I come from Heaven, am an immortal rayOf God; O joy! and back to God shall go.And here sweet love on wings me up doth stay.I live, I'm sure; and joy this life to know.Night and vain dreams begone—Father of lights,We live, as Thou, clad with eternal day.Faith, wisdom, love, fixed joy, free winged might—This is true life: all else death and decay.
He wrote also to record this a long mystical poem, calledPsychozoia(Life of the Soul), in 1640, at the age of twenty-six. He was flooded with a perpetual content.
In the pursuit of mysticism there are often several painful facts to record. In the first place, it is common to find a mystical temperament in those whose physical nature is not very strong or passionate. It seems as if certain natures, by the very fact that the ties which hold them to the earth are more than half-loosened already, have a strong affinity to the world of abstractions—as if the very weakness of their corporeal organisation held open a door through which strange shapes are seen moving, and airy voices heard to call; and again the mystical life is, more than any other, subject to deep depressions of spirit, dumb insensibilities, and heavy overshadowings from the towers of death. In the history of More's life no trace of either of these failings can be even faintly discovered. In the first place, he was of a strong and sound constitution; he did not know what it was to be languid or out of health; he was gifted with an extraordinary spring and plenty of pure animal spirits—"a rich ethereal sort ofbody, for what was inward," to use his own Pythagorean phrase; he says of himself that his body seemed built for a hundred years; that he had a high warmth and activity of thought that never flagged—notably too, that, after a long day of incessant thought, when he came to sleep he had a strange sort of narcotic power; and he was no sooner in a manner laid on his bed, that the falling of a house would scarce wake him, and that he woke in the morning to an inexpressible life and vigour, so that his thoughts and notions "rayed" about him.
There would seem to be little of the visionary here; and yet he confesses to a consciousness of what he calls "Enthusiasm"—which we should almost call madness: he could summon up a material object with such distinctness—visualise it, as it is now called—that it produced on him all the sensations of being seen with the outward eye: that is, he could at any moment, with his eyes open, command a scene or a person, so that the vision passed before and effaced the furniture of his room or the page of his book: and he says that all his life he could, with an almost inconsiderable effort of the will, fix his mind so intently on any subject or line of thought that he could spend as much as three hours in an intent uninterrupted reverie.
Such a man would be sure to fling himself with rapture into ascetic and mortifying practices—and so he did: the result was a prolonged exaltation of soul, apparently unaccompanied by any symptoms of exhaustion and depression, which is almost miraculous. One reverie, which he records, lasted for fifteen days, during which he slept and rose, ate and drank, went about his ordinary business, without, he asserts, any one suspecting that he was all the time occupied in a serene and rapturous contemplation. In this "lazy activity," he said, "he passed from notion to notion without any perceptible images or words in the mind;" as he walked in the street he could have fallen, he said, and kissed the stones for joy; when playing the theorbo, for he had considerable musical talent, he says that he sometimes became almost mad with pleasure—so overcome that he was forced to desist.
"I am not out of my wits [as he writes in a touching passage in one of his mystical dialogues] in this divine freedom, for God does not ride me as a horse, and guide me I know not whither, but converseth with me as a friend: I sport with the beasts of the earth; the lion licks my hand like a spaniel; the serpent sleeps upon my lap and stings me not. I play with the fowls of heaven, and the birds of air sit singing upon my fist. Thou canst call down the moon so near thee by thy magic charm that thou mayst kiss her, as she is said to have kissed Endymion—orcontrol and stop the course of the sun; or, with one stamp of thy foot, stay the motion of the earth.
"He that is come hither, God hath taken him to be His own familiar friend; and though He speaks to others aloof off, in outward religions and parables, yet He leads this man by the hand, teaching him intelligible documents upon all the objects of His providence: speaks to him plainly in His own language, sweetly insinuates Himself and possesseth all his faculties, understanding, reason, and memory. This is the darling of God, and a prince among men, far above the dispensation of either miracle or prophet."
There is no figure in literature that comes very close to this, except the solemn form of Prospero in the enchanted land:
The isle is full of noises.Sounds and sweet airs, that give delight and hurt not.
Henry More's life was a very simple one. His private means were large; we hear of his possessing the advowson of a living in Lincolnshire, Ingoldsby, to which he presented Mr. Ward, who wrote his life, and a large farm in the same county; he had also other sources of income. Thus he had no temptation to seek for wealth, or for preferment for the sake of wealth, since his tastes were extraordinarily simple. He did, as a matter of fact, give very largely in charity;his door, it was said, was like the door of an hospital; indeed, he was so liberal with his money, that in later life he made over to a nephew, Gabriel More, who had fallen into misfortunes through no fault of his own, not only his Lincolnshire estates, but a large legacy which he received from Lady Conway.
He was elected a Fellow of Christ's soon after taking his M.A. degree: his solitary and contemplative habits, his ascetic practices—for these, though not marked, were sure to be discussed in so small and intimate a society as a college—and the slight suspicion of fanaticism that he incurred, led some to doubt whether he would not be a melancholy addition to the Combination Room; but those who knew him better assured the authorities that, though he was studious and serious, yet he was a very pleasant companion, and in his way one of the merriest Greeks they were acquainted with.
He was offered several important posts. Great efforts were made to get him over to Ireland. On one occasion he was offered the Deanery of Christ Church, Dublin, and on another occasion the Provostship of Trinity College combined with the Deanery of St. Patrick's; as he never even considered these for a moment, he was offered two Irish Bishoprics in succession, the Lord-Lieutenant writing to him to press his acceptance of the latter. "Pray be not so morose orhumoursome," he wrote, "as to refuse all things you have not known so long as Christ's College."
Once even he was offered an English Bishopric, and his friends got him as far as Whitehall to kiss hands, but they concealed the real object of their designs, and when he understood it, he was not on any account to be persuaded.
Late in life he accepted a prebend at Gloucester, urgently pressed on him by Heneage Finch, Earl of Nottingham, the Lord Chancellor, brother of an old pupil, but he resigned it almost immediately in favour of one of his friends; and once, too, the Fellows offered to elect him to the Mastership of Christ's, when it fell vacant, but this also he declined.
He was tutor of the College for a time, and was brought thus into close relations with Sir John Finch, afterwards Ambassador to Turkey, younger brother of Lord Nottingham, then an undergraduate. Finch's sister, Lady Conway, had been converted to the tenets of the Quakers, and Henry More, whose interest in his pupil extended itself to his pupil's sister, laboured to reclaim her for several years; he was thus brought into contact with Penn and the leaders of the Quietist party.
Lady Conway, the original of Lady Cardiff in "John Inglesant," was afflicted by mysterious and incurable pains in the head, and not onlytravelled to consult physicians, but was accustomed to assemble quacks and specialists in her house at Ragley; there More spent most of his time, and composed several books at her ladyship's special request. There, too, he met the faith-healer Greatrakes, a moody man who had lived for some time in seclusion at his own ruined castle of Capperquin in Ireland; as well as the famous Van Helmont, Baron of Austria, Quaker and physician, son of the famous chemist of the same name. This man was all that Greatrakes was not; he had considerable medical skill, and a quiet pious character. To us the union of the preacher and physician is somewhat repugnant. We take it to mean that a man supplies the gaps in his practical knowledge by the pretensions of spiritual insight; we believe him to be proficient in neither. Van Helmont, however, seems to have been a genuine man, and to suffer from an undeserved contempt. As a matter of fact the possession of keen moral insight and sympathy is one of the most powerful instruments that a physician can claim; the physical and mental constitution react so invariably, that without it a man must be at a loss; the healing art need not necessarily halt at the threshold of hypochondria.
As I have touched on Lady Conway and Van Helmont, I may as well follow out the part that Henry More plays in that fascinating romance—John Inglesant. The life and works,down even to the style and mode of expression, of Henry More have interested and influenced Mr. Shorthouse very strongly. I have heard the conversation between John Inglesant and Dr. More, which is said to have taken place at Oulton, instanced as an admirabletour de forceof Mr. Shorthouse's style. The fact is that Henry More speaks there, not in character, but actually; nearly three-quarters of the conversation being sentences and aphorisms extracted straight from More's works. It is very ingeniously done, though a little too elaborate to be lifelike when regarded as conversation.
But the effects of Henry More's writings are traceable in several other parts ofJohn Inglesant. In the conversation to which I have alluded, More is made to sketch what he considers to be Inglesant's character and physical constitution. He says:
"There would seem to be some that by a divine sort of fate are virtuous and good to a great and heroical degree, and fall into the drudgery of the world rather for the good of others, or by a divine force, than through their own fault or any necessity of Nature; as Plato says, they descend hither to declare the being and nature of God, and for the greater health, purity, and perfection of the lower world."
He goes on to describe the "luciform vehicle" in which such a soul as this is apt to displayitself; and the great need of scrupulous temperance and purity to keep it undimmed.
Now these passages are, in the places where they occur in Henry More's works, undoubtedly and in reality autobiographical: they are extracted word for word from passages where he is obviously referring to himself.
The fact thus remains that, though Inglesant and More are represented as holding converse together, it is in reality More talking to himself—himself, that is, differently circumstanced and developed by other fortunes and influences. The figure of More was not quite romantic enough for Mr. Shorthouse, and his religious system lacked the vivid sense of the personal presence of Christ that is so marked a feature in Inglesant's career; but there is no reasonable doubt that Dr. More affords in the main outlines of his character and temperament the basis for that delicately drawn, laborious book which has made such a mark upon our late literature.
After Lady Conway's death, More was so far identified with her family and friends, as to write a preface, in the character of Van Helmont, for herRemains. At one time he thought of abandoning his collegiate life for his rectory of Ingoldsby in Lincolnshire; he intended to settle there with some friend as curate, and spend his time in quiet parochial work and study—but the scheme came to nothing. It may be doubtedwhether even he would have been proof against the trials of a country rectory; at Cambridge, indeed, he had quiet as much as he wished, but he had stimulus too: at Ingoldsby he would have had enforced quiet without the stimulus.
He was elected into the Royal Society, before its establishment by charter, in order to add lustre to it; for, though he never aimed at it, he had acquired long before his death a great reputation by his writings, which, as Mr. Chishull, the eminent bookseller of the day, said, ruled all the other booksellers in London.
He was a very laborious writer; his works fill folio volumes, and are full of curious learning, with a strange streak of humour, descending at times to a coarseness of expression which would not be tolerated now.
His voice, as was said, was somewhat inward, and not suited to the pulpit; and so he determined to give the world his thoughts in writing.
TheDivine Dialoguesare theMystery of Godlinessand theMystery of Iniquity; the first of these being an exhaustive inquiry, in many books, into the nature and spirit of heathen religions. It may be said at once that his method of treating the subject is unjust; he is far too anxious, in his zeal for the Truth, to attribute to them a licentious or contemptible origin and obscene or meaningless ceremonies. The "Mysteries of Eleusis," which, according toSocrates, had much symbolism of a strangely exalted type, are treated by More as both superstitious and dissolute—even Apollonius of Tyana, who, whether he existed actually or not, at least exhibits a high type of the Stoic ideal, is a solemn puppet in his eyes. When he has, then, to his satisfaction demonstrated the worthless and debasing character of these rites—which is surely to shut the eyes to the inextinguishable hunger for the holy expression of life, in worship, that has never really deserted the human race—he proceeds to bring the Christian faith upon the stage, and to show how it satisfies the deepest and highest instincts of humanity.
But More cannot be said to have been a Christian in the sense that Thomas-à-Kempis or Francis of Assisi were Christians; he did not hunger for the personal relation with Christ which is so profoundly essential to the true conception of the Christian ideal. He was a devout, a passionate Deist; he realised the in-dwelling of God's spirit in the heart, and the divine excellence of the Son of Man. But it was as a pattern, and not as a friend, that he gazed upon Him; the light that he followed was the uncovenanted radiance. For it is necessary to bear in mind that More and the Cambridge Platonists taught that the Jewish knowledge of the mysteries of God had passed through someundiscovered channel into the hands of Pythagoras and Plato; and that the divinity of their teaching was directly traceable to their connection with Revelation. They looked upon Plato and Pythagoras as predestined vehicles of God's spirit, appointed to prepare the heathen world for the reception of the true mysteries, though not admitted themselves to full participation in the same.
Besides these books, which are profound and logical, and composed in a style which is admirable by comparison to the ordinary writing of the times. More drilled away into some rather grotesque speculations on the subject of Apocalyptical interpretation; of this, he says, humorously, himself, that while he was writing it "his nag was over free, and went even faster than he desired, but he thought it was the right way"—and there is something pathetic indeed in the mode in which the passionate seekers after truth of those times beat their heads against the various theories of the direct communication of God with man, such as warning dreams and visions, and the face of the heavens by night. The idea is beautifully presented inJohn Inglesant, where the hero says to his brother, who has produced a false horoscope of himself: "I would have you think no more of this, with which a wicked man has tried to make the heavens themselves speak falsely.... FatherSt. Clare taught it me among other things, and I have seen many strange answers that he has known himself—but it is shameful that the science should be made a tool of by designing men."
This is said so naturally, with so simple and melancholy a faith, that it seems to me to reproduce the feeling of even the more refined and cultivated men of the time about such things in an infinitely affecting way.
Besides these there are published letters of Henry More's, prolix for the general reader, but interesting enough if the man's own personality appeals to you: some very disappointing hymns and didactic poems, stiff and unlovely to a strange degree for so deep and graceful a writer; and many other scattered works, such as theEnchiridion Ethicum, which it is impossible to analyse here.
More had a very facile style: he used to say that his friends had been always wanting him to go up upon a stall and speak to the people; but that was not his way: he should not have known what to have done in the world if he could not have preached at his fingers' ends. He said that when he sat down to write, though his thoughts were perfectly clear, yet they were too numerous; and that he had to cut his way through them as through a wood. However, he would never correct: the thing must go ashe first wrote it; "if he saw any faults in the first draft, he could correct them, though it was not easy to him—that this correction went against the grain and seldom seemed to him so savoury as the rest." He was not inclined to overvalue his work. "Like the ostrich," he said, "I lay my eggs in the sand, and hope they will prove vital and prolific in time."
Though he produced very voluminous writings, yet he sometimes manifested a strong and healthy repugnance to the task of expressing himself: he had none of the gloomy laboriousness that is never satisfied with its performance, and yet never takes a lively pleasure in it. When he had finished one of his more lengthy works, he said pleasantly to a friend, as he threw down his pen: "Now for three months I will neither think a wise thought, nor speak a wise word, nor do a wise thing." Once in the middle of some troublesome work he said, with considerable irritation, to a friend who was sitting with him, "When I once get my hands out of the fire, I shall not very suddenly thrust them in afresh." In a letter to Dr. Worthington, Master of Jesus, he says: "I am infinitely pleased that I find my obligation of writing books not too fierce in me, and myself left free to my own more private meditations. I have lived the servant of the public hitherto: it is a great ease to me to be manumitted thus and left to the polishing ofmyself, and licking myself whole of the wounds I have received in these hot services;" adding, that as soon as he was free from his present business, his purpose was to recoil into that dispensation he was in before he wrote or published anything to the world—in which he says he very sparingly so much as read any books, but sought a more near union with a certain life and sense (the sixth sense), "which I infinitely prefer before the dryness of mere reason or the wantonness of the trimmest imagination."
He had no turn for dry and laborious criticism: he studied things more than words: of his own skill in dead languages, though it was in reality very considerable, he spoke jestingly, in that depreciating ironical way that he always used of himself—that he was like the man that passed by a garrison with a horseshoe hanging at his belt, when a bullet being shot at him struck right upon it, upon which he remarked, "that a little armour was sufficient, if well placed;"—and he often said, in writing his books, that when he came to criticism and quotation, it was "like going over ploughed lands."
I subjoin a few extracts from an ode by the "Ingenious and Learned" Mr. Norris, which is prefixed to Ward'sLife of More. The composition has great merit; it is in Cowley's manner, but is the precursor of the art of Gray. Itserves, I think, to emphasize both the opinion which his contemporaries deliberately held of him, as well as the points in his life and work which seem most worthy of our attention.
Norris writes:
Truth's outer courts were trod before,Sacred was her recess: that was reserved for More.Thou our great catholic professor art,All science is annexed to thy unerring chair.Some lesser synods of the wiseThe Muses kept in Universities;But never yet till in thy soulHad they a council œcumenical.
And again:
Strange restless curiosity!Adam himself came short of thee:He tasted of the fruit, thou bear'st away the tree.
And this is a well-conceived epigram:
How calm thy life, how easy, how secureThou intellectual epicure.
The conclusion is:
Thy stage of learning ends ere that of life be done;There's now no work for thy accomplished mindBut to survey thy conquests, and inform mankind.
More was a tall, spare man, well-proportioned and graceful; his face was noted for its serene and lively air. He was of ruddy complexion, which grew pale in later life, though always clearand spirited; and "his eye," says a friend who was often with him, "was hazel," and as vivid as an eagle's. He had luxurious tastes in dress, and the air of a courtier: none of the clownishness of the retired scholar was in the least perceptible in his motions, words, or general bearing.
His portrait represents him in his later years as much such a man as we should have imagined: he wears his hair, which was light and long, over his shoulders, and a faint streak of moustache upon his upper lip; the face is grave but not displeasing; it has the broad arched forehead, strongly indented, that is characteristic of masculine intellect; very high and prominent cheek-bones, big firm lips, and a massive chin; the cheek is healthy and not attenuated; the eyes clear and steady, the right eyelid being somewhat drooped, thus conveying a humorous look to the face; he wears the black gown, with girded cassock, and a great silk scarf—theamussis dignitatis—over his shoulders; the gown is tied at the neck by strings; and the broad white bands give a precise and quiet air to the whole.
Though temperate and abstemious in life and diet, he was not in the least what we should call an ascetic: he tried some experiments in diet in early life, such as vegetarianism, which he practised for a whole year, but found it did not suit him, and came back to meat; in fact, though heusually dined in Hall, yet he absented himself on Friday, when fish was eaten, and dined in his own rooms, eating meat because he found it more wholesome; and he was not an abstainer—his regular drink was small beer, of which he uttered an enthusiastic panegyric, saying that it was a divine drink. He loved the open air; he said he would always be in it if possible; that he studied best in an arbour without his hat, so that the air might play on his temples. He was very sensitive to weather, and found that the autumn brought with it a melancholy which distressed him.
At the age of sixty-six he wrote his last book, and returned to the quiet contemplative life which suited him so well, and he says that he never had enjoyed so long a period of serene light and inward happiness; but clouds began to gather in his mind—in reality it was the failing body, but he attributed it to the mind, and was rather unhappy about himself. He was then attacked by a kind of low fever, and fainted one evening in the Combination Room after supper: however, as a healthy man is apt to do, he paid no attention to this, but he found himself growing weaker. Once pathetically, as he sat talking in his room, he spread out his hands in the sun; they were thin and delicate with growing weakness. "My body," he said, "is strangely run out." He then began to suffer from sleeplessness; for weekstogether he could get no rest. "I thought I should have died laughing," he said to Dr. Ward, "but I find myself like a fish out of its element, that lies tumbling in the dust of the street." Then, after a pause: "I am but the remains of an ordinary man." His mind began to fail him; he could no longer read or think. He said to Dr. Davies, an old friend, that some one had said to him that this, if known, might prejudice his writings; "but," he added, "I have read of a person, an excellent mathematician, who at last came to dote, but none will say that any of his former demonstrations were any the worse for that."
At last he got very weary of the weakness and the long strain. "Never any person," he said, "ever thirsted more after his meat and drink than I do for a release from the body. Yet," he added, "I deserved greater afflictions from the hand of God than those I have met with."
He dwelt much on the next world. "I am glad to think when I am gone," he said, "that I shall still converse with this world in my writings. But it is a greater satisfaction to me that I am going to those with whom I shall be as well acquainted in a quarter of an hour as if I had known them many years."
The day before he died an old friend came to see him. Henry More was very silent, but atlast broke out: "Doctor, I have marvellous things to tell you." "Sir," said the other, "you are full, I suppose, of Divine joy." "Full," he said, with tears in his eyes. The other saw he was so extremely weak that he forebore to question him further. When his nephew came to see him in the evening, he said that he should soon be gone. "I am going to play you no tricks," he added; "I am not going to trot and loll and hang on."
The next morning he understood that he had only a few hours to live. "O praeclarum illum diem!" he said, quoting from Cicero. They were almost his last words. He died as the day was dawning, so quietly that the nurse who sat by him did not know when the passage was. He was laid to rest in the College Chapel, having just entered upon his seventy-third year.
The great and singular charm of such a life is its union of mystical tendencies with such perfect sanity. For nearly half a century Henry More lived in a light which he did not invent, but found. He cannot be suspected of fanaticism or weakness; from the day that he found peace in life to the day that he entered into rest, he lived in the strength of a magnificent ideal. His great discovery burst upon him like a flash of light—the nearness and accessibility of God, whom he had been seeking so far off and at such a transcendent height; his realization of thetruth that the kingdom of God does not dwell in great sublimities, and, so to speak, upon the mountain tops, but that it is within each one of us. But this very simplicity he saw was the cause of the unpopularity of the greatest ideals. Men prefer their own Abana and Pharpar to the little river rushing in desolate places. A doctrine does not recommend itself to the busy thinkers of the world unless it be huge and arduous; and thus he made up his mind to be lonely in the world, to face and support the isolation of greatness. "At first, indeed," he said, "the truth appeared so very clear, as well as glorious to me, that I fancied I should have carried all before me; but a little experience served to cure me of this vanity. I quickly perceived that I was not likely to be over-popular."
And yet, by facing and adopting this difficulty, he gained the very thing on which he had turned his back. He made a success of life. He was not for ever dying to the world; he lived in it. Though diseased and shattered moralists may talk of the vanity of human aims and the worthlessness of this world, life surely has its meaning. We are not thrust into a pit from which our only duty is to escape. Something of the greatness and glory of the higher region dwells in the grace and beauty of the nether world. Shadows they may be of far-off transcendent realities, butthe very shadows of divine things are from their origin divine. To gain a true standard; to trace the permanent elements; to fight the darkness at every inch: this is to live life to the uttermost—not to slink out of it, not to despise it, not to make light of it. These are the resources of the cynic, the disappointed man, the involuntary saint; but to live in the world and not be of it—this is the secret of the light that emanates from but is not confined to heaven.
FEW poets are of sufficiently tough and impenetrable fibre to be able with impunity to mix with public affairs. Even though the spring of their inspiration be like the fountain in the garden of grace, "drawn from the brain of the purple mountain that stands in the distance yonder," that stream is apt to become sullied at the very source by the envious contact of the world. Poets conscious of their vocation have generally striven sedulously, by sequestering their lives somewhat austerely from the current of affairs, to cultivate the tranquillity and freshness on which the purity of their utterance depends. If it be hard to hear sermons and remain a Christian, it is harder to mix much with men and remain an idealist. And if this be true of commerce in its various forms, law, medicine, and even education, it seems to be still more fatally true of politics. Of course the temptation of politics to a philosophical mind is very great. To be at the centre of the machine,to be able perhaps to translate a high thought into a practical measure; to be able to make some closer reconciliation between law and morality, as the vertical sun draws the shadow nearer to the feet,—all this to a generous mind has an attraction almost supreme.
And yet the strain is so great that few survive it. Sophocles was more than once elected general, and is reported to have kept his colleagues in good humour by the charm of his conversation through a short but disagreeable campaign. Dante was an ardent and uncompromising revolutionary. Goethe and Lamartine were statesmen. Among our own poets, the lives of Spenser and Addison might perhaps be quoted as fairly successful compromises; but of poets of the first rank Milton is the only one who deliberately abandoned poetry for half a lifetime, that he might take an active part in public life.
It is perhaps to Milton's example, and probably to his advice, that we owe the loss of a great English poet. It seems to have been, if not at Milton's instigation, at any rate by his direct aid, that Andrew Marvell was introduced to public life. The acquaintance began at Rome; but Marvell was introduced into Milton's intimate society, as his assistant secretary, at a most impressionable age. He hadwritten poetry, dealing likeL'AllegroandIl Penserosomainly with country subjects, and was inclined no doubt to hang on the words of the older poet as on an oracle of light and truth. We can imagine him piecing out his aspirations and day-dreams, while the poet of sterner stuff, yet of all men least insensible to the delights of congenial society, points out to him the more excellent way, bidding him to abjure Amaryllis for a time. He has style, despatches will give it precision; knowledge of men and life will confirm and mature his mind; the true poet must win a stubborn virility if he is to gain the world. The younger and more delicate mind complies; and we lose a great poet, Milton gains an assistant secretary, and the age a somewhat gross satirist.
At a time like this, when with a sense of sadness we can point to more than one indifferent politician who might have been a capable writer, and so very many indifferent writers who could have been spared to swell the ranks of politicians, we may well take the lesson of Andrew Marvell to heart.
The passion for the country which breathes through his earlier poems, the free air which ruffles the page, the summer languors, the formal garden seen through the casements of the cool house, the close scrutiny of woodland sounds, such as the harsh laughter of the woodpecker,the shrill insistence of the grasshopper's dry note, the luscious content of the drowsy, croaking frogs, the musical sweep of the scythe through the falling swathe; all these are the work of no town-bred scholar like Milton, whose country poems are rather visions seen through the eyes of other poets, or written as a man might transcribe the vague and inaccurate emotions of a landscape drawn by some old uncertain hand and dimmed by smoke and time. Of course Milton'sIl PenserosoandL'Allegrohave far more value even as country poems than hundreds of more literal transcripts. From a literary point of view indeed the juxtapositions of half a dozen epithets alone would prove the genius of the writer. But there are no sharp outlines; the scholar pauses in his walk to peer across the watered flat, or raises his eyes from his book to see the quiver of leaves upon the sunlit wall; he notes an effect it may be; but his images do not come like treasures lavished from a secret storehouse of memory.
With Andrew Marvell it is different, though we will show by instances that even his observation was sometimes at fault. Where or when this passion came to him we cannot tell; whether in the great walled garden at the back of the old school-house at Hull, where his boyish years were spent; at Cambridge, where the oozy streams lapped and green fens crawledalmost into the heart of the town, where snipe were shot and wild-duck snared on the site of some of its now populous streets; at Meldreth perhaps, where doubtless some antique kindred lingered at the old manor-house that still bears his patronymic, "the Marvells."—Wherever it was,—and such tastes are rarely formed in later years—the delicate observation of the minute philosopher, side by side with the art of intimate expression, grew and bloomed.
We see a trace of that leaning nature, the trailing dependence of the uneasy will of which we have already spoken, in a story of his early years. The keen-eyed boy, with his fresh colour and waving brown hair, was thrown on the tumultuous world of Cambridge, it seems, before he was thirteen years of age; a strange medley no doubt,—its rough publicity alone saving it, as with a dash of healthy freshness, from the effeminacy and sentimentalism apt to breed in more sheltered societies. The details of the story vary; but the boy certainly fell into the hands of Jesuits, who finally induced him to abscond to one of their retreats in London, where, over a bookseller's shop, after a long and weary search, his father found him and persuaded him to return. Laborious Dr. Grosart has extracted from the Hull Records a most curious letter relating to this incident, in which a man whose son has been inveigled away insimilar circumstances, asks for advice from Andrew Marvell's father.
Such an escapade belongs to a mind that must have been ardent and daring beyond its fellows; but it also shows a somewhat shifting foundation, an imagination easily dazzled, and a pliability of will that cost us, we may believe, a poet. After Cambridge came some years of travel, which afforded material for some of his poems, such as the satire on Holland, of which the cleverness is still apparent, though its elaborate coarseness and pedantic humour make it poor pasture to feed the mind upon.
But the period to which we owe almost all the true gold among his poems, is the two years which he spent at Nunappleton House, 1650-1652, as tutor to the daughter of the great Lord Fairfax, the little Lady Mary Fairfax, then twelve years old. Marvell was at this time twenty-nine; and that exquisite relation which may exist between a grown man, pure in heart, and a young girl, when disparity of fortune and circumstance forbids all thought of marriage, seems to have been the mainspring of his song. Such a relation is half tenderness which dissembles its passion, and half worship which laughs itself away in easy phrases. The lyric "Young Love," which indubitably though not confessedly refers to Mary Fairfax, is one of the sweetest poems of pure feeling in the language.
Common beauties stay fifteen;Such as yours should swifter move,Whose fair blossoms are too greenYet for lust, but not for love.Love as much the snowy lamb,Or the wanton kid, doth prizeAs the lusty bull or ram,For his morning sacrifice.Now then love me; Time may takeThee before thy time away;Of this need we'll virtue make,And learn love before we may.
It is delightful in this connection to think of the signet-ring with the device of a fawn,—which he used in early life and may still be seen on his papers,—as a gift of his little pupil, earned doubtless by his poem on the Dying Fawn, which is certainly an episode of Lady Mary's childhood.
In this group of early poems, which are worth all the rest of Marvell's work put together, several strains predominate. In the first place there is a close observation of Nature, even a grotesque transcription, with which we are too often accustomed only to credit later writers. For instance, in "Damon the Mower" he writes:
The grasshopper its pipe gives o'er,And hamstringed frogs can dance no more;But in the brook the green frog wades,And grasshoppers seek out the shades.
The second line of this we take to refer to the condition to which frogs are sometimes reducedin a season of extreme drought, when the pools are dry. Marvell must have seen a frog with his thighs drawn and contracted from lack of moisture making his way slowly through the grass in search of a refreshing swamp; this is certainly minute observation, as the phenomenon is a rare one. Again, such a delicate couplet as,
And through the hazels thick espyThe hatching throstle's shining eye,
is not the work of a scholar who walks a country road, but of a man who will push his way into the copses in early spring, and has watched with delight the timorous eye and the upturned beak of the thrush sunk in her nest. Or again, speaking of the dwindled summer stream running so perilously clear after weeks of drought that the fish are languid:
The stupid fishes hang, as plainAs flies in crystal overta'en,
Or of the hayfield roughly mown, into which the herd has been turned to graze:
And what below the scythe increast,Is pinched yet nearer by the beast.
The mower's work, begun and ended with the dews, in all its charming monotony, seems to have had a peculiar attraction for Marvell; he recurs to it in more than one poem.
I am the mower Damon, knownThrough all the meadows I have mown;On me the morn her dew distilsBefore her darling daffodils.
And again, of the mowers,
Who seem like Israelites to beWalking on foot through a green sea.To them the grassy deeps divideAnd crowd a lane to either side.
The aspects of the country on which he dwells with deepest pleasure—and here lies the charm—are not those of Nature in her sublimer or more elated moods, but the gentler and more pastoral elements, that are apt to pass unnoticed at the time by all but the true lovers of the quiet country side, and crowd in upon the mind when surfeited by the wilder glories of peak and precipice, or where tropical luxuriance side by side with tropical aridity blinds and depresses the sense, with the feeling that made Browning cry from Florence,
Oh, to be in England, now that April's there!
Marvell's lines, "On the Hill and Grove at Billborow," are an instance of this; there is a certain fantastic craving after antithesis and strangeness, it is true, but the spirit underlies the lines. The poem however must be read in its entirety to gain the exact impression.
Again, for simple felicity, what could be more airily drawn than the following from "The Garden"?—
Here at the fountain's sliding foot,Or at some fruit-tree's mossy root,Casting the body's vest aside,My soul into the boughs doth glide,There like a bird it sits and sings,Then whets and claps its silver wings.
Or this, from the Song to celebrate the marriage of Lord Fauconberg and the Lady Mary Cromwell, of the undisturbed dead of night?—
The astrologer's own eyes are set,And even wolves the sheep forget;Only this shepherd, late and soon,Upon this hill outwakes the moon.Hark! how he sings with sad delightThrough the clear and silent night.
Other poems, such as the "Ode on the Drop of Dew" and the "Nymph Complaining for the Death of her Fawn," too long to be quoted here, are penetrated with the same essence.
At the same time it must be confessed that Marvell's imagery is sometimes at fault—it would be strange if it were not so; he falls now and then, the wonder is how rarely, to a mere literary conceit. Thus the mower Damon sees himself reflected in his scythe; the fawn feeds on roses till its lip "seems to bleed," not with a possibly lurking thorn, but with the hue of its pasturage. With Hobbinol and Tomalin for the names of swain and nymph unreality is apt to grow. When the garden is compared to a fortress and its scents to a salvo of artillery—
Well shot, ye firemen! O how sweetAnd round your equal fires do meet—
and,
Then in some flower's beloved hutEach bee as sentinel is shut,And sleeps so, too—but if once stirred,She runs you through, nor asks the word—
here, in spite of a certain curious felicity, we are in the region of false tradition and rococo expression. The poem of "Eyes and Tears," again (so whimsically admired by Archbishop Trench), is little more than a string of conceits; and when in "Mourning" we hear that
She courts herself in amorous rain,Herself both Danae and the shower;
when we are introduced to Indian divers who plunge in the tears and can find no bottom, we think of Macaulay's "Tears of Sensibility," and Crashaw's fearful lines on the Magdalene's eyes—
Two walking baths, two weeping motions,Portable and compendious oceans.
Nevertheless Marvell's poems are singularly free as a rule from this strain of affectation. He has none of the morbidity that often passes for refinement. The free air, the wood-paths, the full heat of the summer sun—this is his scenery; we are not brought into contact with the bones beneath the rose-bush, the splinteredsun-dial, and the stagnant pool. His pulses throb with ardent life, and have none of the "inexplicable faintness" of a deathlier school. What would not Crashaw have had to say of the "Nuns of Appleton" if he had been so unfortunate as to have lighted on them? But Marvell writes:
Our orient breaths perfumed areWith incense of incessant prayer,And holy water of our tearsMost strangely our complexion clears;Not tears of Grief, but such as thoseWith which calm Pleasure overflows.
And passing by a sweet and natural transition to his little pupil, the young Recluse of Nunappleton—
I see the angels, in a crown,On you the lilies showering down,And, round about you, glory breaks,That something more than human speaks
The poems contain within themselves the germ of the later growth of satire in the shape of caustic touches of humour, as well as a certain austere philosophy that is apt to peer behind the superficial veil of circumstance, yet without dreary introspection. There is a Dialogue between Soul and Body, which deals with the duality of human nature which has been the despair of all philosophers and the painful axiom of all religious teachers. Marvell makes the Soul say:
Constrained not only to endureDiseases, but what's worse, the cure,And ready oft the port to gain,Am shipwrecked into health again.
In the same connection in "The Coronet," an allegory of the Ideal and the Real, he says:
Alas! I find the serpent old,Twining in his speckled breast,About the flowers disguised doth fold,With wreaths of fame and interest.
Much of Marvell's philosophy however has not the same vitality, born of personal struggle and discomfiture, but is a mere echo of stoical and pagan views of life and its vanities drawn from Horace and Seneca, who seem to have been his favourite authors. Such a sentiment as the following, from "Appleton House"—
But he, superfluously spread,Demands more room alive than dead;What need of all this marble crust,To impart the wanton mole of dust?—
and from "The Coy Mistress"—
The grave's a fine and private place,But none, methinks, do there embrace—
are mere pagan commonplaces, however daintily expressed.
But there is a poem, an idyll in the form of a dialogue between Clorinda and Damon, which seems to contain an original philosophical motive.Idylls in the strict sense of the word are not remarkable for including a moral; or if they do include one it may be said that it is generally bad, and is apt to defend the enjoyment of an hour against the conscience of centuries; but in "Clorinda and Damon," the woman is the tempter, and Damon is obdurate. She invites him to her cave, and describes its pleasures.
Clo........ A fountain's liquid bellTinkles within the concave shell.Da.Might a soul bathe there and be clean,Or slake its drought?Clo.What is't you mean?D.Clorinda, pastures, caves, and springs,These once had been enticing things.Clo.And what late change?—Da.The other dayPan met me.Clo.What did great Pan say?Da.Words that transcend poor shepherds' skill.
This poem seems a distinct attempt to make of the sickly furniture of the idyll a vehicle for the teaching of religious truth. Is it fanciful to read in it a poetical rendering of the doctrine of conversion, the change that may come to a careless and sensuous nature by being suddenly brought face to face with the Divine light? It might even refer to some religious experience of Marvell's own: Milton's "mighty Pan," typifying the Redeemer, is in all probability the original.
The work then on which Marvell's fame chiefly subsists—with the exception of one poem whichbelongs to a different class, and will be discussed later, the Horatian Ode—may be said to belong to the regions of nature and feeling, and to have anticipated in a remarkable degree the minute observation of natural phenomena characteristic of a modern school, even to a certain straining after unusual, almost bizarre effects. The writers of that date, indeed, as Green points out, seem to have become suddenly and unaccountably modern, a fact which we are apt to overlook owing to the frigid reaction of the school of Pope. Whatever the faults of Marvell's poems may be, and they are patent to all, they have a strain of originality. He does not seem to imitate, he does not even follow the lines of other poets; never,—except in a scattered instance or two, where there is a faint echo of Milton,—does he recall or suggest that he has a master.
At the same time the lyrics are so short and slight that any criticism upon them is apt to take the form of a wish that the same hand had written more, and grown old in his art. There is a monotony, for instance, about their subjects, like the song of a bird, recurring again and again to the same phrase; there is an uncertainty, an incompleteness not so much of expression as of arrangement, a tendency to diverge and digress in an unconcerned and vagabond fashion. There are stanzas, even long passages, which a lover of proportion such as Gray (who excised one of themost beautiful stanzas of the Elegy because it made too long a parenthesis) would never have spared. It is the work of a young man trying his wings, and though perhaps not flying quite directly and professionally to his end, revelling in the new-found powers with a delicious ecstasy which excuses what is vague and prolix; especially when over all is shed that subtle, precious quality which makes a sketch from one hand so unutterably more interesting than a finished picture from another,—which will arrest with a few commonplace phrases, lightly touched by certain players, the attention which has wandered throughout a whole sonata.
The strength of Marvell's style lies in its unexpectedness. You are arrested by what has been well called a "pre-destined" epithet, not a mere otiose addition, but a word which turns a noun into a picture; the "hook-shouldered" hill "to abrupter greatness thrust," "the sugar's uncorrupting oil," "the vigilant patrol of stars," "the squatted thorns," "the oranges like golden lamps in a green night," "the garden's fragrant innocence,"—these are but a few random instances of a tendency that meets you in every poem. Marvell had in fact the qualities of a consummate artist, and only needed to repress his luxuriance and to confine his expansiveness. In his own words,
Height with a certain grace doth bend,But low things clownishly ascend.
Before passing on to discuss the satires I may be allowed to say a few words on a class of poems largely represented in Marvell's works, which may be generally called Panegyric.
Quite alone among these—indeed, it can be classed with no other poem in the language—stands the Horatian Ode on Cromwell's return from Ireland. Mr. Lowell said of it that as a testimony to Cromwell's character it was worth more than all Carlyle's biographies; he might without exaggeration have said as much of its literary qualities. It has force with grace, originality with charm, in almost every stanza. Perhaps the first quality that would strike a reader of it for the first time is its quaintness; but further study creates no reaction against this in the mind—the usual sequel to poems which depend on quaintness for effect. But when Mr. Lowell goes on to say that the poem shows the difference between grief that thinks of its object and grief that thinks of its rhymes (referring to Dryden), he is not so happy. The pre-eminent quality of the poem is its art; and its singular charm is the fact that it succeeds, in spite of being artificial, in moving and touching the springs of feeling in an extraordinary degree. It is a unique piece in the collection, the one instance where Marvell's undoubted genius burned steadily through a whole poem. Here he fliespenna metuente solvi. It is in completeness more thanin quality that it is superior to all his other work, but in quality too it has that lurking divinity that cannot be analysed or imitated.
'Tis madness to resist or blameThe force of angry heaven's flame,And if we would speak true,Much to the man is dueWho from his private gardens, whereHe lived reservèd and austere,(As though his highest plotTo plant the bergamot,)Could by industrious valour climbTo ruin the great work of Time,And cast the kingdoms oldInto another mould.
This is the apotheosis of tyrants; it is the bloom of republicanism just flowering into despotism. But the Ode is no party utterance; the often-quoted lines on the death of Charles, in their grave yet passionate dignity, might have been written by the most ardent of Royalists, and have often done service on their side. But, indeed, the whole Ode is above party, and looks dearly into the heart and motives of man. It moves from end to end with the solemn beat of its singular metre, its majestic cadences, without self-consciousness or sentiment, austere, but not frigid.
Marvell's other panegyrics are but little known, though the awkward and ugly lines on Milton have passed into anthologies, owing to their magnificent exordium, "When I beheld the poet blind yet old."But no one can pretend that such lines as these are anything but prosaic and ridiculous to the last degree—
Thou hast not missed one thought that could be fit,And all that was improper dost omit;. . . . . . . . . . . . . . . . . .At once delight and horror on us seize,Thou sing'st with so much gravity and ease—
though the unfortunate alteration in the meaning of the wordimpropermakes them now seem even more ridiculous than they are. The poems on the "First Anniversary of the Government of the Lord Protector," on the "Death of the Lord Protector," and on "Richard Cromwell," are melancholy reading though they have some sonorous lines.
And as the angel of our CommonwealTroubling the waters, yearly mak'st them heal,
may pass as an epigram. But that a man of penetrating judgment and independence of opinion should descend to a vein of odious genealogical compliment, and speak of the succeeding of
Rainbow to storm, Richard to Oliver,
and add that
A Cromwell in an hour a prince will grow,
by way of apology for the obvious deficiencies of his new Protector, makes us very melancholy indeed. Flattery is of course a slough in which many poets have wallowed; and a little grovellingwas held to be even more commendable in poets in that earlier age; but we see the pinion beginning to droop, and the bright eye growing sickly and dull. Milton's poisonous advice is already at work.
But we must pass through a more humiliating epoch still. The poet of spicy gardens and sequestered fields seen through the haze of dawn is gone, not like the Scholar Gipsy to the high lonely wood or the deserted lasher, but has stepped down to jostle with the foulest and most venal of mankind. He becomes a satirist, and a satirist of the coarsest kind. His pages are crowded with filthy pictures and revolting images; the leaves cannot be turned over so quickly but some lewd epithet or vile realism prints itself on the eye. His apologists have said that it is nothing but the overflowing indignation of a noble mind when confronted with the hideous vices of a corrupt court and nation; that this deep-seated wrath is but an indication of the fervid idealistic nature of the man; that the generous fire that warmed in the poems, consumed, in the satires; that the true moralist does not condone but condemn. To this we would answer that it is just conceivable that a satirist may be primarily occupied by an immense moral indignation, and no doubt that indignation must bear a certain part in all satires; but it is not the attitude of a hopeful or generous soul. The satirist is after all onlydestructive; he has not learned the lesson that the only cure for old vices is new enthusiasms. Nor if a satirist is betrayed into the grossest and most unnecessary realism can we acquit him entirely of all enjoyment of his subject. It is impossible to treat of vice in the intimate and detailed manner in which Marvell treats of it without having, if no practical acquaintance with your subject, at least a considerable conventional acquaintance with it, and a large literary knowledge of the handling of similar topics; and when one critic goes so far as to call Marvell an essentially pure-minded man, or words to that effect, we think he would find a contradiction on almost every page of the satires.
They were undoubtedly popular. Charles II. was greatly amused by them; and their reputation lasted as late as Swift, who spoke of Marvell's genius as pre-eminently indicated by the fact that though the controversies were forgotten, the satires still held the mind. He started with a natural equipment. That he was humorous his earlier poems show, as when for instance he makes Daphne say to Chloe:
Rather I away will pineIn a manly stubbornness,Than be fatted up express,For the cannibal to dine.
And he shows, too, in his earlier poems, much of the weightier and more dignified art of statementthat makes the true satirist's work often read better in quotations than entire; as for instance—
Wilt thou all the glory have,That war or peace commend?Half the world shall be thy slave,The other half thy friend.
But belonging as they do to the period of melancholy decadence of Marvell's art, we are not inclined to go at any length into the question of the satires. We see genius struggling like Laocoon in the grasp of a power whose virulence he did not measure, and to whom sooner or later the increasing languor must yield. Of course there are notable passages scattered throughout them. In "Last Instructions to a Painter," the passage beginning, "Paint last the king, and a dead shade of night," where Charles II. sees in a vision the shapes of Charles I. and Henry VIII. threatening him with the consequences of unsympathetic despotism and the pursuit of sensual passion, has a tragic horror and dignity of a peculiar kind; and the following specimen from "The Character of Holland" gives on the whole a good specimen of the strength and weakness of the author:
Holland, that scarce deserves the name of land,As but the off-scouring of the British sand,And so much earth as was contributedBy English pilots when they heaved the lead,Or what by the Ocean's slow alluvion fellOf shipwrecked cockle and the mussel-shell,This undigested vomit of the sea,Fell to the Dutch by just propriety.
Clever beyond question; every couplet is an undeniable epigram, lucid, well-digested, elaborate; pointed, yet finikin withal,—it is easy to find a string of epithets for it. But to what purpose is this waste? To see this felicity spent on such slight and intemperate work is bitterness itself; such writing has, it must be confessed, every qualification for pleasing except the power to please.
Of the remainder of Marvell's life, there is little more to be said. He was private tutor at Eton to a Master Dutton, a relative of Cromwell's, and wrote a delightful letter about him to the Protector; but the serious business of his later life was Parliament. Of his political consistency we cannot form a high idea. He seems, as we should expect him to have been, a Royalist at heart and by sympathy all along; "Tis God-like good," he wrote, "to save a falling king." Yet he was not ashamed to accept Cromwell as the angel of the Commonweal, and to write in fulsome praise of Protector Richard; and his bond of union with the extreme Puritans was his intense hatred of prelacy and bishops which is constantly coming up. In "The Loyal Scot" he writes:
The friendly loadstone has not more combined,Than Bishops cramped the commerce of mankind.
And in "The Bermudas" he classes the fury of the elements with "Prelates' rage" as the natural enemies of the human race. Such was not the intermeddling in affairs that Milton had recommended.To fiddle, while Rome burnt, upon the almost divine attributes of her successive rulers, this was not the austere storage of song which Milton himself practised.
Andrew Marvell was for many years member for Hull, with his expenses paid by the Corporation. His immense, minute, and elaborate correspondence with his constituents, in which he gave an exact account of the progress of public business, remains to do him credit as a sagacious and conscientious man. But it cannot be certainly imputed to any higher motive than to stand well with his employers. He was provided with the means of livelihood, he was in a position of trust and dignity, and he may well be excused for wishing to retain it. In spite of certain mysterious absences on the Continent, and a long period during which he absented himself from the House in the suite of an embassy to Russia, he preserved the confidence of his constituents for eighteen years, and died at his post. He spoke but little in the House, and his reported speeches add but little to his reputation. One curious incident is related in the Journals. In going to his place he stumbled over Sir Philip Harcourt's foot, and an interchange of blows in a humorous and friendly fashion with hand and hat, took place. At the close of the sitting the Speaker animadverted on this, Marvell being absent; and a brief debate took place the next day on the subject, Marvell speaking withsome warmth of the Speaker's grave interference with what appears to have been nothing more than a piece of childish horse-play. "What passed (said Mr. Marvell) was through great acquaintance and familiarity between us: He never gave him an affront nor intended him any. But the Speaker cast a severe reflection upon him yesterday when he was out of the House, and he hopes that as the Speaker keeps us in order, he will keep himself in order for the future."
For one thing Marvell deserves high credit; in a corrupt age, he kept his hands clean, refusing even when hard pressed for money a gift of £1000 proffered him by Danby, the Lord-Treasurer, "in his garret," as a kind of retainer on the royal side. In Hartley Coleridge's life of Marvell this is told in a silly, theatrical way, unworthy and not even characteristic of the man. "Marvell," he says, "looking at the paper (an order on the Treasury which had been slipped into his hand) calls after the Treasurer, 'My lord, I request another moment.' They went up again to the garret; and Jack the servant-boy was called. 'Jack, child, what had I for dinner yesterday?' 'Don't you remember, sir? You had the little shoulder of mutton that you ordered me to bring from a woman in the market.' 'Very right, child. What have I for dinner to-day?' 'Don't you know, sir, that you bid me lay by the blade-bone to broil?' 'Tis so; very right, child; go away.''My lord, do you hear that? Andrew Marvell's dinner is provided. There's your piece of paper; I want it not. I know the sort of kindness you intended. I live here to serve my constituents; the Ministry may seek men for their purpose,—I am not one.'" But with the exception of perhaps the concluding words, there is no reason to think the story authentic, though the fact is unquestioned.
Over Prince Rupert, Marvell seems to have had a great influence, so much so that, when the Prince spoke in public, it was commonly said: "He has been with his tutor."
Marvell died suddenly in 1678, not without suspicion of poisoning; but it seems to have been rather due to the treatment he underwent at the hands of an old-fashioned practitioner, who had a prejudice against the use of Peruvian bark which would probably have saved Marvell's life. Upon his death a widow starts into existence, Mary Marvell by name, so unexpectedly and with such a total absence of previous allusion, that it has been doubted whether her marriage was not all a fiction. But Dr. Grosart points out that she would never have administered his estate had there been any reason to doubt the validity of her claims; and it was under her auspices that the Poems were first given to the world a few years after his death, in a folio which is now a rare and coveted book.
Of his Prose Works it is needful to say but little; they may be characterised as prose satires for the most part, or political pamphlets. "The Rehearsal Transposed" and "The Divine in Mode" are peculiarly distasteful examples of a kind of controversy then much in vogue. They are answers to publications, and to the ordinary reader contrive to be elaborate without being artistic, personal without being humorous, and digressive without being entertaining; in short, they combine the characteristics of tedium, dulness, and scurrility to a perfectly phenomenal degree. As compared with the poems themselves, the prose works fill many volumes; and any reader of ordinary perseverance has ample opportunities of convincing himself of Andrew Marvell's powers of expression, his high-spirited beginning, the delicate ideals, the sequestered ambitions of his youth, and their lamentable decline.
It is a perilous investment to aspire to be a poet,—periculosæ plenum opus aleæ. If you succeed, to have the world, present and to come, at your feet, to win the reluctant admiration even of the Philistine; to snuff the incense of adoration on the one hand, and on the other to feel yourself a member of the choir invisible, the sweet and solemn company of poets; to own within yourself the ministry of hope and height. And one step below success, to be laughed at or softly pitied as the dreamer of ineffectual dreams, thestrummer of impotent music; to be despised alike by the successful and the unsuccessful; the world if you win,—worse than nothing if you fail.
Mediocribus esse poetisNon di, non homines, non concessere columnae.
There is no such thing as respectable mediocrity among poets. Be supreme or contemptible.
And yet we cannot but grieve when we see a poet over whose feet the stream has flowed, turn back from the brink and make the great denial; whether from the secret consciousness of aridity, the drying of the fount of song, or from the imperious temptations of the busy, ordinary world we cannot say. Somehow we have lost our poet. It seems that,
Just for a handful of silver he left us,Just for a ribbon to stick in his coat.
And the singer of an April mood, who might have bloomed year after year in young and ardent hearts, is buried in the dust of politics, in the valley of dead bones.