there is a great difference of being poeta and nimis poeta if we believe Catullus, as much as betwixt a modest behaviour and affectation. The verse of Chaucer, I confess, is not harmonious to us, but it is like the eloquence of one whom Tacitus commends, it was auribus istius temporis accommodata: they who lived with him, and some time after him, thought it musical; and it continues so even in our judgment, if compared with the numbers of Lydgate and Gower, his contemporaries; there is the rude sweetness of a Scotch tune in it, which is natural and pleasing, though not perfect. It is true I cannot go so far as he who published the last edition of him; [Footnote: That of 1687, which was little more than a reprint of Speght's editions (1598, 1602).] for he would make us believe the fault is in our ears, and that there were really ten syllables in a verse where we find but nine, but this opinion is not worth confuting, it is so gross and obvious an error that common sense (which is a rule in everything but matters of faith and revelation) must convince the reader that equality of numbers in every verse, which we call Heroic, was either not known, or not always practised in Chaucer's age. It were an easy matter to produce some thousands of his verses, which are lame for want of half a foot, and sometimes a whole one, and which no pronunciation can make otherwise. We can only say that he lived in the infancy of our poetry, and that nothing is brought to perfection at the first. We must be children before we grow men. There was an Ennius, and in process of time a Lucilius and a Lucretius, before Virgil and Horace; even after Chaucer there was a Spenser, a Harrington, a Fairfax, before Waller and Denham were in being; and our numbers were in their nonage till these last appeared. I need say little of his parentage, life, and fortunes: they are to be found at large in all the editions of his works. He was employed abroad, and favoured by Edward the Third, Richard the Second, and Henry the Fourth, and was poet, as I suppose, to all three of them. In Richard's time, I doubt, he was a little dipt in the rebellion of the commons, [Footnote: There is no evidence for this 'doubt', though in his Balade, Lak of Stedfastnesse, Chaucer speaks plainly both to Richard and his subjects.] and being brother-in-law to John of Gaunt, it was no wonder if he followed the fortunes of that family, and was well with Henry the Fourth when he had deposed his predecessor. Neither is it to be admired that Henry, who was a wise as well as a valiant prince, who claimed by succession, and was sensible that his title was not sound, but was rightfully in Mortimer, who had married the heir of York; it was not to be admired, I say, if that great politician should be pleased to have the greatest wit of those times in his interests, and to be the trumpet of his praises. Augustus had given him the example, by the advice of Maecenas, who recommended Virgil and Horace to him, whose praises helped to make him popular while he was alive, and after his death have made him precious to posterity. As for the religion of our poet, he seems to have some little bias towards the opinions of Wickliff, after John of Gaunt his patron; somewhat of which appears in the tale of Piers Plowman: [Footnote: The Plowman's Tale, which was printed as one of the Canterbury Tales in Speght's editions. It is now rejected by all authorities.] yet I cannot blame him for inveighing so sharply against the vices of the clergy in his age; their pride, their ambition, their pomp, their avarice, their worldly interest deserved the lashes which he gave them, both in that and in most of his Canterbury tales: neither has his contemporary Boccace spared them. Yet both these poets lived in much esteem with good and holy men in orders; for the scandal which is given by particular priests, reflects not on the sacred function. Chaucer's Monk, his Canon, and his Friar took not from the character of his Good Parson. A satirical poet is the check of the laymen on bad priests. We are only to take care that we involve not the innocent with the guilty in the same condemnation. The good cannot be too much honoured, nor the bad too coarsely used; for the corruption of the best becomes the worst. When a clergyman is whipped his gown is first taken off, by which the dignity of his order is secured; if he be wrongfully accused, he has his action of slander; and it is at the poet's peril if he transgress the law. But they will tell us that all kinds of satire, though never so well-deserved by particular priests, yet brings the whole order into contempt. Is, then, the peerage of England anything dishonoured when a peer suffers for his treason? If he be libelled, or any way defamed, he has his Scandalum Magnatum to punish the offender. They who use this kind of argument seem to be conscious to themselves of somewhat which has deserved the poet's lash, and are less concerned for their public capacity than for their private; at least there is pride at the bottom of their reasoning. If the faults of men in orders are only to be judged among themselves, they are all in some sort parties; for, since they say the honour of their order is concerned in every member of it, how can we be sure that they will be impartial judges? How far I may be allowed [Footnote: As a Catholic.] to speak my opinion in this case I know not, but I am sure a dispute of this nature caused mischief in abundance betwixt a King of England and an Archbishop of Canterbury, one standing up for the laws of his land, and the other for the honour (as he called it) of God's Church, which ended in the murder of the prelate, and in the whipping of his majesty from post to pillar for his penance. The learned and ingenious Dr. Drake has saved me the labour of inquiring into the esteem and reverence which the priests have had of old; and I would rather extend than diminish any part of it: yet I must needs say, that when a priest provokes me without any occasion given him, I have no reason, unless it be the charity of a Christian, to forgive him. Prior laesit is justification sufficient in the Civil Law. If I answer him in his own language, self-defence, I am sure, must be allowed me; and if I carry it farther, even to a sharp recrimination, somewhat may be indulged to human frailty. Yet my resentment has not wrought so far, but that I have followed Chaucer in his character of a holy man, and have enlarged on that subject with some pleasure, reserving to myself the right, if I shall think fit hereafter, to describe another sort of priests, such as are more easily to be found than the good parson; such as have given the last blow to Christianity in this age, by a practice so contrary to their doctrine. But this will keep cold till another time. In the meanwhile, I take up Chaucer where I left him. He must have been a man of a most wonderful comprehensive nature, because, as it has been truly observed of him, he has taken into the compass of his Canterbury tales the various manners and humours (as we now call them) of the whole English nation, in his age. Not a single character has escaped him. All his pilgrims are severally distinguished from each other; and not only in their inclinations, but in their very physiognomies and persons. Baptista Porta could not have described their natures better than by the marks which the poet gives them. The matter and manner of their tales, and of their telling, are so suited to their different educations, humours, and callings that each of them would be improper in any other mouth. Even the grave and serious characters are distinguished by their several sorts of gravity: their discourses are such as belong to their age, their calling, and their breeding; such as are becoming of them, and of them only. Some of his persons are vicious, and some virtuous; some are unlearned, or (as Chaucer calls them) lewd, and some are learned. Even the ribaldry of the low characters is different: the Reeve, the Miller, and the Cook are several men, and distinguished from each other, as much as the mincing lady prioress, and the broad-speaking gap-toothed wife of Bath. But enough of this: there is such a variety of game springing up before me, that I am distracted in my choice, and know not which to follow. 'Tis sufficient to say, according to the proverb, that here is God's plenty. We have our forefathers and great-grand-dames all before us, as they were in Chaucer's days; their general characters are still remaining in mankind, and even in England, though they are called by other names than those of Monks and Friars and Canons, and Lady Abbesses and Nuns; for mankind is ever the same, and nothing lost out of nature, though everything is altered.

May I have leave to do myself the justice (since my enemies will do me none, and are so far from granting me to be a good poet that they will not allow me so much as to be a Christian, or a moral man), may I have leave, I say, to inform my reader that I have confined my choice to such tales of Chaucer as savour nothing of immodesty? If I had desired more to please than to instruct, the Reeve, the Miller, the Shipman, the Merchant, the Summoner, and, above all, the Wife of Bath, in the prologue to her tale, would have procured me as many friends and readers as there are beaux and ladies of pleasure in the town. But I will no more offend against good manners; I am sensible, as I ought to be, of the scandal I have given by my loose writings, and make what reparation I am able by this public acknowledgment. If anything of this nature, or of profaneness, be crept into these poems, I am so far from defending it that I disown it. Totum hoc indictum volo. Chaucer makes another manner of apology for his broad speaking, and Boccace makes the like; but I will follow neither of them. Our countryman, in the end of his characters, before the Canterbury tales, thus excuses the ribaldry, which is very gross in many of his novels.

But first, I pray you of your courtesie, That ye ne arrette it nought my villanie, Though that I plainly speak in this matere To tellen yon her words, and eke her chere: Ne though I speak her wordes properly, For this ye knowen al so well as I, Who-so shall tell a tale after a man, He mote rehearse as nye as ever he can Everich a word, if it be in his charge, All speke he never so rudely and large. Or elles he mot telle his tale untrue. Or feine things, or finde wordes new: He may not spare, although he were his brother, He mot as well say o word as another, Christ spake himself full broad in holy writ, And well ye wot no villany is it. Eke Plato saith, who so that can him rede, The wordes mote be cousin to the dede.

Yet if a man should have inquired of Boccace or of Chaucer, what need they had of introducing such characters where obscene words were proper in their mouths, but very indecent to be heard; I know not what answer they could have made; for that reason, such tale shall be left untold by me. You have here a specimen of Chaucer's language, which is so obsolete, that his sense is scarce to be understood; and you have likewise more than one example of his unequal numbers, [Footnote: The lines have been corrected in the text, and may easily be seen to be perfectly metrical.] which were mentioned before. Yet many of his verses consist of ten syllables, and the words not much behind our present English: as, for example, these two lines, in the description of the carpenter's young wife:—

Wincing she was, as is a jolly colt, Long as a mast, and upright as a bolt.

I have almost done with Chaucer, when I have answered some objections relating to my present work. I find some people are offended that I have turned these tales into modern English; because they think them unworthy of my pains, and look on Chaucer as a dry, old-fashioned wit, not worth reviving. I have often heard the late Earl of Leicester say, that Mr. Cowley himself was of that opinion; who, having read him over at my lord's request, declared he had no taste of him. I dare not advance my opinion against the judgment of so great an author: but I think it fair, however, to leave the decision to the public. Mr. Cowley was too modest to set up for a dictator; and being shocked perhaps with his old style, never examined into the depth of his good sense. Chaucer, I confess, is a rough diamond, and must first be polished ere he shines. I deny not, likewise, that, living in our early times he writes not always of a piece, but sometimes mingles trivial things with those of greater moment. Sometimes also, though not often, he runs riot, like Ovid, and knows not when he has said enough. But there are more great wits besides Chaucer, whose fault is their excess of conceits, and those ill sorted. An author is not to write all he can, but only all he ought. Having observed this redundancy in Chaucer (as it is an easy matter for a man of ordinary parts to find a fault in one of greater), I have not tied myself to a literal translation; but have often omitted what I judged unnecessary, or not of dignity enough to appear in the company of better thoughts. I have presumed farther, in some places, and added somewhat of my own where I thought my author was deficient, and had not given his thoughts their true lustre, for want of words in the beginning of our language. And to this I was the more emboldened, because (if I may be permitted to say it of myself) I found I had a soul congenial to his, and that I had been conversant in the same studies. Another poet, in another age, may take the same liberty with my writings; if at least they live long enough to deserve correction. It was also necessary sometimes to restore the sense of Chaucer, which was lost or mangled in the errors of the press: let this example suffice at present; in the story of Palamon and Arcite, where the temple of Diana is described, you find these verses, in all the editions of our author:

There saw I Dane turned into a tree, I mean not the goddess Diane, But Venus daughter, which that hight Dane:

Which, after a little consideration, I knew was to be reformed into this sense, that Daphne, the daughter of Peneus, was turned into a tree. I durst not make thus bold with Ovid, lest some future Milbourn should arise, and say, I varied from my author, because I understood him not.

But there are other judges who think I ought not to have translated Chaucer into English, out of a quite contrary notion: they suppose there is a certain veneration due to his old language; and that it is a little less than profanation and sacrilege to alter it. They are farther of opinion, that somewhat of his good sense will suffer in this transfusion, and much of the beauty of his thoughts will infallibly be lost, which appear with more grace in their old habit. Of this opinion was that excellent person, whom I mentioned, the late Earl of Leicester, who valued Chaucer as much as Mr. Cowley despised him. My lord dissuaded me from this attempt (for I was thinking of it some years before his death), and his authority prevailed so far with me, as to defer my undertaking while he lived, in deference to him: yet my reason was not convinced with what he urged against it. If the first end of a writer be to be understood, then as his language grows obsolete, his thoughts must grow obscure: multa renascentur quae nunc cecidere; cadentque, quae nunc sunt in honore vocabula, si volet usus, quem penes arbitrium est et jus et norma loquendi. When an ancient word for its sound and significancy deserves to be revived, I have that reasonable veneration for antiquity, to restore it. All beyond this is superstition. Words are not like landmarks, so sacred as never to be removed; customs are changed, and even statutes are silently repealed, when the reason ceases for which they were enacted. As for the other part of the argument, that his thoughts will lose of their original beauty, by the innovation of words; in the first place, not only their beauty but their being is lost where they are no longer understood, which is the present case. I grant that something must be lost in all transfusion, that is, in all translations; but the sense will remain, which would otherwise be lost, or at least be maimed, when it is scarce intelligible; and that but to a few. How few are there who can read Chaucer, so as to understand him perfectly! And if imperfectly, then with less profit and no pleasure. 'Tis not for the use of some old Saxon friends that I have taken these pains with him: let them neglect my version because they have no need of it. I made it for their sakes who understand sense and poetry as well as they, when that poetry and sense is put into words which they understand. I will go farther, and dare to add, that what beauties I lose in some places, I give to others which had them not originally; but in this I may be partial to myself; let the reader judge, and I submit to his decision. Yet I think I have just occasion to complain of them, who, because they understand Chaucer, would deprive the greater part of their countrymen of the same advantage, and hoard him up, as misers do their grandam gold, only to look on it themselves, and hinder others from making use of it. In some I seriously protest, that no man ever had, or can have, a greater veneration for Chaucer, than myself. I have translated some part of his works, only that I might perpetuate his memory, or at least refresh it, amongst my countrymen. If I have altered him anywhere for the better, I must at the same time acknowledge that I could have done nothing without him: Facile est inventis addere, is no great commendation; and I am not so vain to think I have deserved a greater. I will conclude what I have to say of him singly, with this one remark: a lady of my acquaintance, who keeps a kind of correspondence with some authors of the fair sex in France, has been informed by them that Mademoiselle de Scudery, who is as old as Sibyl, and inspired like her by the same god of poetry, is at this time translating Chaucer into modern French. From which I gather that he has been formerly translated into the old Provencal (for how she should come to understand old English I know not). But the matter of fact being true, it makes me think that there is something in it like fatality; that, after certain periods of time, the fame and memory of great wits should be renewed, as Chaucer is both in France and England. If this be wholly chance, 'tis extraordinary, and I dare not call it more for fear of being taxed with superstition.

Boccace comes last to be considered, who, living in the same age with Chaucer, had the same genius, and followed the same studies; both writ novels, and each of them cultivated his mother tongue. But the greatest resemblance of our two modern authors being in their familiar style, and pleasing way of relating comical adventures, I may pass it over, because I have translated nothing from Boccace of that nature. In the serious part of poetry, the advantage is wholly on Chaucer's side; for though the Englishman has borrowed many tales from the Italian, yet it appears that those of Boccace were not generally of his own making, but taken from authors of former ages, and by him only modelled; so that what there was of invention in either of them may be judged equal. But Chaucer has refined on Boccace, and has mended the stories which he has borrowed in his way of telling, though prose allows more liberty of thought, and the expression is more easy when unconfined by numbers. Our countryman carries weight, and yet wins the race at disadvantage. I desire not the reader should take my word, and therefore I will set two of their discourses on the same subject, in the same light, for every man to judge betwixt them. I translated Chaucer first, and amongst the rest pitched on the Wife of Bath's tale—not daring, as I have said, to adventure on her prologue, because it is too licentious. There Chaucer introduces an old woman of mean parentage, whom a youthful knight of noble blood was forced to marry, and consequently loathed her. The crone being in bed with him on the wedding-night, and finding his aversion, endeavours to win his affection by reason, and speaks a good word for herself (as who could blame her?) in hope to mollify the sullen bridegroom. She takes her topics from the benefits of poverty, the advantages of old age and ugliness, the vanity of youth, and the silly pride of ancestry and titles without inherent virtue, which is the true nobility. When I had closed Chaucer I returned to Ovid, and translated some more of his fables; and by this time had so far forgotten the Wife of Bath's tale that, when I took up Boccace unawares, I fell on the same argument of preferring virtue to nobility of blood, and titles, in the story of Sigismunda, which I had certainly avoided for the resemblance of the two discourses, if my memory had not failed me. Let the reader weigh them both, and if he thinks me partial to Chaucer, it is in him to right Boccace.

I prefer in our countryman, far above all his other stories, the noble poem of Palamon and Arcite, which is of the Epic kind, and perhaps not much inferior to the Ilias or the Aeneis. The story is more pleasing than either of them—the manners as perfect, the diction as poetical, the learning as deep and various, and the disposition full as artful—only it includes a greater length of time, as taking up seven years at least; but Aristotle has left undecided the duration of the action, which yet is easily reduced into the compass of a year by a narration of what preceded the return of Palamon to Athens. I had thought for the honour of our nation, and more particularly for his whose laurel, though unworthy, I have worn after him, that this story was of English growth and Chaucer's own; but I was undeceived by Boccace, for casually looking on the end of his seventh Giornata, I found Dioneo (under which name he shadows himself) and Fiametta (who represents his mistress the natural daughter of Robert, King of Naples), of whom these words are spoken, Dioneo e la Fiametta granpezza contarono insieme d'Arcita, e di Palamone, by which it appears that this story was written before the time of Boccace; [Footnote: It was really written by Boccaccio himself, but, as Dryden himself says, Chaucer has greatly improved upon his original (La Teseide).] but the name of its author being wholly lost, Chaucer is now become an original, and I question not but the poem has received many beauties by passing through his noble hands. Besides this tale, there is another of his own invention, after the manner of the Provencals, called the Flower and the Leaf, with which I was so particularly pleased, both for the invention and the moral, that I cannot hinder myself from recommending it to the reader.

As a corollary to this preface, in which I have done justice to others, I owe somewhat to myself; not that I think it worth my time to enter the lists with one Milbourn and one Blackmore, but barely to take notice that such men there are who have written scurrilously against me without any provocation. Milbourn, who is in orders, pretends amongst the rest this quarrel to me, that I have fallen foul on priesthood; if I have, I am only to ask pardon of good priests, and am afraid his part of the reparation will come to little. Let him be satisfied that he shall not be able to force himself upon me for an adversary. I contemn him too much to enter into competition with him. His own translations of Virgil have answered his criticisms on mine. If (as they say he has declared in print) he prefers the version of Ogilby to mine, the world has made him the same compliment, for it is agreed on all hands that he writes even below Ogilby. That, you will say. is not easily to be done; but what cannot Milbourn bring about? I am satisfied, however, that while he and I live together, I shall not be thought the worst poet of the age. It looks as if I had desired him underhand to write so ill against me; but upon my honest word, I have not bribed him to do me this service, and am wholly guiltless of his pamphlet. 'Tis true, I should be glad if I could persuade him to continue his good offices, and write such another critique on anything of mine; for I find by experience he has a great stroke with the reader, when he condemns any of my poems, to make the world have a better opinion of them. He has taken some pains with my poetry, but nobody will be persuaded to take the same with his. If I had taken to the church (as he affirms, but which was never in my thoughts), I should have had more sense, if not more grace, than to have turned myself out of my benefice by writing libels on my parishioners. But his account of my manners and my principles are of a piece with his cavils and his poetry; and so I have done with him for ever.

As for the City Bard, or Knight Physician, I hear his quarrel to me is, that I was the author of Absalom and Achitophel, which he thinks was a little hard on his fanatic patrons in London.

But I will deal the more civilly with his two poems, because nothing ill is to be spoken of the dead, and therefore peace be to the Manes of his Arthurs. I will only say that it was not for this noble knight that I drew the plan of an Epic poem on King Arthur in my preface to the translation of Juvenal. The guardian angels of kingdoms were machines too ponderous for him to manage; and therefore he rejected them, as Dares did the whirlbats of Eryx, when they were thrown before him by Entellus. Yet from that preface he plainly took his hint; for he began immediately upon his story, though he had the baseness not to acknowledge his benefactor; but instead of it, to traduce me in a libel.

I shall say the less of Mr. Collier, [Footnote: His Short View of the Immorality and Profaneness of the English Stage (1698) was largely directed against Dryden. See the account of it given in Macaulay's Comic Dramatists of the Restoration.] because in many things he has taxed me justly, and I have pleaded guilty to all thoughts and expressions of mine which can be truly argued of obscenity, profaneness, or immorality, and retract them. If he be my enemy, let him triumph; if he be my friend, as I have given him no personal occasion to be otherwise, he will be glad of my repentance. It becomes me not to draw my pen in the defence of a bad cause when I have so often drawn it for a good one. Yet it were not difficult to prove that in many places he has perverted my meaning by his glosses, and interpreted my words into blasphemy and bawdry, of which they were not guilty—besides that he is too much given to horseplay in his raillery, and comes to battle like a dictator from the plough. I will not say the zeal of God's house has eaten him up, but I am sure it has devoured some part of his good manners and civility. It might also be doubted whether it were altogether zeal which prompted him to this rough manner of proceeding; perhaps it became not one of his function to rake into the rubbish of ancient and modern plays. A divine might have employed his pains to better purpose than in the nastiness of Plautus and Aristophanes, whose examples, as they excuse not me, so it might be possibly supposed that he read them not without some pleasure. They who have written commentaries on those poets, or on Horace, Juvenal, and Martial, have explained some vices which, without their interpretation, had been unknown to modern times. Neither has he judged impartially betwixt the former age and us.

There is more bawdry in one play of Fletcher's, called the Custom of the Country, than in all ours together. Yet this has been often acted on the stage in my remembrance. Are the times so much more reformed now than they were five and twenty years ago? If they are, I congratulate the amendment of our morals. But I am not to prejudice the cause of my fellow-poets, though I abandon my own defence; they have some of them answered for themselves, and neither they nor I can think Mr. Collier so formidable an enemy that we should shun him. He has lost ground at the latter end of the day by pursuing his point too far, like the Prince of Conde at the battle of Senneffe: from immoral plays to no plays—ab abusu ad usum, non valet consequentia. [Footnote: From the fact that there are immoral plays to the inference that there should be no plays the argument does not follow.] But being a party, I am not to erect myself into a judge. As for the rest of those who have written against me, they are such scoundrels that they deserve not the least notice to be taken of them. Blackmore and Milbourn are only distinguished from the crowd by being remembered to their infamy.

——Demetri teque, Tigelli, Discipulorum inter jubeo plorare cathedras.



SAMUEL JOHNSON.

(1709-1784.)

III. ON THE METAPHYSICAL POETS.

The criticism of the 'metaphysical poets' occurs in the Life of Cowley, published as one of the Lives of the Poets in 1780. The name 'metaphysical poetry' was first devised by Dryden, in his Essay of Dramatic Poesy. It was revived by Johnson, and is now generally accepted by historians of English literature. It is used by Johnson, as it was used by Dryden, to express the love of remote analogies, which was a mark of the poetry of Donne and those who wrote more or less after the manner of Donne. But it has a deeper meaning than was probably intended by its inventors. It is no unapt term to indicate the vein of weighty thought and brooding imagination which runs like a thread of gold through all the finer work of these poets. Johnson did no harm in calling attention to the extravagance of much of the imagery beloved by the lyric poets of the Stuart period. But it is unpardonable that he should have had no eye for the nobler and subtler qualities of their genius, and equally unpardonable that he should have drawn no distinction between three men so incomparable in degree and kind of power as Cleveland, Cowley, and Donne. Some remarks on the place of the metaphysical poets in English literature will be found in the Introduction.

Cowley, like other poets who have written with narrow views, and, instead of tracing intellectual pleasure to its natural sources in the mind of man, paid their court to temporary prejudices, has been at one time too much praised, and too much neglected at another.

Wit, like all other things subject by their nature to the choice of man, has its changes and fashions, and at different times takes different forms. About the beginning of the seventeenth century appeared a race of writers that may be termed the metaphysical poets; of whom, in a criticism on the works of Cowley, it is not improper to give some account.

The metaphysical poets were men of learning, and to show their learning was their whole endeavour; but, unluckily resolving to show it in rhyme, instead of writing poetry, they only wrote verses, and very often such verses as stood the trial of the finger better than of the ear; for the modulation was so imperfect, that they were only found to be verses by counting the syllables.

If the father of criticism has rightly denominated poetry, an imitative art, these writers will, without great wrong, lose their right to the name of poets; for they cannot be said to have imitated anything; they neither copied nature nor life; neither painted the forms of matter, nor represented the operations of intellect.

Those, however, who deny them to be poets, allow them to be wits. Dryden confesses of himself and his contemporaries that they fall below Donne in wit, but maintains that they surpass him in poetry.

If wit be well described by Pope, as being "that which has been often thought, but was never before so well expressed", they certainly never attained, nor ever sought it; for they endeavoured to be singular in their thoughts, and were careless of their diction. But Pope's account of wit is undoubtedly erroneous: he depresses it below its natural dignity, and reduces it from strength of thought to happiness of language.

If by a more noble and more adequate conception that be considered as wit which is at once natural and new, that which, though not obvious, is, upon its first production, acknowledged to be just; if it be that which he that never found it wonders how he missed; to wit of this kind the metaphysical poets have seldom risen. Their thoughts are often new, but seldom natural; they are not obvious, but neither are they just; and the reader, far from wondering that he missed them, wonders more frequently by what perverseness of industry they were ever found.

But wit, abstracted from its effects upon the hearer, may be more rigorously and philosophically considered as a kind of discordia concors; a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike. Of wit, thus defined, they have more than enough. The most heterogeneous ideas are yoked by violence together; nature and art are ransacked for illustrations, comparisons, and allusions; their learning instructs, and their subtlety surprises; but the reader commonly thinks his improvement dearly bought, and, though he sometimes admires, is seldom pleased.

From this account of their compositions it will be readily inferred that they were not successful in representing or moving the affections. As they were wholly employed on something unexpected and surprising, they had no regard to that uniformity of sentiment which enables us to conceive and to excite the pains and the pleasure of other minds: they never inquired what, on any occasion, they should have said or done; but wrote rather as beholders than partakers of human nature; as Beings looking upon good and evil, impassive and at leisure; as Epicurean deities making remarks on the actions of men and the vicissitudes of life without interest and without emotion. Their courtship was void of fondness, and their lamentation of sorrow. Their wish was only to say what they hoped had never been said before.

Nor was the sublime more within their reach than the pathetic; for they never attempted that comprehension and expanse of thought which at once fills the whole mind, and of which the first effect is sudden astonishment, and the second rational admiration. Sublimity is produced by aggregation, and littleness by dispersion. Great thoughts are always general, and consist in positions not limited by exceptions, and in descriptions not descending to minuteness. It is with great propriety that subtlety, which in its original import means exility of particles, is taken in its metaphorical meaning for nicety of distinction. Those writers who lay on the watch for novelty could have little hope of greatness; for great things cannot have escaped former observation. Their attempts were always analytic; they broke every image into fragments: and could no more represent, by their slender conceits and laboured particularities, the prospects of nature or the scenes of life, than he who dissects a sunbeam with a prism can exhibit the wide effulgence of a summer noon. What they wanted, however, of the sublime, they endeavoured to supply by hyperbole; their amplification had no limits; they left not only reason but fancy behind them; and produced combinations of confused magnificence that not only could not be credited, but could not be imagined.

Yet great labour, directed by great abilities, is never wholly lost: if they frequently threw away their wit upon false conceits, they likewise sometimes struck out unexpected truth: if their conceits were far-fetched, they were often worth the carriage. To write on their plan, it was at least necessary to read and think. No man could be born a metaphysical poet, nor assume the dignity of a writer, by descriptions copied from descriptions, by imitations borrowed from imitations, by traditional imagery and hereditary similes, by readiness of rhyme and volubility of syllables.

In perusing the works of this race of authors, the mind is exercised either by recollection or inquiry; either something already learned is to be retrieved, or something new is to be examined. If their greatness seldom elevates, their acuteness often surprises; if the imagination is not always gratified, at least the powers of reflection and comparison are employed; and in the mass of materials which ingenious absurdity has thrown together, genuine wit and useful knowledge may be sometimes found, buried perhaps in grossness of expression, but useful to those who know their value; and such as, when they are expanded to perspicuity and polished to elegance, may give lustre to works which have more propriety though less copiousness of sentiment.

This kind of writing, which was, I believe, borrowed from Marino [Footnote: As Marino's chief poem, L'Adone, was not published till 1623, and as most of Donne's poems must have been written earlier, this is very unlikely. Besides, the resemblance is more apparent than real. Metaphysical poetry was a native product. See Introduction.] and his followers, had been recommended by the example of Donne, a man of very extensive and various knowledge; and by Jonson, whose manner resembled that of Donne more in the ruggedness of his lines than in the cast of his sentiments.

When their reputation was high, they had undoubtedly more imitators than time has left behind. Their immediate successors, of whom any remembrance can be said to remain, were Suckling, Waller, Denham, Cowley, Cleveland, and Milton. Denham and Waller sought another way to fame, by improving the harmony of our numbers. Milton tried the metaphysic style only in his lines upon Hobson the Carrier. Cowley adopted it, and excelled his predecessors, having as much sentiment and more music. Suckling neither improved versification, nor abounded in conceits. The fashionable style remained chiefly with Cowley; Suckling could not reach it, and Milton disdained it.

Critical remarks are not easily understood without examples, and I have therefore collected instances of the modes of writing by which this species of poets, for poets they were called by themselves and their admirers, was eminently distinguished.

As the authors of this race were perhaps more desirous of being admired than understood, they sometimes drew their conceits from recesses of learning not very much frequented by common readers of poetry. Thus Cowley on Knowledge:

The sacred tree midst the fair orchard grew; The phoenix Truth did on it rest. And built his perfum'd nest, That right Porphyrian tree which did true logick shew. Each leaf did learned notions give, And th' apples were demonstrative: So clear their colour and divine, The very shade they cast did other lights outshine.

On Anacreon continuing a lover in his old age:

Love was with thy life entwin'd, Close as heat with fire is join'd, A powerful brand prescrib'd the date Of thine, like Meleager's fate. The antiperistasis of age More enflam'd thy amorous rage.

In the following verses we have an allusion to a Rabbinical opinion concerning Manna:

Variety I ask not: give me one To live perpetually upon. The person Love does to us fit, Like manna, has the taste of all in it.

Thus Donne shows his medicinal knowledge in some encomiastic verses:

In everything there naturally grows A Balsamum to keep it fresh and new, If't were not injur'd by extrinsique blows; Your youth and beauty are this balm in you. But you, of learning and religion, And virtue and such ingredients, have made A mithridate, whose operation Keeps off, or cures what can be done or said.

Though the following lines of Donne, on the last night of the year, have something in them too scholastic, they are not inelegant:

This twilight of two years, not past nor next, Some emblem is of me, or I of this, Who, meteor-like, of stuff and form perplext, Whose what and where, in disputation is, If I should call me any thing, should miss.

I sum the years and me, and find me not Debtor to th' old, nor creditor to th' new, That cannot say, my thanks I have forgot, Nor trust I this with hopes: and yet scarce true This bravery is, since these times shew'd me you. —Donne.

Yet more abstruse and profound is Donne's reflection upon Man as a Microcosm:

If men be worlds, there is in every one Something to answer in some proportion All the world's riches: and in good men, this Virtue, our form's form, and our soul's soul is.

Of thoughts so far-fetched as to be not only unexpected but unnatural, all their books are full.

TO A LADY, WHO WROTE POESIES FOR RINGS.

They, who above do various circles find, Say, like a ring th' aquator heaven does bind. When heaven shall be adorn'd by thee, (Which then more heaven than 't is, will be) 'T is thou must write the poesy there, For it wanteth one as yet, Though the sun pass through 't twice a year, The sun, which is esteem'd the god of wit. —Cowley.

The difficulties which have been raised about identity in philosophy are by Cowley, with still more perplexity, applied to Love:

Five years ago (says story) I lov'd you, For which you call me most inconstant now; Pardon me, madam, you mistake the man; For I am not the same that I was then; No flesh is now the same't was then in me,

And that my mind is chang'd yourself may see. The same thoughts to retain still, and intents, Were more inconstant far; for accidents Must of all things most strangely inconstant prove, If from one subject they t' another move: My members then, the father members were From whence these take their birth, which now are here. If then this body love what th' other did, 'T were incest, which by nature is forbid.

The love of different women is, in geographical poetry, compared to travels, through different countries:

Hast thou not found each woman's breast (The land where thou hast travelled) Either by savages possest, Or wild, and uninhabited? What joy could'st take, or what repose, In countries so unciviliz'd as those? Lust, the scorching dog-star, here Rages with immoderate heat; Whilst Pride, the rugged Northern Bear, In others makes the cold too great. And when these are temperate known, The soil's all barren sand, or rocky stone. —Cowley.

A lover, burnt up by his affections, is compared to Egypt:

The fate of Egypt I sustain, And never feel the dew of rain. From clouds which in the head appear; But all my too much moisture owe To overflowings of the heart below. —Cowley.

The lover supposes his lady acquainted with the ancient laws of augury and rites of sacrifice:

And yet this death of mine, I fear, Will ominous to her appear: When found in every other part, Her sacrifice is found without an heart. For the last tempest of my death Shall sigh out that too, with my breath.

That the chaos was harmonized, has been recited of old; but whence the different sounds arose remained for a modern to discover:

Th' ungovern'd parts no correspondence knew, And artless war from thwarting motions grew; Till they to number and fixt rules were brought. Water and air he for the Tenor chose. Earth made the Base, the Treble flame arose. —Cowley.

The tears of lovers are always of great poetical account, but Donne has extended them into worlds. If the lines are not easily understood, they may be read again:

On a round ball A workman, that hath copies by, can lay An Europe, Afric, and an Asia, And quickly make that, which was nothing, all. So doth each tear, Which thee doth wear, A globe, yea world, by that impression grow, Till thy tears mixt with mine do overflow This world, by waters sent from thee my heaven dissolved so.

On reading the following lines, the reader may perhaps cry out, "Confusion worse confounded":

Here lies a she sun, and a he moon here, She gives the best light to his sphere, Or each is both, and all, and so They unto one another nothing owe. —Donne.

Who but Donne would have thought that a good man is a telescope?

Though God be our true glass, through which we see All, since the being of all things is He, Yet are the trunks, which do to us derive Things, in proportion fit, by perspective Deeds of good men; for by their living here, Virtues, indeed remote, seem to be near.

Who would imagine it possible that in a very few lines so many remote ideas could be brought together?

Since't is my doom, Love's undershrieve, Why this reprieve? Why doth my She Advowson fly Incumbency? To sell thyself dost thou intend By candle's end, And hold the contrast thus in doubt, Life's taper out? Think but how soon the market fails, Your sex lives faster than the males; As if to measure age's span, The sober Julian were th' account of man, Whilst you live by the fleet Gregorian. —Cleveland.

Of enormous and disgusting hyperboles, these may be examples:

By every wind, that comes this way, Send me at least a sigh or two, Such and so many I'll repay As shall themselves make winds to get to you. —Cowley.

In tears I'll waste these eyes, By Love so vainly fed; So lust of old the Deluge punished. —Cowley.

All arm'd in brass the richest dress of war, (A dismal glorious sight) he shone afar. The sun himself started with sudden fright, To see his beams return so dismal bright. —Cowley.

An universal consternation:

His bloody eyes he hurls round, his sharp paws Tear up the ground; then runs he wild about, Lashing his angry tail and roaring out.

Beasts creep into their dens, and tremble there; Trees, though no wind is stirring, shake with fear; Silence and horror fill the place around: Echo itself dares scarce repeat the sound. —Cowley.

Their fictions were often violent and unnatural.

OF HIS MISTRESS BATHING.

The fish around her crowded, as they do To the false light that treacherous fishers shew, And all with as much ease might taken be, As she at first took me: For ne'er did light so clear Among the waves appear, Though every night the sun himself set there. —Cowley.

The poetical effect of a lover's name upon glass:

My name engrav'd herein Doth contribute my firmness to this glass; Which, ever since that charm, hath been As hard as that which grav'd it was. —Donne.

Their conceits were sometimes slight and trifling.

ON AN INCONSTANT WOMAN.

He enjoys thy calmy sunshine now, And no breath stirring hears, In the clear heaven of thy brow, No smallest cloud appears. He sees thee gentle, fair and gay, And trusts the faithless April of thy May. —Cowley.

Upon a paper written with the juice of lemon, and read by the fire:

Nothing yet in thee is seen: But when a genial heat warms thee within, A new-born wood of various lines there grows; Here buds an L, and there a B, Here sprouts a V, and there a T, And all the flourishing letters stand in rows. —Cowley

As they sought only for novelty, they did not much inquire whether their allusions were to things high or low, elegant or gross; whether they compared the little to the great, or the great to the little.

PHYSICK AND CHIRURGERY FOR A LOVER.

Gently, ah gently, madam, touch The wound, which you yourself have made; That pain must needs be very much, Which makes me of your hand afraid. Cordials of pity give me now, For I too weak for purgings grow. —Cowley.

THE WORLD AND A CLOCK.

Mahol, th' inferior world's fantastic face, Through all the turns of matter's maze did trace; Great Nature's well-set clock in pieces took; On all the springs and smallest wheels did look Of life and motion; and with equal art Made up again the whole of every part. —Cowley.

A coal-pit has not often found its poet; but, that it may not want its due honour, Cleveland has paralleled it with the sun:

The moderate value of our guiltless ore Makes no man atheist, and no woman whore; Yet why should hallow'd vestals' sacred shrine Deserve more honour than a flaming mine? These pregnant wombs of heat would fitter be Than a few embers, for a deity.

Had he our pits, the Persian would admire No sun, but warm's devotion at our fire: He'd leave the trotting whipster, and prefer Our profound Vulcan 'bove that waggoner. For wants he heat or light? or would have store Of both? 'tis here: and what can suns give more? Nay, what's the sun but, in a different name, A coal-pit rampant, or a mine on flame! Then let this truth reciprocally run The sun's heaven's coalery, and coals our sun.



DEATH, A VOYAGE.

No family E'er rigg'd a soul for heaven's discovery, With whom more venturers might boldly dare Venture their stakes, with him in joy to share. —Donne.

Their thoughts and expressions were sometimes grossly absurd, and such as no figures or licence can reconcile to the understanding.

A LOVER NEITHER DEAD NOR ALIVE.

Then down I laid my head, Down on cold earth; and for a while was dead, And my freed soul to a strange somewhere fled: Ah, sottish soul, said I, When back to its cage again I saw it fly: Fool to resume her broken chain! And row her galley here again! Fool, to that body to return Where it condemn'd and destin'd is to burn! Once dead, how can it be, Death should a thing so pleasant seem to thee, That thou should'st come to live it o'er again in me? —Cowley.

A LOVER'S HEART A HAND GRENADO.

Wo to her stubborn heart, if once mine come Into the self-same room, 'T will tear and blow up all within, Like a grenado shot into a magazin.

Then shall Love keep the ashes, and torn parts, Of both our broken hearts: Shall out of both one new one make; From hers th' allay; from mine, the metal take. —Cowley.

THE POETICAL PROPAGATION OF LIGHT.

The Prince's favour is diffus'd o'er all, From which all fortunes, names, and natures fall; Then from those wombs of stars, the Bride's bright eyes, At every glance a constellation flies, And sows the court with stars, and doth prevent In light and power, the all-ey'd firmament: First her eye kindles other ladies' eyes, Then from their beams their jewels' lustres rise; And from their jewels torches do take fire, And all is warmth, and light, and good desire. —Donne.

They were in very little care to clothe their notions with elegance of dress, and therefore miss the notice and the praise which are often gained by those who think less, but are more diligent to adorn their thoughts.

That a mistress beloved is fairer in idea than in reality is by Cowley thus expressed:

Thou in my fancy dost much higher stand, Than woman can be plac'd by Nature's hand; And I must needs, I'm sure, a loser be, To change thee, as thou 'rt there, for very thee.

That prayer and labour should co-operate are thus taught by Donne:

In none but us, are such mixt engines found, As hands of double office: for the ground We till with them; and them to heaven we raise; Who prayerless labours, or without this, prays, Doth but one half, that's none.

By the same author, a common topic, the danger of procrastination, is thus illustrated:

—That which I should have begun In my youth's morning, now late must be done; And I, as giddy travellers must do, Which stray or sleep all day, and having lost Light and strength, dark and tir'd must then ride post.

All that Man has to do is to live and die; the sum of humanity is comprehended by Donne in the following lines:

Think in how poor a prison thou didst lie; After, enabled but to suck and cry. Think, when't was grown to most, 't was a poor inn, A province pack'd up in two yards of skin, And that usurp'd, or threaten'd with a rage Of sicknesses, or their true mother, age. But think that death hath now enfranchis'd thee; Thou hast thy expansion now, and liberty; Think, that a rusty piece discharg'd is flown In pieces, and the bullet is his own, And freely flies; this to thy soul allow, Think thy shell broke, think thy soul hatched but now.

They were sometimes indelicate and disgusting. Cowley thus apostrophizes beauty:

—Thou tyrant, which leav'st no man free! Thou subtle thief, from whom nought safe can be! Thou murderer, which hast kill'd, and devil, which would'st damn me.

Thus he addresses his mistress:

Thou who, in many a propriety, So truly art the sun to me. Add one more likeness, which I'm sure you can, And let me and my sun beget a man.

Thus he represents the meditations of a lover:

Though in thy thoughts scarce any tracts have been So much as of original sin, Such charms thy beauty wears as might Desires in dying confest saints excite. Thou with strange adultery Dost in each breast a brothel keep; Awake, all men do lust for thee, And some enjoy thee when they sleep.

The true taste of tears:

Hither with crystal vials, lovers, come, And take my tears, which are Love's wine, And try your mistress' tears at home; For all are false, that taste not just like mine. —Donne.

This is yet more indelicate:

As the sweet sweat of roses in a still As that which from chaf'd musk-cat's pores doth trill, As th' almighty balm of th' early East, Such are the sweet drops of my mistress' breast. And on her neck her skin such lustre sets, They seem no sweat-drops, but pearl coronets: Rank sweaty froth thy mistress' brow defiles. —Donne.

Their expressions sometimes raise horror, when they intend perhaps to be pathetic:

As men in hell are from diseases free, So from all other ills am I. Free from their known formality: But all pains eminently lie in thee. —Cowley.

They were not always strictly curious, whether the opinions from which they drew their illustrations were true; it was enough that they were popular. Bacon remarks that some falsehoods are continued by tradition, because they supply commodious allusions.

It gave a piteous groan, and so it broke; In vain it something would have spoke: The love within too strong for't was, Like poison put into a Venice-glass. —Cowley.

In forming descriptions, they looked out, not for images, but for conceits. Night has been a common subject, which poets have contended to adorn. Dryden's Night is well known; Donne's is as follows:

Thou seest me here at midnight, now all rest: Time's dead low-water; when all minds divest To-morrow's business, when the labourers have Such rest in bed, that their last church-yard grave, Subject to change, will scarce be a type of this; Now when the client, whose last hearing is To-morrow, sleeps; when the condemned man, Who when he opens his eyes, must shut them then Again by death, although sad watch he keep, Doth practise dying by a little sleep, Thou at this midnight seest me.

It must be, however, confessed of these writers that if they are upon common subjects often unnecessarily and unpoetically subtle, yet where scholastic speculation can be properly admitted, their copiousness and acuteness may justly be admired. What Cowley has written upon Hope shows an unequalled fertility of invention:

Hope, whose weak being ruin'd is, Alike if it succeed, and if it miss; Whom good or ill does equally confound, And both the horns of Fate's dilemma wound. Vain shadow, which dost vanish quite, Both at full noon and perfect night! The stars have not a possibility Of blessing thee; If things then from their end we happy call, 'T is hope is the most hopeless thing of all. Hope, thou bold taster of delight, Who, whilst thou shouldst but taste, devour'st it quite! Thou bring'st us an estate, yet leav'st us poor, By clogging it with legacies before! The joys, which we entire should wed, Come deflower'd virgins to our bed; Good fortune without gain imported be, Such mighty customs paid to thee: For joy, like wine, kept close does better taste; If it take air before, its spirits waste.

To the following comparison of a man that travels and his wife that stays at home, with a pair of compasses, it may be doubted whether absurdity or ingenuity has the better claim:

Our two souls therefore, which are one, Though I must go, endure not yet A breach, but an expansion, Like gold to airy thinness beat.

If they be two, they are two so As stiff twin-compasses are two, Thy soul, the fixt foot, makes no show To move, but doth, if th' other do.

And though it in the centre sit, Yet when the other far doth roam, It leans, and hearkens after it, And grows erect, as that comes home.

Such wilt thou be to me, who must Like th' other foot, obliquely run. Thy firmness makes my circle just, And makes me end where I begun. —Donne.

In all these examples it is apparent that whatever is improper or vicious is produced by a voluntary deviation from nature in pursuit of something new and strange, and that the writers fail to give delight by their desire of exciting admiration.



SAMUEL TAYLOR COLERIDGE.

(1772-1834)

IV. ON POETIC GENIUS AND POETIC DICTION.

The following passage forms Chapters xiv and xv of Coleridge's Biographia Literaria, published in 1817 It has been selected as giving a less imperfect impression of his powers as a critic than any other piece that could have been chosen The truth is that, great in talk and supreme in poetry, Coleridge was lost directly he sat down to express himself in prose His style is apt to be cumbrous, and his matter involved. We feel that the critic himself was greater than any criticism recorded either in his writings or his lectures The present extract may be defined as an attempt, and an attempt less inadequate than was common with Coleridge, to state his poetic creed, and to illustrate it by reference to his own poetry and to that of Wordsworth and of Shakespeare. In what he says of Shakespeare he is at his best. He forgets himself, and writes with a single eye to a theme which was thoroughly worthy of his powers. In the earlier part of the piece, and indeed indirectly throughout, he has in mind Wordsworth's famous Preface to the Lyrical Ballads, which is to be found in any complete edition of Wordsworth's poems, or in his poise writings, as edited by Dr. Grosart.

During the first year that Mr. Wordsworth and I were neighbours, our conversation turned frequently on the two cardinal points of poetry, the power of exciting the sympathy of the reader by a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colours of imagination. The sudden charm, which accidents of light and shade, which moonlight or sunset, diffused over a known and familiar landscape, appeared to represent the practicability of combining both. These are the poetry of nature. The thought suggested itself (to which of us I do not recollect) that a series of poems might be composed of two sorts. In the one, the incidents and agents were to be, in part at least, supernatural; and the excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions, as would naturally accompany such situations, supposing them real. And real in this sense they have been to every human being who, from whatever source of delusion, has at any time believed himself under supernatural agency. For the second class, subjects were to be chosen from ordinary life; the characters and incidents were to be such as will be found in every village and its vicinity where there is a meditative and feeling mind to seek after them, or to notice them when they present themselves.

In this idea originated the plan of the Lyrical Ballads; [Footnote: Published in 1798. It opened with the Ancient Mariner and closed with Wordsworth's lines on Tintern Abbey. Among other poems written in Wordsworth's simplest style were The Idiot Boy, The Thorn, and We are Seven.] in which it was agreed that my endeavours should be directed to persons and characters supernatural, or at least romantic; yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. Mr. Wordsworth, on the other hand, was to propose to himself as his object, to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural, by awakening the mind's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us; an inexhaustible treasure, but for which, in consequence of the film of familiarity and selfish solicitude, we have eyes, yet see not, ears that hear not, and hearts that neither feel nor understand.

With this view I wrote the Ancient Mariner, and was preparing, among other poems, the Dark Ladie, and the Christabel, in which I should have more nearly realized my ideal than I had done in my first attempt. But Mr. Wordsworth's industry had proved so much more successful, and the number of his poems so much greater, that my compositions, instead of forming a balance, appeared rather an interpolation of heterogeneous matter. Mr. Wordsworth added two or three poems written in his own character, in the impassioned, lofty, and sustained diction which is characteristic of his genius. In this form the Lyrical Ballads were published; and were presented by him, as an experiment, whether subjects, which from their nature rejected the usual ornaments and extra-colloquial style of poems in general, might not be so managed in the language of ordinary life as to produce the pleasurable interest which it is the peculiar business of poetry to impart. To the second edition he added a preface of considerable length; in which, notwithstanding some passages of apparently a contrary import, he was understood to contend for the extension of this style to poetry of all kinds, and to reject as vicious and indefensible all phrases and forms of style that were not included in what he (unfortunately, I think, adopting an equivocal expression) called the language of real life. From this preface, prefixed to poems in which it was impossible to deny the presence of original genius, however mistaken its direction might be deemed, arose the whole long-continued controversy. For from the conjunction of perceived power with supposed heresy I explain the inveteracy, and in some instances, I grieve to say, the acrimonious passions, with which the controversy has been conducted by the assailants.

Had Mr. Wordsworth's poems been the silly, the childish things which they were for a long time described as being; had they been really distinguished from the compositions of other poets merely by meanness of language and inanity of thought; had they indeed contained nothing more than what is found in the parodies and pretended imitations of them; they must have sunk at once, a dead weight, into the slough of oblivion, and have dragged the preface along with them. But year after year increased the number of Mr. Wordsworth's admirers. They were found, too, not in the lower classes of the reading public, but chiefly among young men of strong sensibility and meditative minds; and their admiration (inflamed perhaps in some degree by opposition) was distinguished by its intensity, I might almost say, by its religious fervour. These facts, and the intellectual energy of the author, which was more or less consciously felt, where it was outwardly and even boisterously denied, meeting with sentiments of aversion to his opinions, and of alarm at their consequences, produced an eddy of criticism, which would of itself have borne up the poems by the violence with which it whirled them round and round. With many parts of this preface, in the sense attributed to them, and which the words undoubtedly seem to authorize, I never concurred; but, on the contrary, objected to them as erroneous in principle, and as contradictory (in appearance at least) both to other parts of the same preface and to the author's own practice in the greater number of the poems themselves. Mr. Wordsworth, in his recent collection, has, I find, degraded this prefatory disquisition to the end of his second volume, to be read or not at the reader's choice. But he has not, as far as I can discover, announced any change in his poetic creed. At all events, considering it as the source of a controversy, in which I have been honoured more than I deserve by the frequent conjunction of my name with his, I think it expedient to declare, once for all, in what points I coincide with his opinions, and in what points I altogether differ. But in order to render myself intelligible, I must previously, in as few words as possible, explain my ideas, first, of a poem; and secondly, of poetry itself, in kind and in essence.

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