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mestic, the sentiments unborrowed and unexpected, and the strain of diction original and peculiar. We must not, however, suffer the pride, which we assume as the countrymen of Butler, to make any encroachment upon justice, nor appropriate those honours which others have a right to share. The poem of "Hudibras" is not wholly English; the original idea is to be found in the history of "Don Quixote;" a book to which a mind of the greatest powers may be indebted without disgrace.
Cervantes shows a man, who having, by the incessant perusal of incredible tales, subjected his understanding to his imagination, and familiarised his mind by pertinacious meditation to trains of incredible events, and scenes of impossible existence; goes out in the pride of knighthood to redress wrongs, and defend virgins, to rescue captive princesses, and tumble usurpers from their thrones; attended by a squire, whose cunning, too low for the suspicion of a generous mind, enables him often to cheat his master.
The hero of Butler is a presbyterian justice, who, in the confidence of legal authority and the rage of zealous ignorance, ranges the country to repress superstition and correct abuses, accompanied by an independent clerk, disputatious and obstinate, with whom he often debates, but never conquers him.
Cervantes had so much kindness for Don Quixote, that, however he embarrasses him with absurd distresses, he gives him so much sense and virtue as may preserve our esteem; wher. ever he is, or whatever he does, he is made by matchless dexterity commonly ridiculous, but never contemptible.
The hero, thus compounded of swaggerer and pedant, of knight and justice, is led forth to action, with his squire Ralpho, an independent enthusiast.
Of the contexture of events planned by the Author, which is called the action of the poem, since it is left imperfect, no judgment can be made. It is probable that the hero was to be led through many luckless adventures, which would give occasion, like his attack upon the "bear and fiddle," to expose the ridiculous rigour of the sectaries; like his encounter with Sidrophel and Whachum, to make superstition and credulity contemptible; or, like his recourse to the low retailer of the law, discover the fraudulent practices of different professions.
What series of events he would have formed, or in what manner he would have rewarded or punished his hero, it is now vain to conjecture. His work must have had, as it seems, the defect which Dryden imputes to Spenser; the action could not have been one; there could only have been a succession of incidents, each of which might have happened without the rest, and which could not all co-operate to any single conclusion.
The discontinuity of the action might however have been easily forgiven, if there had been action enough: but I believe every reader regrets the paucity of events, and complains that in the poem of " Hudibras," as in the history of Thucydides, there is more said than done. scenes are too seldom changed, and the attention is tired with long conversation.
It is, indeed, much more easy to form dialogues than to contrive adventures. Every po
But for poor Hudibras, his poet had no ten-sition makes way for an argument, and every derness; he chooses not that any pity should be shown or respect paid him; he gives him up at once to laughter and contempt, without any quality that can dignify or protect him.
In forming the character of Hudibras, and describing his person and habiliments, the author seems to labour with a tumultuous confusion of dissimilar ideas. He had read the history of the mock knights-errant; he knew the notions and manners of a presbyterian magistrate, and tried to unite the absurdities of both, however distant, in one personage. Thus he gives him that pedantic ostentation of knowledge which has no relation to chivalry, and loads him with martial incumbrances that can add nothing to his civil dignity. He sends him out a colonelling, and yet never brings him within sight of war.
If Hudibras be considered as the representative of the presbyterians, it is not easy to say why his weapons should be represented as ridiculous or useless; for, whatever judgment might he passed upon their knowledge or their arguments, experience had sufficiently shown that their swords were not to be despised.
objection dictates an answer. When two disputants are engaged upon a complicated and extensive question, the difficulty is not to continue, but to end, the controversy. But whether it be that we comprehend but few of the possibilities of life, or that life itself affords little variety, every man who has tried knows how much labour it will cost to form such a combination of circumstances as shall have at once the grace of novelty and credibility, and delight fancy without violence to reason,
Perhaps the dialogue of this poem is not perfect. Some power of engaging the attention might have been added to it by quicker reciprocation, by seasonable interruptions, by sudden questions, and by a nearer approach to dramatic sprightliness; without which fictitious speeches will always tire, however sparkling with sentences, and however variegated with allusions..
The great source of pleasure is variety. Uniformity must tire at last, though it be uniformity of excellence. We love to expect; and, when expectation is disappointed or gratified, we want to be again expecting. For this impatience of the present, whoever would please must make
provision. The skilful writer irritat, mulcet, not such events and precepts as are gathered by makes a due distribution of the still and ani- reading, but such remarks, similitudes, allusions, mated parts. It is for want of this artful inter-assemblages, or inferences, as occasion prompted, texture, and those necessary changes, that the whole of a book may be tedious, though all the parts are praised.
If inexhaustible wit could give perpetual pleasure, no eye would ever leave half-read the work of Butler; for what poet has ever brought so many remote images so happily together? It is scarcely possible to peruse a page without finding some association of images that was never found before. By the first paragraph the reader is amused, by the next he is delighted, and by a few more strained to astonishment; but astonishment is a toilsome pleasure; he is soon weary of wondering, and longs to be diverted.
Omnia vult belle Matho dicere, dic aliquando
Et bene, dic neutrum, dic aliquando male.
Imagination is useless without knowledge: nature gives in vain the power of combination, unless study and observation supply materials to be combined. Butler's treasures of knowledge appear proportioned to his expense: whatever topic employs his mind, he shows himself qualified to expand and illustrate it with all the accessaries that books can furnish: he is found not only to have travelled the beaten road, but the bye-paths of literature; not only to have taken general surveys, but to have examined particulars with minute inspection.
or meditation produced, those thoughts that were generated in his own mind, and might be usefully applied to some future purpose. Such is the labour of those who write for immortality. But human works are not easily found without a perishable part. Of the ancient poets every reader feels the mythology tedious and oppressive. Of "Hudibras," the manners, being founded on opinions, are temporary and local, and therefore become every day less intelligible, and less striking. What Cicero says of philosophy is true likewise of wit and humour, that "time effaces the fictions of opinions, and confirms the determinations of Nature." Such manners as depend upon standing relations and general passions are co-extended with the race of man; but those modifications of life and peculiarities of practice, which are the progeny of error and perverseness, or at best of some accidental influence or transient persuasion, must perish with their parents.
'Much therefore of that humour which transported the last century with merriment is lost to us, who do not know the sour solemnity, the sullen superstition, the gloomy moroseness, and the stubborn scruples of the ancient puritans; or, if we knew them, derive our information only from books, or from tradition, have never had them before our eyes, and cannot but by recollection and study understand the lines in which they are satirized. Our grandfathers knew the picture from the life; we judge of the life by
If the French boast the learning of Rabelais, we need not be afraid of confronting them with Butler. But the most valuable parts of his perform-contemplating the picture. ance are those which retired study and native It is scarcely possible, in the regularity and wit cannot supply. He that merely makes a composure of the present time, to image the book from books may be useful, but can scarcely tumult of absurdity, and clamour of contradicbe great. Butler had not suffered life to glide tion, which perplexed doctrine, disordered pracbeside him unseen or unobserved. He had tice, and disturbed both public and private quiet, watched with great diligence the operations of in that age when subordination was broken, and human nature, and traced the effects of opinion, awe was hissed away; when any unsettled inhumour, interest, and passion. From such re-novator, who could hatch a half-formed notion, marks proceeded that great number of sententious distichs which have passed into conversation, and are added as proverbial axioms to the general stock of practical knowledge.
When any work has been viewed and admired, the first question of intelligent curiosity is, how was it performed? "Hudibras" was not a hasty effusion; it was not produced by a sudden tumult of imagination, or a short paroxysm of violent labour. To accumulate such a mass of sentiments at the call of accidental desire, or of sudden necessity, is beyond the reach and power of the most active and comprehensive mind. I am informed by Mr. Thyer, of Manchester, that excellent editor of this author's relics, that he could show something like "Hudibras" in prose. He has in his possession the common-place book, in which Butler reposited
produced it to the public; when every man might become a preacher, and almost every preacher could collect a congregation.
The wisdom of the nation is very reasonably supposed to reside in the parliament. What can be concluded of the lower classes of the people, when, in one of the parliaments summoned by Cromwell, it was seriously proposed, that all the records in the tower should be burnt, that all memory of things past should be effaced, and that the whole system of life should commence anew?
We have never been witnesses of animosities. excited by the use of mince-pies and plum-porridge; nor seen with what abhorrence those,
who could eat them at all other times of the year, would shrink from them in December. An old puritan, who was alive in my childhood, being at one of the feasts of the church invited by a neighbour to partake his cheer, told him, that if he would treat him at an alehouse with beer brewed for all times and seasons, he should accept his kindness, but would have none of his superstitious meats or drinks.
One of the puritanical tenets was the illegality of all games of chance; and he that reads Gataker upon Lots may see how much learning and reason one of the first scholars of his age thought necessary, to prove that it was no crime to throw a die, or play at cards, or to hide a shilling for the reckoning.
Astrology, however, against which so much of the satire is directed, was not more the folly of the puritans than of others. It had in that time a very extensive dominion Its predictions raised hopes and fears in minds which ought to have rejected it with contempt. In hazardous undertakings care was taken to begin under the influence of a propitious planet; and, when the King was prisoner in Carisbrook Castle, an astrologer was consulted what hour would be found most favourable to an escape.
What effect this poem had upon the public, whether it shamed imposture, or reclaimed credulity, is not easily determined. Cheats can seldom stand long against laughter. It is certain that the credit of planetary intelligence wore fast away; though some men of knowledge, and Dryden among them, continued to believe that conjunctions and oppositions had a great part in the distribution of good or evil, and in the government of sublunary things.
and the numbers purposely neglected, except in a few places where the thoughts by their native excellence secure themselves from violation, being such as mean language cannot express. The mode of versification has been blamed by Dryden, who regrets that the heroic measure was not rather chosen. To the critical sentence of Dryden the highest reverence would be due, were not his decisions often precipitate, and his opinions immature. When he wished to change the measure, he probably would have been willing to change more. If he intended that, when the numbers were heroic, the diction should still remain vulgar, he planned a very heterogeneous and unnatural composition. If he preferred a general stateliness both of sound and words, he can be only understood to wish Butler had undertaken a different work.
The measure is quick, sprightly, and colloquial, suitable to the vulgarity of the words and the levity of the sentiments. But such numbers and such diction can gain regard only when they are used by a writer whose vigour of fancy and copiousness of knowledge entitle him to contempt of ornaments, and who, in confidence of the novelty and justness of his conceptions, can afford to throw metaphors and epithets away. To another that conveys common thoughts in careless versification, it will only be said, Pauper videri Cinna vult, et est pauper. The meaning and diction will be worthy of each other, and criticism may justly doom them to perish together.
Nor even though another Butler should arise, would another "Hudibras" obtain the same regard. Burlesque consists in a disproportion between the style and the sentiments, or between the adventitious sentiments and the fun
compounded of heterogeneous parts, contains in it a principle of corruption. All disproportion is unnatural: and from what is unnatural we can derive only the pleasure which novelty produces. We admire it awhile as a strange thing; but when it is no longer strange, we perceive its deformity. It is a kind of artifice, which by frequent repetition detects itself: and the
Poetical action ought to be probable upon certain suppositions; and such probability as bur-damental subject. It, therefore, like all bodies lesque requires is here violated only by one incident. Nothing can show more plainly the necessity of doing something, and the difficulty of finding something to do, than that Butler was reduced to transfer to his hero the flagellation of Sancho, not the most agreeable fiction of Cervantes; very suitable indeed to the manners of that age and nation, which ascribed wonderful efficacy to voluntary penances; but so re-reader, learning in time what he is to expect, mote from the practice and opinions of the Hudibrastic time, that judgment and imagination are alike offended.
lays down his book, as the spectator turns away from a second exhibition of those tricks, of which the only use is to show that they can
The diction of this poem is grossly familiar, be played.
JOHN WILMOT, afterwards Earl of Rochester, the son of Henry Earl of Rochester, better known by the title of Lord Wilmot, so often mentioned in Clarendon's History, was born April 10, 1647, at Ditchley, in Oxfordshire. After a grammatical education at the school of Burford, he entered a nobleman into Wadham College, in 1659, only twelve years old; and in 1661, at fourteen, was, with some other persons of high rank, made master of arts by Lord Clarendon in person.
He travelled afterwards into France and Italy; and at his return devoted himself to the court. In 1665 he went to sea with Sandwich, and distinguished himself at Bergen by uncommon intrepidity; and the next summer served again on board Sir Edward Spragge, who, in the heat of the engagement, having a message of reproof to send to one of his captains, could find no man ready to carry it but Wilmot, who, in an open boat, went and returned amidst the storm of shot.
But his reputation for bravery was not lasting; he was reproached with slinking away in street quarrels, and leaving his companions to shift as they could without him; and Sheffield Duke of Buckingham, has left a story of his refusal to fight him.
He had very early an inclination to intemperance, which he totally subdued in his travels; but, when he became a courtier, he unhappily addicted himself to dissolute and vicious company, by which his principles were corrupted, and his manners depraved. He lost all sense of religious restraint, and, finding it not convenient to admit the authority of laws, which he was resolved not to obey, sheltered his wickedness behind infidelity.
He was so much in favour with King Charles, that he was made one of the gentlemen of the bed-chamber, and comptroller of Woodstock Park.
Having an active and inquisitive mind, he never, except in his paroxysms of intemperance, was wholly negligent of study; he read what is considered as polite learning so much, that he is mentioned by Wood as the greatest scholar of all the nobility. Sometimes he retired into the country, and amused himself with writing libels, in which he did not pretend to confine himself to truth.
His favourite author in French was Boileau, and in English, Cowley.
Thus in a course of drunken gayety, and gross sensuality, with intervals of study perhaps yet more criminal, with an avowed contempt of all decency and order, a total disregard of every moral, and a resolute denial of every religious obligation, he lived worthless and useless, and blazed out his youth and his health in lavish voluptuousness; till, at the age of one-andthirty, he had exhausted the fund of life, and reduced himself to a state of weakness and decay.
At this time he was led to an acquaintance with Dr. Burnet, to whom he laid open with great freedom the tenor of his opinions, and the course of his life, and from whom he received such conviction of the reasonableness of moral duty, and the truth of Christianity, as produced a total change both of his manners and opinions. The account of those salutary conferences is given by Burnet in a book, entitled, "Some Passages of the Life and Death of John Earl of Rochester," which the critic ought to read for its elegance, the philosopher for its arguments, and the saint for its piety. It were an injury to the reader to offer him an abridgment.
He died July 26, 1680, before he had completed his thirty-fourth year; and was so worn away by a long illness, that life went out with
As he excelled in that noisy and licentious merriment which wine excites, his companions eagerly encouraged him in excess, and he willingly indulged it; till, as he confessed to Dr. Burnet, he was for five years together continually drunk, or so much inflamed by fre-out a struggle. quent cbriety, as in no interval to be master of himself.
In this state he played many frolics, which it is not for his honour that we should remember, and which are not now distinctly known. He often pursued low amours in mean disguises, and always acted with great exactness and dexterity the characters which he assumed.
He once erected a stage on Tower-hill, and harangued the populace as a mountebank; and, having made physic part of his study, is said to have practised it successfully.
Lord Rochester was eminent for the vigour of his colloquial wit, and remarkable for many wild pranks and sallies of extravagance. The glare of his general character diffused itself upon his writings; the compositions of a man whose name was heard so often were certain of attention, and from many readers certain of applause. This blaze of reputation is not yet quite extinguished; and his poetry still retains some splendour beyond that which genius has bestowed.
Wood and Burnet give us reason to believe,
that much was imputed to him which he did not write. I know not by whom the original collection was made, or by what authority its genuineness was ascertained. The first edition was published in the year of his death, with an air of concealment, professing in the title-page to be printed at Antwerp.
Of some of the pieces, however, there is no doubt. The imitation of Horace's satire, the verses to Lord Mulgrave, satire against Man, the verses upon "Nothing." and perhaps some others, are I believe genuine, and perhaps most
of those which the collection exhibits.*
As he cannot be supposed to have found leisure for any course of continued study, his pieces are commonly short, such as one fit of resolution would produce.
His songs have no particular character; they tell, like other songs, in smooth and easy language, of scorn and kindness, dismission and desertion, absence and inconstancy, with the common-places of artificial courtship. They are commonly smooth and easy; but have little nature, and little sentiment.
His imitation of Horace on Lucilius is not inelegant, or unhappy. In the reign of Charles the Second began that adaption, which has since been very frequent, of ancient poetry to present times; and perhaps few will be found where the parallelism is better preserved than in this. The versification is indeed sometimes careless, but it is sometimes vigorous and weighty.
The strongest effort of his Muse is his poem upon "Nothing." He is not the first who has chosen this barren topic for the boast of his fertility. There is a poem called "Nihil," in Latin, by Passerat, a poet and critic of the sixteenth century in France; who, in his own epitaph, expresses his zeal for good poetry
-Molliter ossa quiescent,
Sint modo carminibus non onerata malis.
His works are not common, and therefore I shall subjoin his verses.
In examining this performance, "Nothing" must be considered as having not only a negative but a kind of positive signification; as I need not fear thieves, I have nothing, and nothing is a very powerful protector. In the first part of the sentence it is taken negatively, in the second it is taken positively, as an agent. In one of Boileau's lines it was a question, whether he should use à rien faire, or à ne rien
Dr. Johnson has made no mention of "Valentinian," (altered from Beaumont and Fletcher) which was published after his death by a friend who describes him in the preface not only as being one of the greatest geniuses, but one of the most virtuous men that ever existed.-J. B.
I quote from memory.-Dr. J.
The late George Stephens, Esq. made the selection of Rochester's Poems which appears in Dr. Johnson's edition; but Mr. Malone observes, tha the same task had been performed in the early part of the last century by Jacob Tonson.-C.