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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 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 fix'd 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.

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 assemblage of diversified excellence no other poet has hitherto 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 title is added, there will still 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.

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Of all the passages 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 shews 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 passion; 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 assigned 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 shew 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 assigned it; that of judging, not of things revealed, but of the reality of revelation. In the verses for Reason, is a passage 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 assist too; for, in seas

So vast and dangerous as these,

Our course by stars above we cannot know
Without the compass 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 pass, however justly, under the name of Anacreon. Of these 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 spriteliness, 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 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 shews 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 produced 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 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 class 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 asserted 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 principal 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-glasses 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 Ætna simul; restringite flammam
Ọ lacrimæ, aut lacrimas ebibe flamma meas.

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