The following will give specimens of this ridiculous composition:--

"To the high and mighty. Princesse Mary, Eldest Daughter of our Soveraigne Lord King Charles.

MARY STVARTE.

Anagramma.

A MERRY STATV.

"M irth may with Princes very well agree, A Merry Statv then faire Madam be; R ightly 'twill fit your age, your vertues grace; Y eelding A Merry Statv in your face.

"S mile then, high Lady, while of mirth write I, T hat so my Muse may with alacrity, U nto your Highness sing without all feare, A nd a true Statv of your vertues reare: R eaching whereto, that she may higher flee, T hus humbly beg I on my bended knee, E ver A Merry Statv be to me."

GEORGE MANNERS.

Anagramma.

NOR AS GREEN GEM.

"G reat honoured Peere, and _Rutland's_ n.o.ble Earle, E ven in vertue shining like a Pearle O ver all _Europe_, adding to your birth, R adiant bright beames of your true honoured worth: G em great and precious, see you are remaining E ver the rayes of vertue's beames retaining.

"M aking all _Europe_ stand amazed quite, A nd wonder much at _Rutland's_ glorious light, N or _as_ a _green gem_ let your l.u.s.tre be, N o, _greenness_ here betokens _levity_, E ver more as a precious gem remain you, R ed or some orient colour still retaine you; S o _nor as green gem_, will the world proclaime you."

The jester still remained in office in Charles the First's reign and Archee a.s.sumed the old prerogative of the motley in telling home truths to his master. On one occasion he was ordered by the King to say grace, as the chaplain was away, upon which the jester p.r.o.nounced it, "All glory be to G.o.d on high, and little Laud to the devil." At which all the courtiers smiled, because it reflected upon the Archbishop of Canterbury, who was a little man. The King said he would tell Laud, and what would he do then? "Oh!" said Archee, "I will hide me where he will never find me." "Where is that?" asked the King. "In his pulpit,"

answered Archee, "for I am sure he never goes there."

The rebellion against Charles the First and the success of the Puritans led to a remarkable development of religious feeling. Men seemed for the moment to think more of the next world than of the present, seasoned their language with texts, and from Scripture adopted new names suitable to a new life. Their usual tone of conversation is thus humorously described by Harrison Ainsworth.

Captain Stelfax pays Colonel Maunsel a domiciliary visit, and an old Royalist retainer tells the redoubtable Roundhead that he looks more like a roystering Cavalier than a Puritan, to which the latter replies--

"Go to, knave, and liken me not to a profane follower of Jehoram. Take heed that thou answerest me truthfully. Thou art newly returned from the battle-field whereat the young man Charles Stuart was utterly routed, and where our general, like Pekah the son of Remaliah slew many thousands of men in one day, because they had forsaken the Lord G.o.d of their fathers. Didst thou bear arms in the service of Ahaz?"

One Increase Micklegift soon afterwards fell into the captain's bad graces--

"I begin to suspect it was by thy instrumentality that he hath escaped."

"How could that be seeing I was with thee in the closet." Micklegift rejoined.

"It might easily be, since it was by thy devise that I was led into the snare. Bitterly shalt thou rue it, if I find thee leagued with the Amalekites."

All this affords a good idea of the phraseology of these men, some of whom indulged in such names as "Nehemiah, Lift-up-Hand" and "Better-Late-than-Never," and it must be remembered, to their credit, that there never was a more orderly army than that of Cromwell. In accordance with the sentiments then entertained all theatrical exhibitions were prohibited. Such austerity and self-denial could not be of long continuance--it was kept up by an effort, and led to an inevitable reaction, and so we find that the court of the "Merry Monarch" became notorious in history for its dissipation. Humour proportionally changed from what it had been under Charles I., and we read that that the old Earl of Norwich, who had been esteemed the greatest wit, was now quite out of fashion.

Barbarous nations have little idea of delicacy of any kind; and civilisation finds it hard entirely to change nature, so that where-ever the ground is allowed to lie fallow, the old weeds appear in their noisesome rankness. Hence from time to time we find indelicacy springing up, and made to serve the purposes of those who know that the evil plant is not radically extirpated. One of the most offensive men in this respect was Peter Aretinus, an Italian adventurer, who became a great favourite with the Emperor Charles V. He is said to have died from falling back over his chair in a fit of laughter, on hearing some indelicate joke. But modes of death have often been invented to accord with the lives of those who suffered them, just as dithyrambic Anacreon is said to have been choked by a grape stone.

Louis XI. was also addicted to this jesting which is not convenient. We read that he told Edward IV. in a jocose way that he was right glad to see him at Paris, and that if he would come and divert himself with the gay ladies there, he would a.s.sign for his confessor, the Cardinal of Bourbon, who, he knew, would grant him easy absolution for peccadilloes of love and gallantry. Edward was much pleased with this raillery, for he knew the Cardinal was a gay man. Louis was afterwards in great alarm upon Edward's acceptance of his invitation.

The humour of Charles II. and his court consisted more of jollity than wit. The king was always ready to laugh outright, even in church at the sermon. He encouraged and led the way in an indelicate kind of jesting, which he seems to have learned during his travels in France. On his telling Lord Shaftesbury, "I believe Shaftesbury, that thou art the wickedest dog in England," the statesman humbly replied, "May it please your Majesty, of a subject, I believe I am." We should not expect too much from the son of Henrietta Maria. It is related that one morning when at Exeter, pressing her hand to her head she said to her physician, "Mayerne, I am afraid I shall go mad some day." "Nay," he replied, "your Majesty need not fear _going_ mad; you have been so some time."

But Charles owed much to his gay and easy manner. Notwithstanding his faults "he was so pleasant a man that no one could be sorrowful under his government." He sometimes dined at the annual civic banquet, and one of the company present on the occasion when Sir Robert Viner was Lord Mayor, refers to it as follows. "Sir Robert was a very loyal man, and if you will allow the expression, very fond of his sovereign, but what with the joy he felt at heart for the honour done him by his prince and through the warmth he was in with continual toasting healths of the royal family, his lordship grew a little fond of His Majesty, and entered into a familiarity not altogether so graceful in so public a place. The king understood very well how to extricate himself in all kinds of difficulties, and with a hint to the company to avoid ceremony, stole off and made towards his coach which stood ready for him in Guildhall yard. But the Mayor liked his company so well, and was grown so intimate, that he pursued him hastily and catching him fast by the hand, cried out with a vehement oath and accent, 'Sir, you shall stay and take t'other bottle.' The airy monarch looked kindly at him over his shoulder, and with a smile and graceful air (for I saw him at the time and do now) repeated this line of the old song 'He that's drunk is as great as a King,' and immediately turned back and complied with his request."

Tom Killegrew was the last of his cloth; forced and constant jesting becoming less and less appreciated. As the jesters approached their end, they had more of the moralist and politician in them than of the mountebank. We may judge of Killegrew's wit, when we read that one day on his appearance Charles said to his gay companions, "Now we shall hear our faults." "No," replied the jester, "I don't care to trouble my head with that which all the town talks of."[57] Killegrew must have had fine scope for his sarcasm. In these times the character of the monarch gave the tone to society, and was reflected in the dramatists. Thus we find the earnestness of Elizabeth in Shakespeare, the whimsicality of James in Jonson, and the licentiousness of Charles II. in the poets of the Restoration. The deterioration of men and of humour in the last reign is marked by the fact that ridicule was mostly directed not against vice as in Roman satire, but against undeserved misfortunes. Even virtue and learning did not afford immunity; Bishop Warburton writes: "This weapon (in the dissolute times of Charles II.) completed the ruin of the best minister of that age. The historians tell us that Chancellor Hyde was brought into his Majesty's contempt by this court argument. They mimicked his walk and gesture with a fire-shovel and bellows for the mace and purse."

The indelicacy of which Charles and his companions was guilty, was not of a primitive and ignorant kind, but always of an amatory character, and at the expense of the fair s.e.x; jests formerly so common as to obtain the name of "j.a.pes." The writers of that day are objectionable not merely for coa.r.s.eness of this kind, but for the large amount of it, as one artiste in complimentary attire might be tolerated where a crowd of seminude performers could not. The poems of Sedley and Rochester are as abundant in indelicacy as they are deficient in humour. The epigram of Sedley to "Julius" gives a more correct idea of his character than of his usual dullness.

"Thou swearest thou'll drink no more; kind Heaven send Me such a cook or coachman, but no friend."

Rochester might have produced something good. His verses have more traces of poetry and humour than we should expect from a man who out of the thirty-four years of his life, was for five of them continually drunk. He nearly always attunes his harp to the old subject, so as to become hopelessly monotonous. Inconstancy has great charms for him, and he consequently imputes it also to the ladies--

"Womankind more joy discovers Making fools, than keeping lovers."

Again:

"Love like other little boys, Cries for hearts as they for toys, Which when gained, in childish play, Wantonly are thrown away."

He seems to have been oppressed by a disbelief in any kind of good in the world. His philosophy, whenever he ventured upon any, was sceptical and irreverent. His best attempt in this direction was a poem "Upon Nothing," which commences:

"Nothing! thou elder brother ev'n to shade, That had'st a being 'ere the world was made, And (well fixt) art alone of ending not afraid.

Ere Time and Place were, Time and Place were not, When primitive Nothing, Something straight begot, Then all proceeded from the great united--What?"

Sometimes he amused himself writing libels on the king, and some of his satires contain more or less truth, as--

"His father's foes he does reward, Preserving those that cut off's head, Old Cavaliers, the crown's best guard, He lets them starve for want of bread.

Never was a King endued With so much grace and grat.i.tude."

Buckingham does not appear to have agreed with Rochester about Charles, for he writes, "He was an ill.u.s.trious exception to all the common rules of physiognomy, for with a most saturnine and harsh sort of countenance, he was both of a merry and merciful disposition." Buckingham's humour was of a very poor description, but he wrote a Comedy "The Rehearsal,"

which was highly approved, mostly, however, because aimed at Dryden, and the heroic drama. From one pa.s.sage in it, we observe that he noticed the difference between the effect of humour in the plot, and in the dialogue of the play--

_Prettyman._ Well, Tom, I hope shortly we shall have another coin for thee; for now the wars are coming on, I shall grow to be a man of metal.

_Bayes._ O, you did not do that half enough.

_Johnson._ Methinks he does it admirably.

_Bayes._ I, pretty well, but he does not hit me in't, he does not top his part.

_Thimble._ That's the way to be stamped yourself, Sir, I shall see you come home like an angel for the king's evil, with a hole bored through you.

_Bayes._ There he has. .h.i.t it up to the hilt. How do you like it now, gentlemen? is not this pure wit?

_Smith._ 'Tis snip snap, Sir, as you say, but methinks not pleasant nor to the purpose, for the play does not go on. The plot stands still.

_Bayes._ Why, what the devil is the plot good for but to bring in fine things.

Dryden could scarcely be expected to remain silent under the blow here aimed at his plays. An opportunity for revenge soon presented itself, when he undertook to compose a political satire upon Monmouth and his intrigues. Some say that this remarkable poem was written at the command of Charles. It had a great success, five editions being sold within the year--one cause of its popularity being its novel character. The idea of introducing Scriptural impersonations into a poem was new or nearly so, and very successful. Monmouth had already been called Absalom, and as the King (David) was very fond of him, it was desirable to place his shortcomings to the account of his advisers, represented by Achitophel.

The way in which Dryden handled his adversaries may be understood from such pa.s.sages as:--

"Levi, thou art a load: I'll lay thee down And show rebellion bare, without a gown; Poor slaves in metre, dull and addle-pated Who rhime below e'en David's psalms translated."

Doeg is another enemy:--