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.

Having thus endeavoured to exhibit a general representation of the style and sentiments of the metaphysical poets, it is now proper to examine particularly the works of Cowley, who was almost the last of that race, and undoubtedly the best.

His Miscellanies contain a collection of short compositions, written some as they were dictated by a mind at leisure, and some as they were called forth by different occasions; with great variety of style and sentiment, from burlesque levity to awful grandeur. Such an a.s.semblage of diversified excellence no other poet has. .h.i.therto afforded. To choose the best, among many good, is one of the most hazardous attempts of criticism. I know not whether Scaliger himself has persuaded many readers to join with him in his preference of the two favourite odes, which he estimates in his raptures at the value of a kingdom. I will, however, venture to recommend Cowley's first piece, which ought to be inscribed "To my Muse," for want of which the second couplet is without reference.

When the t.i.tle is added, there wills till remain a defect; for every piece ought to contain in itself whatever is necessary to make it intelligible. Pope has some epitaphs without names; which are therefore epitaphs to be let, occupied indeed for the present, but hardly appropriated.

The "Ode on Wit" is almost without a rival. It was about the time of Cowley that WIT, which had been till then used for INTELLECTION, in contradistinction to WILL, took the meaning, whatever it be, which it now bears.

Of all the pa.s.sages in which poets have exemplified their own precepts, none will easily be found of greater excellence than that in which Cowley condemns exuberance of wit:-

Yet 'tis not to adorn and gild each part, That shows more cost than art.

Jewels at nose and lips but ill appear; Rather than all things wit, let none be there.

Several lights will not be seen, If there be nothing else between.

Men doubt, because they stand so thick i' th' sky, If those be stars which paint the galaxy.

In his verses to Lord Falkland, whom every man of his time was proud to praise, there are, as there must be in all Cowley's compositions, some striking thoughts, but they are not well wrought. His "Elegy on Sir Henry Wotton" is vigorous and happy; the series of thoughts is easy and natural; and the conclusion, though a little weakened by the intrusion of Alexander, is elegant and forcible.

It may be remarked, that in this elegy, and in most of his encomiastic poems, he has forgotten or neglected to name his heroes.

In his poem on the death of Hervey, there is much praise, but little pa.s.sion; a very just and ample delineation of such virtues as a studious privacy admits, and such intellectual excellence as a mind not yet called forth to action can display. He knew how to distinguish, and how to commend, the qualities of his companion; but, when he wishes to make us weep, he forgets to weep himself, and diverts his sorrow by imagining how his crown of bays, if he had it, would crackle in the fire. It is the odd fate of this thought to be the worse for being true. The bay-leaf crackles remarkably as it burns; as therefore this property was not a.s.signed it by chance, the mind must be thought sufficiently at ease that could attend to such minuteness of physiology. But the power of Cowley is not so much to move the affections, as to exercise the understanding.

The "Chronicle" is a composition unrivalled and alone: such gaiety of fancy, such facility of expression, such varied similitude, such a succession of images, and such a dance of words, it is in vain to expect except from Cowley. His strength always appears in his agility; his volatility is not the flutter of a light, but the bound of an elastic mind. His levity never leaves his learning behind it; the moralist, the politician, and the critic, mingle their influence even in this airy frolic of genius. To such a performance Suckling could have brought the gaiety, but not the knowledge; Dryden could have supplied the knowledge, but not the gaiety.

The verses to Davenant, which are vigorously begun, and happily concluded, contain some hints of criticism very justly conceived and happily expressed. Cowley's critical abilities have not been sufficiently observed: the few decisions and remarks, which his prefaces and his notes on the "Davideis" supply, were at that time accessions to English literature, and show such skill as raises our wish for more examples.

The lines from Jersey are a very curious and pleasing specimen of the familiar descending to the burlesque.

His two metrical disquisitions FOR and AGAINST Reason are no mean specimens of metaphysical poetry. The stanzas against knowledge produce little conviction. In those which are intended to exalt the human faculties, Reason has its proper task a.s.signed it; that of judging, not of things revealed, but of the reality of revelation.

In the verses FOR Reason is a pa.s.sage which Bentley, in the only English verses which he is known to have written, seems to have copied, though with the inferiority of an imitator.

The Holy Book like the eighth sphere doth shine With thousand lights of truth divine, So numberless the stars, that to our eye It makes all but one galaxy.

Yet Reason must a.s.sist too; for, in seas So vast and dangerous as these, Our course by stars above we cannot know Without the compa.s.s too below.

After this says Bentley:

Who travels in religious jars, Truth mix'd with error, shade with rays Like Whiston wanting pyx or stars, In ocean wide or sinks or strays.

Cowley seems to have had what Milton is believed to have wanted, the skill to rate his own performances by their just value, and has therefore closed his Miscellanies with the verses upon Crashaw, which apparently excel all that have gone before them, and in which there are beauties which common authors may justly think not only above their attainment, but above their ambition.

To the Miscellanies succeed the Anacreontics, or paraphrastical translations of some little poems, which pa.s.s, however justly, under the name of Anacreon. Of those songs dedicated to festivity and gaiety, in which even the morality is voluptuous, and which teach nothing but the enjoyment of the present day, he has given rather a pleasing than a faithful representation, having retained their sprightliness, but lost their simplicity. The Anacreon of Cowley, like the Homer of Pope, has admitted the decoration of some modern graces, by which he is undoubtedly made more amiable to common readers, and perhaps, if they would honestly declare their own perceptions, to far the greater part of those whom courtesy and ignorance are content to style the learned.

These little pieces will be found more finished in their kind than any other of Cowley's works. The diction shows nothing of the mould of time, and the sentiments are at no great distance from our present habitudes of thought. Real mirth must always be natural, and nature is uniform. Men have been wise in very different modes; but they have always laughed the same way.

Levity of thought naturally produces familiarity of language, and the familiar part of language continues long the same; the dialogue of comedy when it is transcribed from popular manners and real life, is read from age to age with equal pleasure. The artifices of inversion by which the established order of words is changed, or of innovation, by which new words, or new meanings of words, are introduced, is practised, not by those who talk to be understood, but by those who write to be admired.

The Anacreontics, therefore, of Cowley, give now all the pleasure which they ever gave. If he was formed by nature for one kind of writing more than for another, his power seems to have been greatest in the familiar and the festive.

The next cla.s.s of his poems is called "The Mistress," of which it is not necessary to select any particular pieces for praise or censure.

They have all the same beauties and faults, and nearly in the same proportion. They are written with exuberance of wit, and with copiousness of learning; and it is truly a.s.serted by Sprat, that the plenitude of the writer's knowledge flows in upon his page, so that the reader is commonly surprised into some improvement. But, considered as the verses of a lover, no man that has ever loved will much commend them. They are neither courtly nor pathetic, have neither gallantry nor fondness. His praises are too far sought, and too hyperbolical, either to express love, or to excite it; every stanza is crowded with darts and flames, with wounds and death, with mingled souls and with broken hearts.

The princ.i.p.al artifice by which "The Mistress" is filled with conceits is very copiously displayed by Addison. Love is by Cowley, as by other poets, expressed metaphorically by flame and fire; and that which is true of real fire is said of love, or figurative fire, the same word in the same sentence retaining both significations.

Thus "observing the cold regard of his mistress's eyes, and at the same time their power of producing love in him, he considers them as burning-gla.s.ses made of ice. Finding himself able to live in the greatest extremities of love, he concludes the torrid zone to be habitable. Upon the dying of a tree, on which he had cut his loves, he observes that his flames had burnt up and withered the tree."

These conceits Addison calls mixed wit; that is, wit which consists of thoughts true in one sense of the expression, and false in the other. Addison's representation is sufficiently indulgent: that confusion of images may entertain for a moment; but being unnatural it soon grows wearisome. Cowley delighted in it, as much as if he had invented it; but, not to mention the ancients, he might have found it full-blown in modern Italy. Thus Sannazaro:

Aspice quam variis distringar Lesbia curis!

Uror, et heu! nostro manat ab igne liquor: Sum Nilus, sumque AEtna simul; restringite flammas O lacrimae, aut lacrimas ebibe flamma meas.

One of the severe theologians of that time censured him as having published a book of profane and lascivious verses. From the charge of profaneness, the constant tenor of his life, which seems to have been eminently virtuous, and the general tendency of his opinions, which discover no irreverence of religion, must defend him; but that the accusation of lasciviousness is unjust, the perusal of his works will sufficiently evince.

Cowley's "Mistress" has no power of seduction: she "plays round the head, but comes not at the heart." Her beauty and absence, her kindness and cruelty, her disdain and inconstancy, produce no correspondence of emotion. His poetical accounts of the virtues of plants, and colours of flowers, is not perused with more sluggish frigidity. The compositions are such as might have been written for penance by a hermit, or for hire by a philosophical rhymer who had only heard of another s.e.x; for they turn the mind only on the writer, whom, without thinking on a woman but as the subject for his task, we sometimes esteem as learned, and sometimes despise as trifling, always admire as ingenious, and always condemn as unnatural.

The Pindaric Odes are now to be considered; a species of composition, which Cowley thinks Pancirolus might have counted in his list of the lost inventions of antiquity, and which he has made a bold and vigorous attempt to recover.

The purpose with which he has paraphrased an Olympic and Nemaean Ode is by himself sufficiently explained. His endeavour was, not to show precisely what Pindar spoke, but his manner of speaking. He was therefore not at all restrained to his expressions, nor much to his sentiments; nothing was required of him, but not to write as Pindar would not have written.

Of the Olympic Ode the beginning is, I think, above the original in elegance, and the conclusion below it in strength. The connection is supplied with great perspicuity; and the thoughts, which to a reader of less skill seem thrown together by chance, are concatenated without any abruption. Though the English ode cannot be called a translation, it may be very properly consulted as a commentary.

The spirit of Pindar is indeed not everywhere equally preserved.

The following pretty lines are not such as his "deep mouth" was used to pour:

Great Rhea's son, If in Olympus' top, where thou Sitt'st to behold thy sacred show, If in Alpheus' silver flight, If in my verse thou take delight, My verse, great Rhea's son, which is Lofty as that and smooth as this.

In the Nemaean Ode, the reader must, in mere justice to Pindar, observe, whatever is said of the original new moon, her tender forehead and her horns, is superadded by his paraphrast, who has many other plays of words and fancy unsuitable to the original, as,

The table, free for ev'ry guest, No doubt will thee admit, And feast more upon thee, than thou on it

He sometimes extends his author's thoughts without improving them.

In the Olympionic an oath is mentioned in a single word, and Cowley spends three lines in swearing by the Castalian Stream. We are told of Theron's bounty, with a hint that he had enemies, which Cowley thus enlarges in rhyming prose:

But in this thankless world the giver Is envied even by the receiver; 'Tis now the cheap and frugal fashion Rather to hide than own the obligation: Nay, 'tis much worse than so; It now an artifice does grow Wrongs and injuries to do, Lest men should think we owe.

It is hard to conceive that a man of the first rank in learning and wit, when he was dealing out such minute morality in such feeble diction, could imagine, either waking or dreaming, that he imitated Pindar.