The most readable of the Moral Satires is Retirement, in which the writer is on his own ground expressing his genuine feelings, and which is, in fact, a foretaste of The Task. Expostulation, a warning to England from the example of the Jews, is the best constructed: the rest are totally wanting in unity, and even in connexion. In all there are flashes of epigrammatic smartness.

How shall I speak thee, or thy power address, Thou God of our idolatry, the press? By thee, religion, liberty, and laws Exert their influence, and advance their cause; By thee, worse plagues than Pharaoh's land befel, Diffused, make earth the vestibule of hell: Thou fountain, at which drink the good and wise, Thou ever-bubbling spring of endless lies, Like Eden's dread probationary tree, Knowledge of good and evil is from thee.

Occasionally there are passages of higher merit. The episode of statesmen in Retirement has been already mentioned. The lines on the two disciples going to Emmaus in Conversation, though little more than a paraphrase of the Gospel narrative, convey pleasantly the Evangelical idea of the Divine Friend. Cowper says in one of his letters that he had been intimate with a man of fine taste who had confessed to him that though he could not subscribe to the truth of Christianity itself, he could never read this passage of St. Luke without being deeply affected by it, and feeling that if the stamp of divinity was impressed upon anything in the Scriptures, it was upon that passage.

It happen'd on a solemn eventide, Soon after He that was our surety died, Two bosom friends, each pensively inclined, The scene of all those sorrows left behind, Sought their own village, busied as they went In musings worthy of the great event: They spake of him they loved, of him whose life, Though blameless, had incurr'd perpetual strife, Whose deeds had left, in spite of hostile arts, A deep memorial graven on their hearts. The recollection, like a vein of ore, The farther traced enrich'd them still the more;

They thought him, and they justly thought him, one Sent to do more than he appear'd to have done, To exalt a people, and to place them high Above all else, and wonder'd he should die. Ere yet they brought their journey to an end, A stranger join'd them, courteous as a friend, And ask'd them with a kind engaging air What their affliction was, and begg'd a share. Inform'd, he gathered up the broken thread, And truth and wisdom gracing all he said, Explain'd, illustrated, and search'd so well The tender theme on which they chose to dwell, That reaching home, the night, they said is near, We must not now be parted, sojourn here.— The new acquaintance soon became a guest, And made so welcome at their simple feast, He bless'd the bread, but vanish'd at the word, And left them both exclaiming, 'Twas the Lord! Did not our hearts feel all he deign'd to say, Did they not burn within us by the way?

The prude going to morning church in Truth is a good rendering of Hogarth's picture:—

Yon ancient prude, whose wither'd features show She might, be young some forty years ago, Her elbows pinion'd close upon her hips, Her head erect, her fan upon her lips, Her eyebrows arch'd, her eyes both gone astray To watch yon amorous couple in their play, With bony and unkerchief'd neck defies The rude inclemency of wintry skies, And sails with lappet-head and mincing airs Daily at clink of hell, to morning prayers. To thrift and parsimony much inclined, She yet allows herself that boy behind; The shivering urchin, bending as he goes, With slipshod heels, and dew-drop at his nose, His predecessor's coat advanced to wear, Which future pages are yet doom'd to share, Carries her Bible tuck'd beneath his arm, And hides his hands to keep his fingers warm.

Of personal allusions there are a few; if the satirist had not been prevented from indulging in them by his taste, he would have been debarred by his ignorance. Lord Chesterfield, as the incarnation of the world and the most brilliant servant of the arch-enemy, comes in for a lashing under the name of Petronius.

Petronius! all the muses weep for thee, But every tear shall scald thy memory. The graces too, while virtue at their shrine Lay bleeding under that soft hand of thine, Felt each a mortal stab in her own breast, Abhorr'd the sacrifice, and cursed the priest. Thou polish'd and high-finish'd foe to truth, Gray-beard corruptor of our listening youth, To purge and skim away the filth of vice, That so refined it might the more entice, Then pour it on the morals of thy son To taint his heart, was worthy of thine own.

This is about the nearest approach to Juvenal that the Evangelical satirist ever makes. In Hope there is a vehement vindication of the memory of Whitefield. It is rather remarkable that there is no mention of Wesley. But Cowper belonged to the Evangelical rather than to the Methodist section. It may be doubted whether the living Whitefield would have been much to his taste.

In the versification of the moral satires there are frequent faults, especially in the earlier poems of the series, though Cowper's power of writing musical verse is attested both by the occasional poems and by The Task.

With the Moral Satires may be coupled, though written later, Tirocinium, or a Review of Schools. Here Cowper has the advantage of treating a subject which he understood, about which he felt strongly, and desired for a practical purpose to stir the feelings of his readers. He set to work in bitter earnest. "There is a sting," he says, "in verse that prose neither has nor can have; and I do not know that schools in the gross, and especially public schools, have ever been so pointedly condemned before. But they are become a nuisance, a pest, an abomination, and it is fit that the eyes and noses of mankind should be opened if possible to perceive it." His descriptions of the miseries which children in his day endured, and, in spite of all our improvements, must still to some extent endure in boarding schools, and of the effects of the system in estranging boys from their parents and deadening home affections, are vivid and true. Of course the Public School system was not to be overturned by rhyming, but the author of Tirocinium awakened attention to its faults, and probably did something towards amending them. The best lines, perhaps, have been already quoted in connexion with the history of the writer's boyhood. There are, however, other telling passages such as that on the indiscriminate use of emulation as a stimulus:—

Our public hives of puerile resort That are of chief and most approved report, To such base hopes in many a sordid soul Owe their repute in part, but not the whole. A principle, whose proud pretensions pass Unquestion'd, though the jewel be but glass, That with a world not often over-nice Ranks as a virtue, and is yet a vice, Or rather a gross compound, justly tried, Of envy, hatred, jealousy, and pride, Contributes moat perhaps to enhance their fame, And Emulation is its precious name. Boys once on fire with that contentious zeal Feel all the rage that female rivals feel; The prize of beauty in a woman's eyes Not brighter than in theirs the scholar's prize. The spirit of that competition burns With all varieties of ill by turns, Each vainly magnifies his own success, Resents his fellow's, wishes it were less, Exults in his miscarriage if he fail, Deems his reward too great if he prevail, And labours to surpass him day and night, Less for improvement, than to tickle spite. The spur is powerful, and I grant its force; It pricks the genius forward in its course, Allows short time for play, and none for sloth, And felt alike by each, advances both, But judge where so much evil intervenes, The end, though plausible, not worth the means. Weigh, for a moment, classical desert Against a heart depraved, and temper hurt, Hurt, too, perhaps for life, for early wrong Done to the nobler part, affects it long, And you are staunch indeed in learning's cause, If you can crown a discipline that draws Such mischiefs after it, with much applause.

He might have done more, if he had been able to point to the alternative of a good day school, as a combination of home affections with the superior teaching hardly to be found, except in a large school, and which Cowper, in drawing his comparison between the two systems, fails to take into account.

To the same general class of poems belongs Anti-Thelypthora, which it is due to Cowper's memory to say was not published in his lifetime. It is an angry pasquinade on an absurd book advocating polygamy on Biblical grounds, by the Rev. Martin Madan, Cowper's quondam spiritual counsellor. Alone among Cowper's works it has a taint of coarseness.

The Moral Satires pleased Franklin, to whom their social philosophy was congenial, as at a later day, in common with all Cowper's works, they pleased Cobden, who no doubt specially relished the passage in Charity, embodying the philanthropic sentiment of Free Trade. There was a trembling consultation as to the expediency of bringing the volume under the notice of Johnson. "One of his pointed sarcasms, if he should happen to be displeased, would soon find its way into all companies and spoil the sale." "I think it would be well to send in our joint names, accompanied with a handsome card, such an one as you will know how to fabricate, and such as may predispose him to a favourable perusal of the book, by coaxing him into a good temper, for he is a great bear, with all his learning and penetration." Fear prevailed; but it seems that the book found its way into the dictator's hands, that his judgment on it was kind, and that he even did something to temper the wind of adverse criticism to the shorn lamb. Yet parts of it were likely to incur his displeasure as a Tory, as a Churchman, and as one who greatly preferred Fleet Street to the beauties of nature; while with the sentimental misery of the writer, he could have had no sympathy whatever. Of the incompleteness of Johnson's view of character there could be no better instance than the charming weakness of Cowper. Thurlow and Colman did not even acknowledge their copies, and were lashed for their breach of friendship with rather more vigour than the Moral Satires display, in The Valedictory, which unluckily survived for posthumous publication, when the culprits had made their peace.

Cowper certainly misread himself if he believed that ambition, even literary ambition, was a large element in his character. But having published, he felt a keen interest in the success of his publication. Yet he took its failure and the adverse criticism very calmly. With all his sensitiveness, from irritable and suspicious egotism, such as is the most common cause of moral madness, he was singularly free. In this respect his philosophy served him well.

It may safely be said that the Moral Satires would have sunk into oblivion if they had not been buoyed up by The Task.



CHAPTER V.

THE TASK.

Mrs. Unwin's influence produced the Moral Satires. The Task was born of a more potent inspiration. One day Mrs. Jones, the wife of a neighbouring clergyman, came into Olney to shop, and with her came her sister, Lady Austen, the widow of a Baronet, a woman of the world, who had lived much in France, gay, sparkling and vivacious, but at the same time full of feeling even to overflowing. The apparition acted like magic on the recluse. He desired Mrs. Unwin to ask the two ladies to stay to tea, then shrank from joining the party which he had himself invited, ended by joining it, and, his shyness giving way with a rush, engaged in animated conversation with Lady Austen, and walked with her part of the way home. On her an equally great effect appears to have been produced. A warm friendship at once sprang up, and before long Lady Austen had verses addressed to her as Sister Anne. Her ladyship, on her part, was smitten with a great love of retirement, and at the same time with great admiration for Mr. Scott, the curate of Olney, as a preacher, and she resolved to fit up for herself "that part of our great building which is at present occupied by Dick Coleman, his wife and child, and a thousand rats." That a woman of fashion, accustomed to French salons, should choose such an abode, with a pair of Puritans for her only society, seems to show that one of the Puritans at least must have possessed great powers of attraction. Better quarters were found for her in the Vicarage; and the private way between the gardens, which apparently had been closed since Newton's departure, was opened again.

Lady Austen's presence evidently wrought on Cowper like an elixir: "From a scene of the most uninterrupted retirement," he writes to Mrs. Unwin, "we have passed at once into a state of constant engagement. Not that our society is much multiplied; the addition of an individual has made all this difference. Lady Austen and we pass our days alternately at each other's Chateau. In the morning I walk with one or other of the ladies, and in the evening wind thread. Thus did Hercules, and thus probably did Samson, and thus do I; and were both those heroes living, I should not fear to challenge them to a trial of skill in that business, or doubt to beat them both." It was perhaps while he was winding thread that Lady Austen told him the story of John Gilpin. He lay awake at night laughing over it, and next morning produced the ballad. It soon became famous, and was recited by Henderson, a popular actor, on the stage, though, as its gentility was doubtful, its author withheld his name. He afterwards fancied that this wonderful piece of humour had been written in a mood of the deepest depression. Probably he had written it in an interval of high spirits between two such moods. Moreover he sometimes exaggerated his own misery. He will begin a letter with a de profundis, and towards the end forget his sorrows, glide into commonplace topics, and write about them in the ordinary strain. Lady Austen inspired John Gilpin. She inspired, it seems, the lines on the loss of the Royal George. She did more: she invited Cowper to try his hand at something considerable in blank verse. When he asked her for a subject, she was happier in her choice than the lady who had suggested the Progress of Error. 8he bade him take the sofa on which she was reclining, and which, sofas being then uncommon, was a more striking and suggestive object than it would be now. The right chord was struck; the subject was accepted; and The Sofa grew into The Task; the title of the song reminding us that it was "commanded by the fair." As Paradise Lost is to militant Puritanism, so is The Task to the religious movement of its author's time. To its character as the poem of a sect it no doubt owed and still owes much of its popularity. Not only did it give beautiful and effective expression to the sentiments of a large religious party, but it was about the only poetry that a strict Methodist or Evangelical could read; while to those whose worship was unritualistic and who were debarred by their principles from the theatre and the concert, anything in the way of art that was not illicit must have been eminently welcome. But The Task has merits of a more universal and enduring kind. Its author himself says of it:—"If the work cannot boast a regular plan (in which respect, however, I do not think it altogether indefensible), it may yet boast, that the reflections are naturally suggested always by the preceding passage, and that, except the fifth book, which is rather of a political aspect, the whole has one tendency, to discountenance the modern enthusiasm after a London life, and to recommend rural ease and leisure as friendly to the cause of piety and virtue." A regular plan, assuredly, The Task has not. It rambles through a vast variety of subjects, religious, political, social, philosophical, and horticultural, with as little of method as its author used in taking his morning walks. Nor as Mr. Benham has shown, are the reflections, as a rule, naturally suggested by the preceding passage. From the use of a sofa by the gouty to those, who being free from gout, do not need sofas,—and so to country walks and country life is hardly a natural transition. It is hardly a natural transition from the ice palace built by a Russian despot, to despotism and politics in general. But if Cowper deceives himself in fancying that there is a plan or a close connexion of parts, he is right as to the existence of a pervading tendency. The praise of retirement and of country life as most friendly to piety and virtue, is the perpetual refrain of The Task, if not its definite theme. From this idea immediately now the best and the most popular passages: those which please apart from anything peculiar to a religious school; those which keep the poem alive; those which have found their way into the heart of the nation, and intensified the taste for rural and domestic happiness, to which they most winningly appeal. In these Cowper pours out his inmost feelings, with the liveliness of exhilaration, enhanced by contrast with previous misery. The pleasures of the country and of home, the walk, the garden, but above all the "intimate delights" of the winter evening, the snug parlour, with its close-drawn curtains shutting out the stormy night, the steaming and bubbling tea-urn, the cheerful circle, the book read aloud, the newspaper through which we look out into the unquiet world, are painted by the writer with a heartfelt enjoyment, which infects the reader. These are not the joys of a hero, nor are they the joys of an Alcaeus "singing amidst the clash of arms, or when he had moored on the wet shore his storm-tost barque." But they are pure joys, and they present themselves in competition with those of Ranelagh and the Basset Table, which are not heroic or even masculine, any more than they are pure.

The well-known passages at the opening of The Winter Evening, are the self-portraiture of a soul in bliss—such bliss as that soul could know—and the poet would have found it very difficult to depict to himself by the utmost effort of his religious imagination any paradise which he would really have enjoyed more.

Now stir the fire, and close the shutters fast, Let fall the curtains, wheel the sofa round, And while the bubbling and loud-hissing urn Throws up a steamy column, and the cups That cheer but not inebriate, wait on each, So let us welcome peaceful evening in.

* * * *

This folio of four pages, happy work! Which not even critics criticise, that holds Inquisitive attention while I read Fast bound in chains of silence, which the fair, Though eloquent themselves, yet fear to break, What is it but a map of busy life, Its fluctuations and its vast concerns?

* * * *

'Tis pleasant through the loop-holes of retreat To peep at such a world. To see the stir Of the great Babel and not feel the crowd. To hear the roar she sends through all her gates At a safe distance, where the dying sound Falls a soft murmur on the injured ear. Thus sitting and surveying thus at ease The globe and its concerns, I seem advanced To some secure and more than mortal height, That liberates and exempts me from them all. It turns submitted to my view, turns round With all its generations; I behold The tumult and am still. The sound of war Has lost its terrors ere it reaches me, Grieves but alarms me not. I mourn the pride And avarice that make man a wolf to man, Hear the faint echo of those brazen throats By which he speaks the language of his heart, And sigh, but never tremble at the sound. He travels and expatiates, as the bee From flower to flower, so he from land to land, The manners, customs, policy of all Pay contribution to the store he gleans; He sucks intelligence in every clime, And spreads the honey of his deep research At his return, a rich repast for me, He travels, and I too. I tread his deck, Ascend his topmast, through his peering eyes Discover countries, with a kindred heart Suffer his woes and share in his escapes, While fancy, like the finger of a clock, Runs the great circuit, and is still at home. Oh winter! ruler of the inverted year, Thy scatter'd hair with sleet like ashes fill'd, Thy breath congeal'd upon thy lips, thy cheeks Fringed with a beard made white with other snows Than those of age; thy forehead wrapt in clouds, A leafless branch thy sceptre, and thy throne A sliding car indebted to no wheels, And urged by storms along its slippery way; I love thee, all unlovely as thou seem'st, And dreaded as thou art. Thou hold'st the sun A prisoner in the yet undawning East, Shortening his journey between morn and noon, And hurrying him impatient of his stay Down to the rosy West. But kindly still Compensating his loss with added hours Of social converse and instructive ease, And gathering at short notice in one group The family dispersed by daylight and its cares. I crown thee king of intimate delights, Fire-side enjoyments, home-born happiness, And all the comforts that the lowly roof Of undisturb'd retirement, and the hours Of long uninterrupted evening know.

The writer of The Task also deserves the crown which he has himself claimed as a close observer and truthful painter of nature. In this respect, he challenges comparison with Thomson. The range of Thomson is far wider, he paints nature in all her moods, Cowper only in a few and those the gentlest, though he has said of himself that "he was always an admirer of thunderstorms, even before he knew whose voice be heard in them, but especially of thunder rolling over the great waters." The great waters he had not seen for many years; he had never, so far as we know, seen mountains, hardly even high hills; his only landscape was the flat country watered by the Ouse. On the other hand he is perfectly genuine, thoroughly English, entirely emancipated from false Arcadianism, the yoke of which still sits heavily upon Thomson, whose "muse" moreover is perpetually "wafting" him away from the country and the climate which he knows to countries and climates which he does not know, and which he describes in the style of a prize poem. Cowper's landscapes, too, are peopled with the peasantry of England; Thomson's, with Damons, Palaemons, and Musidoras, tricked out in the sentimental costume of the sham idyl. In Thomson, you always find the effort of the artist working up a description; in Cowper, you find no effort; the scene is simply mirrored on a mind of great sensibility and high pictorial power.

And witness, dear companion of my walks, Whose arm this twentieth winter I perceive Fast lock'd in mine, with pleasure such as love, Confirm'd by long experience of thy worth And well-tried virtues, could alone inspire— Witness a joy that thou hast doubled long. Thou know'st my praise of nature most sincere, And that my raptures are not conjured up To serve occasions of poetic pomp, But genuine, and art partner of them all. How oft upon yon eminence our pace Has slacken'd to a pause, and we have borne The ruffling wind, scarce conscious that it blew, While Admiration, feeding at the eye, And still unsated, dwelt upon the scene! Thence with what pleasure have we just discerned The distant plough slow moving, and beside His labouring team that swerved not from the track, The sturdy swain diminish'd to a boy! Here Ouse, slow winding through a level plain Of spacious meads, with cattle sprinkled o'er, Conducts the eye along his sinuous course Delighted. There, fast rooted in their bank, Stand, never overlook'd, our favourite elms, That screen the herdsman's solitary hut; While far beyond, and overthwart the stream, That, as with molten glass, inlays the vale, The sloping land recedes into the clouds; Displaying on its varied side the grace Of hedge-row beauties numberless, square tower, Tall spire, from which the sound of cheerful bells Just undulates upon the listening ear, Groves, heaths, and smoking villages, remote. Scenes must be beautiful, which, daily viewed, Please daily, and whose novelty survives Long knowledge and the scrutiny of years— Praise justly due to those that I describe.

This is evidently genuine and spontaneous. We stand with Cowper and Mrs. Unwin on the hill in the ruffling wind, like them, scarcely conscious that it blows, and feed admiration at the eye upon the rich and thoroughly English champaign that is outspread below.

Nor rural sights alone, but rural sounds, Exhilarate the spirit, and restore The tone of languid Nature. Mighty winds, That sweep the skirt of some far-spreading wood Of ancient growth, make music not unlike The dash of Ocean on his winding shore, And lull the spirit while they nil the mind; Unnumber'd branches waving in the blast, And all their leaves fast fluttering, all at once. Nor less composure waits upon the roar Of distant floods, or on the softer voice Of neighbouring fountain, or of rills that slip Through the cleft rock, and chiming as they fall Upon loose pebbles, lose themselves at length In matted grass that with a livelier green Betrays the secret of their silent course. Nature inanimate employs sweet sounds, But animated nature sweeter still, To soothe and satisfy the human ear. Ten thousand warblers cheer the day, and one The livelong night: nor these alone, whose notes Nice-finger'd Art must emulate in vain, But cawing rooks, and kites that swim sublime In still-repeated circles, screaming loud, The jay, the pie, and e'en the boding owl That hails the rising moon, have charms for me. Sounds inharmonious in themselves and harsh, Yet heard in scenes where peace for ever reigns, And only there, please highly for their sake.

Affection such as the last lines display for the inharmonious as well as the harmonious, for the uncomely, as well as the comely parts of nature has been made familiar by Wordsworth, but it was new in the time of Cowper. Let us compare a landscape painted by Pope in his Windsor forest, with the lines just quoted, and we shall see the difference between the art of Cowper, and that of the Augustan age.

Here waving groves a checkered scene display, And part admit and part exclude the day, As some coy nymph her lover's warm address Not quite indulges, nor can quite repress. There interspersed in lawns and opening glades The trees arise that share each other's shades; Here in full light the russet plains extend, There wrapt in clouds, the bluish hills ascend, E'en the wild heath displays her purple dyes, And midst the desert fruitful fields arise, That crowned with tufted trees and springing corn. Like verdant isles the sable waste adorn.

The low Berkshire hills wrapt in clouds on a sunny day; a sable desert in the neighbourhood of Windsor; fruitful fields arising in it, and crowned with tufted trees and springing corn—evidently Pope saw all this, not on an eminence, in the ruffling wind, but in his study with his back to the window, and the Georgics or a translation of them before him.

Here again is a little picture of rural life from the Winter Morning Walk.

The cattle mourn in corners, where the fence Screens them, and seem half-petrified to sleep In unrecumbent sadness. There they wait Their wonted fodder; not like hungering man, Fretful if unsupplied; but silent, meek, And patient of the slow-paced swain's delay. He from the stack carves out the accustomed load Deep-plunging, and again deep-plunging oft, His broad keen knife into the solid mass: Smooth as a wall the upright remnant stands, With such undeviating and even force He severs it away: no needless care, Lest storms should overset the leaning pile Deciduous, or its own unbalanced weight. Forth goes the woodman, leaving unconcern'd The cheerful haunts of man; to wield the axe And drive the wedge in yonder forest drear, from, morn to eve, his solitary task. Shaggy, and lean, and shrewd, with pointed ears And tail cropp'd short, half lurcher and half cur, His dog attends him. Close behind his heel Now creeps he slow; and now, with many a frisk Wide-scampering, snatches up the drifted snow With ivory teeth, or ploughs it with his snout; Then shakes his powder'd coat, and barks for joy. Heedless of all his pranks, the sturdy churl Moves right toward the mark; nor stops for aught But now and then with pressure of his thumb To adjust the fragrant charge of a short tube, That fumes beneath his nose: the trailing cloud Streams far behind him, scenting all the air.

The minutely faithful description of the man carving the load of hay out of the stack, and again those of the gambolling dog, and the woodman smoking his pipe with the stream of smoke trailing behind him, remind us of the touches of minute fidelity in Homer. The same may be said of many other passages.

The sheepfold here Pours out its fleecy tenants o'er the glebe. At first, progressive as a stream they seek The middle field: but, scatter'd by degrees, Each to his choice, soon whiten all the land. There from the sun-burnt hay-field homeward creeps The loaded wain: while lighten'd of its charge, The wain that meets it passes swiftly by; The boorish driver leaning o'er his team Vociferous and impatient of delay.

A specimen of more imaginative and distinctly poetical description is the well-known passage on evening, in writing which Cowper would seem to have had Collins in his mind.

Come, Evening, once again, season of peace, Return, sweet Evening, and continue long! Methinks I see thee in the streaky west, With matron-step slow-moving, while the Night Treads on thy sweeping train; one hand employed In letting fall the curtain of repose On bird and beast, the other charged for man With sweet oblivion of the cares of day: Not sumptuously adorn'd, nor needing aid, Like homely-featured Night, of clustering gems! A star or two just twinkling on thy brow Suffices thee; save that the moon is thine No less than hers, not worn indeed on high With ostentatious pageantry, but set. With modest grandeur in thy purple zone, Resplendent less, but of an ampler round.

Beyond this line Cowper does not go, and had no idea of going; he never thinks of lending a soul to material nature as Wordsworth and Shelley do. He is the poetic counterpart of Gainsborough, as the great descriptive poets of a later and more spiritual day are the counterparts of Turner. We have said that Cowper's peasants are genuine as well as his landscape; he might have been a more exquisite Crabbe if he had turned his mind that way, instead of writing sermons about a world which to him was little more than an abstraction, distorted moreover, and discoloured by his religious asceticism.

Poor, yet industrious, modest, quiet, neat, Such claim compassion in a night like this, And have a friend in every feeling heart. Warm'd, while it lasts, by labour, all day long They brave the season, and yet find at eve, Ill clad, and fed but sparely, time to cool. The frugal housewife trembles when she lights Her scanty stock of brushwood, blazing clear, But dying soon, like all terrestrial joys. The few small embers left, she nurses well; And, while her infant race, with outspread hands And crowded knees sit cowering o'er the sparks, Retires, content to quake, so they be warm'd. The man feels least, as more inured than she To winter, and the current in his veins More briskly moved by his severer toil; Yet he too finds his own distress in theirs, The taper soon extinguish'd, which I saw Dangled along at the cold finger's end Just when the day declined; and the brown loaf Lodged on the shelf, half eaten without sauce Of savoury cheese, or batter, costlier still: Sleep seems their only refuge: for, alas' Where penury is felt the thought is chained, And sweet colloquial pleasures are but few! With all this thrift they thrive not. All the care Ingenious Parsimony takes, but just Saves the small inventory, bed and stool, Skillet, and old carved chest, from public sale. They live, and live without extorted alms from grudging hands: but other boast have none To soothe their honest pride that scorns to beg, Nor comfort else, but in their mutual love.

Here we have the plain, unvarnished record of visitings among the poor of Olney. The last two lines are simple truth as well as the rest.

"In some passages, especially in the second book, you will observe me very satirical." In the second book of The Task, there are some bitter things about the clergy, and in the passage pourtraying a fashionable preacher, there is a touch of satiric vigour, or rather of that power of comic description which was one of the writer's gifts. But of Cowper as a satirist enough has been said.

"What there is of a religious cast in the volume I have thrown towards the end of it, for two reasons; first, that I might not revolt the reader at his entrance, and secondly, that my best impressions might be made last. Were I to write as many volumes as Lope de Vega or Voltaire, not one of them would be without this tincture. If the world like it not, so much the worse for them. I make all the concessions I can, that I may please them, but I will not please them at the expense of conscience." The passages of The Task penned by conscience, taken together, form a lamentably large proportion of the poem. An ordinary reader can be carried through them, if at all, only by his interest in the history of opinion, or by the companionship of the writer, who is always present, as Walton is in his Angler, as White is in his Selbourne. Cowper, however, even at his worst, is a highly cultivated methodist; if he is sometimes enthusiastic, and possibly superstitious, he is never coarse or unctuous. He speaks with contempt of "the twang of the conventicle." Even his enthusiasm had by this time been somewhat tempered. Just after his conversion he used to preach to everybody. He had found out, as he tells us himself, that this was a mistake, that "the pulpit was for preaching; the garden, the parlour, and the walk abroad were for friendly and agreeable conversation." It may have been his consciousness of a certain change in himself that deterred him from taking Newton into his confidence when he was engaged upon The Task. The worst passages are those which betray a fanatical antipathy to natural science, especially that in the third book (150—190). The episode of the judgment of heaven on the young atheist Misagathus, in the sixth book, is also fanatical and repulsive.

Puritanism had come into violent collision with the temporal power, and had contracted a character fiercely political and revolutionary. Methodism fought only against unbelief, vice, and the coldness of the establishment; it was in no way political, much less revolutionary; by the recoil from the atheism of the French Revolution its leaders, including Wesley himself, were drawn rather to the Tory side. Cowper, we have said, always remained in principle what he had been born, a Whig, an unrevolutionary Whig, an "Old Whig" to adopt the phrase made canonical by Burke.

'Tis liberty alone that gives the flower Of fleeting life its lustre and perfume, And we are weeds without it. All constraint Except what wisdom lays on evil men Is evil.

The sentiment of these lines, which were familiar and dear to Cobden, is tempered by judicious professions of loyalty to a king who rules in accordance with the law. At one time Cowper was inclined to regard the government of George III as a repetition of that of Charles I, absolutist in the State and reactionary in the Church; but the progress of revolutionary opinions evidently increased his loyalty, as it did that of many other Whigs, to the good Tory king. We shall presently see, however, that the views of the French Revolution, itself expressed in his letters are wonderfully rational, calm, and free from the political panic and the apocalyptic hallucination, both of which we should rather have expected to find in him. He describes himself to Newton as having been, since his second attack of madness, "an extramundane character with reference to this globe, and though not a native of the moon, not made of the dust of this planet." The Evangelical party has remained down to the present day non-political, and in its own estimation extramundane, taking part in the affairs of the nation only when some religious object was directly in view. In speaking of the family of nations, an Evangelical poet is of course a preacher of peace and human brotherhood. He has even in some lines of Charity, which also were dear to Cobden, remarkably anticipated the sentiment of modern economists respecting the influence of free trade in making one nation of mankind. The passage is defaced by an atrociously bad simile:—

Again—the band of commerce was design'd, To associate all the branches of mankind, And if a boundless plenty be the robe, Trade is the golden girdle of the globe. Wise to promote whatever end he means, God opens fruitful Nature's various scenes, Each climate needs what other climes produce, And offers something to the general use; No land but listens to the common call, And in return receives supply from all. This genial intercourse and mutual aid Cheers what were else an universal shade, Calls Nature from her ivy-mantled den, And softens human rock-work into men.

Now and then, however, in reading The Task, we come across a dash of warlike patriotism which, amidst the general philanthropy, surprises and offends the reader's palate, like the taste of garlic in our butter.

An innocent Epicurism, tempered by religious asceticism of a mild kind—such is the philosophy of The Task, and such the ideal embodied in the portrait of the happy man with which it concludes. Whatever may be said of the religious asceticism, the Epicurism required a corrective to redeem it from selfishness and guard it against self-deceit. This solitary was serving humanity in the best way he could, not by his prayers, as in one rather fanatical passage he suggests, but by his literary work; he had need also to remember that humanity was serving him. The newspaper through which he looks out so complacently into the great "Babel," has been printed in the great Babel itself, and brought by the poor postman, with his "spattered boots, strapped waist, and frozen locks," to the recluse sitting comfortably by his fireside. The "fragrant lymph" poured by "the fair" for their companion in his cosy seclusion, has been brought over the sea by the trader, who must encounter the moral dangers of a trader's life, as well as the perils of the stormy wave. It is delivered at the door by

The waggoner who bears The pelting brunt of the tempestuous night, With half-shut eyes and puckered cheeks and teeth Presented bare against the storm;

and whose coarseness and callousness, as he whips his team, are the consequences of the hard calling in which he ministers to the recluse's pleasure and refinement. If town life has its evils, from the city comes all that makes retirement comfortable and civilized. Retirement without the city-would have been bookless and have fed on acorns.

Rousseau is conscious of the necessity of some such institution as slavery, by way of basis for his beautiful life according to nature. The celestial purity and felicity of St. Pierre's Paul and Virginia are sustained by the labour of two faithful slaves. A weak point of Cowper's philosophy, taken apart from his own saving activity as a poet, betrays itself in a somewhat similar way.

Or if the garden with its many cares All well repaid demand him, he attends The welcome call, conscious how much the hand Of lubbard labour, needs his watchful eye, Oft loitering lazily if not o'er seen; Or misapplying his unskilful strength But much performs himself, no works indeed That ask robust tough sinews bred to toil, Servile employ, but such as may amuse Not tire, demanding rather skill than force.

We are told in The Task that there is no sin in allowing our own happiness to be enhanced by contrast with the less happy condition of others: if we are doing our best to increase the happiness of others, there is none. Cowper, as we have said before, was doing this to the utmost of his limited capacity.

Both in the Moral Satires and in The Task, there are sweeping denunciations of amusements which we now justly deem innocent, and without which or something equivalent to them, the wrinkles on the brow of care could not be smoothed, nor life preserved from dulness and moroseness. There is fanaticism in this no doubt: but in justice to the Methodist as well as to the Puritan, let it be remembered that the stage, card parties, and even dancing once had in them something from which even the most liberal morality might recoil.

In his writings generally, but especially in The Task, Cowper, besides being an apostle of virtuous retirement and evangelical piety, is, by his general tone, an apostle of sensibility. The Task, is a perpetual protest not only against the fashionable vices and the irreligion, but against the hardness of the world; and in a world which worshipped Chesterfield the protest was not needless, nor was it ineffective. Among the most tangible characteristics of this special sensibility is the tendency of its brimming love of humankind to overflow upon animals, and of this there are marked instances in some passages of The Task.

I would not enter on my list of friends (Though graced with polished manners and fine sense, Yet wanting sensibility) the man Who needlessly sets foot upon a worm.

Of Cowper's sentimentalism (to use the word in a neutral sense), part flowed from his own temperament, part was Evangelical, but part belonged to an element which was European, which produced the Nouvelle Heloise and the Sorrows of Werther, and which was found among the Jacobins in sinister companionship with the cruel frenzy of the Revolution. Cowper shows us several times that he had been a reader of Rousseau, nor did he fail to produce in his time a measure of the same effect which Rousseau produced; though there have been so many sentimentalists since, and the vein has been so much worked, that it is difficult to carry ourselves back in imagination to the day in which Parisian ladies could forego balls to read the Nouvelle Heloise, or the stony heart of people of the world could be melted by The Task.

In his versification, as in his descriptions, Cowper flattered himself that he imitated no one. But he manifestly imitates the softer passages of Milton, whose music he compares in a rapturous passage of one of his letters to that of a fine organ. To produce melody and variety, he, like Milton, avails himself fully of all the resources of a composite language. Blank verse confined to short Anglo-Saxon words is apt to strike the ear, not like the swell of an organ, but like the tinkle of a musical-box.

The Task made Cowper famous. He was told that he had sixty readers at the Hague alone. The interest of his relations and friends in him revived, and those of whom he had heard nothing for many years emulously renewed their connexion. Colman and Thurlow reopened their correspondence with him, Colman writing to him "like a brother." Disciples, young Mr. Rose, for instance, came to sit at his feet. Complimentary letters were sent to him, and poems submitted to his judgment. His portrait was taken by famous painters. Literary lion-hunters began to fix their eyes upon him. His renown spread even to Olney. The clerk of All Saints', Northampton, came over to ask him to write the verses annually appended to the bill of mortality for that parish. Cowper suggested that "there were several men of genius in Northampton, particularly Mr. Cox, the statuary, who, as everybody knew, was a first-rate maker of verses." "Alas!" replied the clerk, "I have heretofore borrowed help from him, but he is a gentleman of so much reading that the people of our town cannot understand him." The compliment was irresistible, and for seven years the author of The Task wrote the mortuary verses for All Saints', Northampton. Amusement, not profit, was Cowper's aim; he rather rashly gave away his copyright to his publisher, and his success does not seem to have brought him money in a direct way, but it brought him a pension of 300 pounds in the end. In the meantime it brought him presents, and among them an annual gift of 50 pounds from an anonymous hand, the first instalment being accompanied by a pretty snuff-box ornamented with a picture of the three hares. From the gracefulness of the gift, Southey infers that it came from a woman, and he conjectures that the woman was Theodora.



CHAPTER VI.

SHORT POEMS AND TRANSLATIONS.

The task was not quite finished when the influence which had inspired it was withdrawn. Among the little mysteries and scandals of literary history is the rupture between Cowper and Lady Austen. Soon after the commencement of their friendship there had been a "fracas," of which Cowper gives an account in a letter to William Unwin. "My letters have already apprised you of that close and intimate connexion, that took place between the lady you visited in Queen Anne Street and us. Nothing could be more promising, though sudden in the commencement. She treated us with as much unreservedness of communication, as if we had been born in the same house and educated together. At her departure, she herself proposed a correspondence, and, because writing does not agree with your mother, proposed a correspondence with me. This sort of intercourse had not been long maintained before I discovered, by some slight intimations of it, that she had conceived displeasure at somewhat I had written, though I cannot now recollect it; conscious of none but the most upright, inoffensive intentions, I yet apologized for the passage in question, and the flaw was healed again. Our correspondence after this proceeded smoothly for a considerable time, but at length, having had repeated occasion to observe that she expressed a sort of romantic idea of our merits, and built such expectations of felicity upon our friendship, as we were sure that nothing human could possibly answer, I wrote to remind her that we were mortal, to recommend her not to think more highly of us than the subject would warrant, and intimating that when we embellish a creature with colours taken from our own fancy, and so adorned, admire and praise it beyond its real merits, we make it an idol, and have nothing to expect in the end but that it will deceive our hopes, and that we shall derive nothing from it but a painful conviction of our error. Your mother heard me read the letter, she read it herself, and honoured it with her warm approbation. But it gave mortal offence; it received, indeed, an answer, but such an one as I could by no means reply to; and there ended (for it was impossible it should ever be renewed) a friendship that bid fair to be lasting; being formed with a woman whose seeming stability of temper, whose knowledge of the world and great experience of its folly, but, above all, whose sense of religion and seriousness of mind (for with all that gaiety she is a great thinker) induced us both, in spite of that cautious reserve that marked our characters, to trust her, to love and value her, and to open our hearts for her reception. It may be necessary to add that by her own desire, I wrote to her under the assumed relation of a brother, and she to me as my sister. Ceu fumus in auras." It is impossible to read this without suspecting that there was more of "romance" on one side, than there was either of romance or of consciousness of the situation on the other. On that occasion the reconciliation, though "impossible," took place, the lady sending, by way of olive branch, a pair of ruffles, which it was known she had begun to work before the quarrel. The second rupture was final. Hayley, who treats the matter with sad solemnity, tells us that Cowper's letter of farewell to Lady Austen, as she assured him herself, was admirable, though unluckily, not being gratified by it at the time, she had thrown it into the fire. Cowper has himself given us, in a letter to Lady Hesketh, with reference to the final rupture, a version of the whole affair:—"There came a lady into this country, by name and title Lady Austen, the widow of the late Sir Robert Austen. At first she lived with her sister about a mile from Olney; but in a few weeks took lodgings at the vicarage here. Between the vicarage and the back of our house are interposed our garden, an orchard, and the garden belonging to the vicarage. She had lived much in France, was very sensible, and had infinite vivacity. She took a great liking to us, and we to her. She had been used to a great deal of company, and we, fearing that she would feel such a transition into silent retirement irksome, contrived to give her our agreeable company often. Becoming continually more and more intimate, a practice at length obtained of our dining with each other alternately every day, Sundays excepted. In order to facilitate our communication, we made doors in the two garden-walls aforesaid, by which means we considerably shortened the way from one house to the other, and could meet when we pleased without entering the town at all; a measure the rather expedient, because the town is abominably dirty, and she kept no carriage. On her first settlement in our neighbourhood, I made it my own particular business (for at that time I was not employed in writing, having published my first volume and not begun my second) to pay my devoirs to her ladyship every morning at eleven. Customs very soon became laws. I began The Task, for she was the lady who gave me the Sofa for a subject. Being once engaged in the work, I began to feel the inconvenience of my morning attendance. We had seldom breakfasted ourselves till ten; and the intervening hour was all the time I could find in the whole day for writing, and occasionally it would happen that the half of that hour was all that I could secure for the purpose. But there was no remedy. Long usage had made that which was at first optional a point of good manners, and consequently of necessity, and I was forced to neglect The Task to attend upon the Muse who had inspired the subject. But she had ill-health, and before I had quite finished the work was obliged to repair to Bristol." Evidently this was not the whole account of the matter, or there would have been no need for a formal letter of farewell. We are very sorry to find the revered Mr. Alexander Knox saying, in his correspondence with Bishop Jebb, that he had a severer idea of Lady Austen than he should wish to put into writing for publication, and that he almost suspected she was a very artful woman. On the other hand, the unsentimental Mr. Scott is reported to have said, "Who can be surprised that two women should be continually in the society of one man and quarrel, sooner or later, with each other?" Considering what Mrs. Unwin had been to Cowper, and what he had been to her, a little jealousy on her part would not have been highly criminal. But, as Southey observes, we shall soon see two women continually in the society of this very man without quarrelling with each other. That Lady Austen's behaviour to Mrs. Unwin was in the highest degree affectionate, Cowper has himself assured us. Whatever the cause may have been, this bird of paradise, having alighted for a moment in Olney, took wing and was seen no more.

Her place, as a companion, was supplied, and more than supplied, by Lady Hesketh, like her a woman of the world, and almost as bright and vivacious, but with more sense and stability of character, and who, moreover, could be treated as a sister without any danger of, misunderstanding. The renewal of the intercourse between Cowper and the merry and affectionate play-fellow of his early days, had been one of the best fruits borne to him by The Task, or perhaps we should rather say by John Gilpin, for on reading that ballad she first became aware that her cousin had emerged from the dark seclusion of his truly Christian happiness, and might again be capable of intercourse with her sunny nature. Full of real happiness for Cowper were her visits to Olney; the announcement of her coming threw him into a trepidation of delight. And how was this new rival received by Mrs. Unwin. "There is something," says Lady Hesketh in a letter which has been already quoted, "truly affectionate and sincere in Mrs. Unwin's manner. No one can express more heartily than she does her joy to have me at Olney; and as this must be for his sake it is an additional proof of her regard and esteem for him." She could even cheerfully yield precedence in trifles, which is the greatest trial of all. "Our friend," says Lady Hesketh, "delights in a large table and a large chair. There are two of the latter comforts in my parlour. I am sorry to say that he and I always spread ourselves out in them, leaving poor Mrs. Unwin to find all the comfort she can in a small one, half as high again as ours, and considerably harder than marble. However, she protests it is what she likes, that she prefers a high chair to a low one, and a hard to a soft one; and I hope she is sincere; indeed, I am persuaded she is." She never gave the slightest reason for doubting her sincerity; so Mr. Scott's coarse theory of the "two women" falls to the ground, though, as Lady Hesketh was not Lady Austen, room is still left for the more delicate and interesting hypothesis.

By Lady Hesketh's care Cowper was at last taken out of the "well" at Olney and transferred with his partner to a house at Weston, a place in the neighbourhood, but on higher ground, more cheerful, and in better air. The house at Weston belonged to Mr. Throckmorton of Weston Hall, with whom and Mrs. Throckmorton, Cowper had become so intimate that they were already his Mr. and Mrs. Frog. It is a proof of his freedom from fanatical bitterness that he was rather drawn to them by their being Roman Catholics, and having suffered rude treatment from the Protestant boors of the neighbourhood. Weston Hall had its grounds, with the colonnade of chestnuts, the "sportive light" of which still "dances" on the pages of The Task; with the Wilderness,—

Whose well-rolled walks, With curvature of slow and easy sweep, Deception innocent, give ample space To narrow bounds—

with the Grove,—

Between the upright shafts of whose tall elms We may discern the thresher at his task, Thump after thump resounds the constant flail That seems to swing uncertain, and yet falls Full on the destined ear. Wide flies the chaff, The rustling straw sends up a fragrant mist Of atoms, sparkling in the noonday beam.

A pretty little vignette, which the threshing-machine has now made antique. There were ramblings, picnics, and little dinner-parties. Lady Hesketh kept a carriage. Gayhurst, the seat of Mr. Wright, was visited as well as Weston Hall; the life of the lonely pair was fast becoming social. The Rev. John Newton was absent in the flesh, but he was present in the spirit, thanks to the tattle of Olney. To show that he was, he addressed to Mrs. Unwin a letter of remonstrance on the serious change which had taken place in the habits of his spiritual children. It was answered by her companion, who in repelling the censure mingles the dignity of self-respect with a just appreciation of the censor's motives, in a style which showed that although he was sometimes mad, he was not a fool.

Having succeeded in one great poem, Cowper thought of writing another, and several subjects were started—The Mediterranean, The Four Ages of Man, Yardley Oak. The Mediterranean would not have suited him well if it was to be treated historically, for of history he was even more ignorant than most of those who have had the benefit of a classical education, being capable of believing that the Latin element of our language had come in with the Roman conquest. Of the Four Ages he wrote a fragment. Of Yardley Oak he wrote the opening; it was apparently to have been a survey of the countries in connexion with an immemorial oak which stood in a neighbouring chace. But he was forced to say that the mind of man was not a fountain but a cistern, and his was a broken one. He had expended his stock of materials for a long poem in The Task.

These, the sunniest days of Cowper's life, however, gave birth to many of those short poems which are perhaps his best, certainly his most popular works, and which will probably keep his name alive when _The Task_ is read only in extracts. _The Loss of the Royal George_, _The Solitude of Alexander Selkirk_, _The Poplar Field_, _The Shrubbery_, the _Lines on a Young Lady_, and those _To Mary, will hold their places for ever in the treasury of English Lyrics. In its humble way _The Needless Alarm_ is one of the most perfect of human compositions. Cowper had reason to complain of Aesop for having written his fables before him. One great charm of these little pieces is their perfect spontaneity. Many of them were never published, and generally they have the air of being the simple effusions of the moment, gay or sad. When Cowper was in good spirits his joy, intensified by sensibility and past suffering, played like a fountain of light on all the little incidents of his quiet life. An ink-glass, a flatting mill, a halibut served up for dinner, the killing of a snake in the garden, the arrival of a friend wet after a Journey, a cat shut up in a drawer, sufficed to elicit a little jet of poetical delight, the highest and brightest jet of all being _John Gilpin_. Lady Austen's voice and touch still faintly live in two or three pieces which were written for her harpsichord. Some of the short poems on the other hand are poured from the darker urn, and the finest of them all is the saddest. There is no need of illustrations unless it be to call attention to a secondary quality less noticed, than those of more importance. That which used to be specially called "wit," the faculty of ingenious and unexpected combination, such as is shown in the similes of _Hudibras_, was possessed by Cowper in large measure.

A friendship that in frequent fits Of controversial rage emits The sparks of disputation, Like hand-in-hand insurance plates, Most unavoidably creates The thought of conflagration.

Some fickle creatures boast a soul True as a needle to the pole, Their humour yet so various— They manifest their whole life through The needle's deviations too, Their love is so precarious.

The great and small but rarely meet On terms of amity complete; Plebeians must surrender, And yield so much to noble folk, It is combining fire with smoke, Obscurity with splendour.

Some are so placid and serene (As Irish bogs are always green) They sleep secure from waking; And are indeed a bog, that bears Your unparticipated cares Unmoved and without quaking.

Courtier and patriot cannot mix Their heterogeneous politics Without an effervescence, Like that of salts with lemon juice, Which does not yet like that produce A friendly coalescence.

Faint presages of Byron are heard in such a poem as The Shrubbery, and of Wordsworth in such a poem as that To a Young Lady. But of the lyrical depth and passion of the great Revolution poets Cowper is wholly devoid. His soul was stirred by no movement so mighty, if it were even capable of the impulse. Tenderness he has, and pathos as well as playfulness; he has unfailing grace and ease; he has clearness like that of a trout-stream. Fashions, even our fashions, change. The more metaphysical poetry of our time has indeed too much in it, besides the metaphysics, to be in any danger of being ever laid on the shelf with the once admired conceits of Cowley; yet it may one day in part lose, while the easier and more limpid kind of poetry may in part regain, its charm.

The opponents of the Slave Trade tried to enlist this winning voice in the service of their cause. Cowper disliked the task, but he wrote two or three anti-Slave-Trade ballads. The Slave Trader in the Dumps, with its ghastly array of horrors dancing a jig to a ballad metre, justifies the shrinking of an artist from a subject hardly fit for art.

If the cistern which had supplied The Task was exhausted, the rill of occasional poems still ran freely, fed by a spring which, so long as life presented the most trivial object or incident could not fail. Why did not Cowper go on writing these charming pieces which he evidently produced with the greatest facility? Instead of this, he took, under an evil star, to translating Homer. The translation of Homer into verse is the Polar Expedition of literature, always failing, yet still desperately renewed. Homer defies modern reproduction. His primeval simplicity is a dew of the dawn which can never be re-distilled. His primeval savagery is almost equally unpresentable. What civilized poet can don the barbarian sufficiently to revel, or seem to revel, in the ghastly details of carnage, in hideous wounds described with surgical gusto, in the butchery of captives in cold blood, or even in those particulars of the shambles and the spit which to the troubadour of barbarism seem as delightful as the images of the harvest and the vintage? Poetry can be translated into poetry only by taking up the ideas of the original into the mind of the translator, which is very difficult when the translator and the original are separated by a gulf of thought and feeling, and when the gulf is very wide, becomes impossible. There is nothing for it in the case of Homer but a prose translation. Even in prose to find perfect equivalents for some of the Homeric phrases is not easy. Whatever the chronological date of the Homeric poems may be, their political and psychological date may be pretty well fixed. Politically they belong, as the episode of Thersites shows, to the rise of democracy and to its first collision with aristocracy, which Homer regards with the feelings of a bard who sang in aristocratic halls. Psychologically they belong to the time when in ideas and language, the moral was just disengaging itself from the physical. In the wail of Andromache for instance, adinon epos, which Pope improves into "sadly dear," and Cowper, with better taste at all events, renders "precious," is really semi-physical, and scarcely capable of exact translation. It belongs to an unreproducible past, like the fierce joy which, in the same wail, bursts from the savage woman in the midst of her desolation at the thought of the numbers whom her husband's hands had slain. Cowper had studied the Homeric poems thoroughly in his youth, he knew them so well that he was able to translate them, not very incorrectly with only the help of a Clavis; he understood their peculiar qualities as well as it was possible for a reader without the historic sense to do; he had compared Pope's translation carefully with the original, and had decisively noted the defects which make it not a version of Homer, but a periwigged epic of the Augustan age. In his own translation he avoids Pope's faults, and he preserves at least the dignity of the original, while his command of language could never fail him, nor could he ever lack the guidance of good taste. But we well know where he will be at his best. We turn at once to such passages as the description of Calypso's Isle,

Alighting on Pieria, down he (Hermes) stooped. To Ocean, and the billows lightly skimmed In form a sea-mew, such as in the bays Tremendous of the barren deep her food Seeking, dips oft in brine her ample wing. In such disguise o'er many a wave he rode, But reaching, now, that isle remote, forsook The azure deep, and at the spacious grove Where dwelt the amber-tressed nymph arrived Found her within. A fire on all the hearth Blazed sprightly, and, afar diffused, the scent Of smooth-split cedar and of cypress-wood Odorous, burning cheered the happy isle. She, busied at the loom and plying fast Her golden shuttle, with melodious voice Sat chanting there; a grove on either side, Alder and poplar, and the redolent branch Wide-spread of cypress, skirted dark the cave Where many a bird of broadest pinion built Secure her nest, the owl, the kite, and daw, Long-tongued frequenters of the sandy shores. A garden vine luxuriant on all sides Mantled the spacious cavern, cluster-hung Profuse; four fountains of serenest lymph, Their sinuous course pursuing side by side, Strayed, all around, and everywhere appeared Meadows of softest verdure purpled o'er With violets; it was a scene to fill A God from heaven with wonder and delight.

There are faults in this and even blunders, notably in the natural history; and "serenest lymph" is a sad departure from Homeric simplicity. Still on the whole the passage in the translation charms, and its charm is tolerably identical with that of the original. In more martial and stirring passages the failure is more signal, and here especially we feel that if Pope's rhyming couplets are sorry equivalents for the Homeric hexameter, blank verse is superior to them only in a negative way. The real equivalent, if any, is the romance metre of Scott, parts of whose poems, notably the last canto of Marmion and some passages in the Lay of the Last Minstrel, are about the most Homeric things in our language. Cowper brought such poetic gifts to his work that his failure might have deterred others from making the same hopeless attempt. But a failure his work is; the translation is no more a counterpart of the original, than the Ouse creeping through its meadows is the counterpart of the Aegean rolling before a fresh wind and under a bright sun. Pope delights school-boys; Cowper delights nobody, though on the rare occasions when he is taken from the shelf, he commends himself, in a certain measure, to the taste and judgment of cultivated men.

In his translations of Horace, both those from the Satires and those from the Odes, Cowper succeeds far better. Horace requires in his translator little of the fire which Cowper lacked. In the Odes he requires grace, in the Satires urbanity and playfulness, all of which Cowper had in abundance. Moreover, Horace is separated from us by no intellectual gulf. He belongs to what Dr. Arnold called the modern period of ancient history. Nor is Cowper's translation of part of the eighth book of Virgil's Aeneid bad, in spite of the heaviness of the blank verse. Virgil, like Horace, is within his intellectual range.

As though a translation of the whole of the Homeric poems had not been enough to bury his finer faculty, and prevent him from giving us any more of the minor poems, the publishers seduced him into undertaking an edition of Milton, which was to eclipse all its predecessors in splendour. Perhaps he may have been partly entrapped by a chivalrous desire to rescue his idol from the disparagement cast on it by the tasteless and illiberal Johnson. The project after weighing on his mind and spirits for some time was abandoned, leaving as its traces only translations of Milton's Latin poems, and a few notes on Paradise Lost, in which there is too much of religion, too little of art.

Lady Hesketh had her eye on the Laureateship, and probably with that view persuaded her cousin to write loyal verses on the recovery of George III. He wrote the verses, but to the hint of the Laureateship he said, "Heaven guard my brows from the wreath you mention, whatever wreaths beside may hereafter adorn them. It would be a leaden extinguisher clapt on my genius, and I should never more produce a line worth reading." Besides, was he not already the mortuary poet of All Saints, Northampton?



CHAPTER VII.

THE LETTERS.

Southey, no mean judge in such a matter, calls Cowper the best of English, letter-writers. If the first place is shared with him by any one it is by Byron, rather than by Gray, whose letters are pieces of fine writing, addressed to literary men, or Horace Walpole, whose letters are memoirs, the English counterpart of St. Simon. The letters both of Gray and Walpole are manifestly written for publication. Those of Cowper have the true epistolary charm. They are conversation, perfectly artless, and at the same time autobiography, perfectly genuine, whereas all formal autobiography is cooked. They are the vehicles of the writer's thoughts and feelings, and the mirror of his life. We have the strongest proofs that they were not written for publication. In many of them there are outpourings of wretchedness which could not possibly have been intended for any heart but that to which they were addressed, while others contain medical details which no one would have thought of presenting to the public eye. Some, we know, were answers to letters received but a moment before; and Southey says that the manuscripts are very free from erasures. Though Cowper kept a note-book for subjects, which no doubt were scarce with him, it is manifest that he did not premeditate. Grace of form he never lacks, but this was a part of his nature, improved by his classical training. The character and the thoughts presented are those of a recluse who was sometimes a hypochondriac; the life is life at Olney. But simple self-revelation is always interesting, and a garrulous playfulness with great happiness of expression can lend a certain charm even to things most trivial and commonplace. There is also a certain pleasure in being carried back to the quiet days before railways and telegraphs, when people passed their whole lives on the same spot, and life moved always in the same tranquil round. In truth it is to such days that letter-writing, as a species of literature belongs, telegrams and postal cards have almost killed it now.

The large collection of Cowper's letters is probably seldom taken from the shelf; and the "Elegant Extracts" select those letters which are most sententious, and therefore least characteristic. Two or three specimens of the other style may not be unwelcome or needless as elements of a biographical sketch; though specimens hardly do justice to a series of which the charm, such as it is, is evenly diffused, not gathered, into centres of brilliancy like Madame de Sevigne's letter on the Orleans Marriage. Here is a letter written, in the highest spirits to Lady Hesketh.

"Olney, Feb. 9th, 1786.

"MY DEAREST COUSIN,—I have been impatient to tell you that I am impatient to see you again. Mrs. Unwin partakes with me in all my feelings upon this subject, and longs also to see you. I should have told you so by the last post, but have been so completely occupied by this tormenting specimen, that it was impossible to do it. I sent the General a letter on Monday, that would distress and alarm him; I sent him another yesterday, that will, I hope, quiet him again. Johnson has apologized very civilly for the multitude of his friend's strictures; and his friend has promised to confine himself in future to a comparison of me with the original, so that, I doubt not, we shall jog on merrily together. And now, my dear, let me tell you once more, that your kindness in promising us a visit has charmed us both. I shall see you again. I shall hear your voice. We shall take walks together. I will show you my prospects, the hovel, the alcove, the Ouse and its banks, everything that I have described. I anticipate the pleasure of those days not very far distant, and feel a part of it at this moment. Talk not of an inn! Mention it not for your life! We have never had so many visitors, but we could easily accommodate them all; though we have received Unwin, and his wife, and his sister, and his son all at once. My dear, I will not let you come till the end of May, or beginning of June, because before that time my greenhouse will not be ready to receive us, and it is the only pleasant room belonging to us. When the plants go out, we go in. I line it with mats, and spread the floor with mats; and there you shall sit with a bed of mignonette at your side, and a hedge of honeysuckles, roses, and jasmine; and I will make you a bouquet of myrtle every day. Sooner than the time I mention the country will not be in complete beauty.

"And I will tell you what you shall find at your first entrance. Imprimis, as soon as you have entered the vestibule, if you cast a look on either side of you, you shall see on the right hand a box of my making. It is the box in which have been lodged all my hares, and in which lodges Puss at present; but he, poor fellow, is worn out with age, and promises to die before you can see him. On the right hand stands a cupboard, the work of the same author, it was once a dove-cage, but I transformed it. Opposite to you stands a table, which I also made; but a merciless servant having scrubbed it until it became paralytic, it serves no purpose now but of ornament; and all my clean shoes stand under it. On the left hand, at the further end of this superb vestibule, you will find the door of the parlour, into which I will conduct you, and where I will introduce you to Mrs. Unwin, unless we should meet her before, and where we will be as happy as the day is long. Order yourself, my cousin, to the Swan at Newport, and there you shall find me ready to conduct you to Olney.

"My dear, I have told Homer what you say about casks and urns, and have asked him whether he is sure that it is a cask in which Jupiter keeps his wine. He swears that it is a cask, and that it will never be anything better than a cask to eternity. So if the god is content with it, we must even wonder at his taste, and be so too.

"Adieu! my dearest, dearest cousin. W. C."

Here, by way of contrast, is a letter written in the lowest spirits possible to Mr. Newton. It displays literary grace inalienable even in the depths of hypochondria. It also shows plainly the connexion of hypochondria with the weather. January was a month to the return of which the sufferer always looked forward with dread as a mysterious season of evil. It was a season, especially at Olney, of thick fog combined with bitter frosts. To Cowper this state of the atmosphere appeared the emblem of his mental state; we see in it the cause. At the close the letter slides from spiritual despair to the worsted-merchant, showing that, as we remarked before, the language of despondency had become habitual, and does not always flow from a soul really in the depths of woe.

TO THE REV. JOHN NEWTON.

"Jan. 13th, 1784.

"MY DEAR FRIEND,—I too have taken leave of the old year, and parted with it just when you did, but with very different sentiments and feelings upon the occasion. I looked back upon all the passages and occurrences of it, as a traveller looks back upon a wilderness through which he has passed with weariness, and sorrow of heart, reaping no other fruit, of his labour, than the poor consolation that, dreary as the desert was, he has left it all behind him. The traveller would find even this comfort considerably lessened, if, as soon as he had passed one wilderness, another of equal length, and equally desolate, should expect him. In this particular, his experience and mine would exactly tally. I should rejoice, indeed, that the old year is over and gone, if I had not every reason to prophesy a new one similar to it.

"The new year is already old in my account, I am not, indeed, sufficiently second-sighted to be able to boast by anticipation an acquaintance with the events of it yet unborn, but rest convinced that, be they what they may, not one of them comes a messenger of good to me. If even death itself should be of the number, he is no friend of mine. It is an alleviation of the woes even of an unenlightened man, that he can wish for death, and indulge a hope, at least, that in death he shall find deliverance. But, loaded as my life is with despair, I have no such comfort as would result from a supposed probability of better things to come, were it once ended. For, more unhappy than the traveller with whom I set out, pass through what difficulties I may, through whatever dangers and afflictions, I am not a whit nearer the home, unless a dungeon may be called so. This is no very agreeable theme; but in so great a dearth of subjects to write upon, and especially impressed as I am at this moment with a sense of my own condition, I could choose no other. The weather is an exact emblem of my mind in its present state. A thick fog envelopes everything, and at the same time it freezes intensely. You will tell me that this cold gloom will be succeeded by a cheerful spring, and endeavour to encourage me to hope for a spiritual change resembling it;—but it will be lost labour. Nature revives again; but a soul once slain lives no more. The hedge that has been apparently dead, is not so; it will burst into leaf and blossom at the appointed time; but no such time is appointed for the stake that stands in it. It is as dead as it seems, and will prove itself no dissembler. The latter end of next month will complete a period of eleven years in which I have spoken no other language. It is a long time for a man whose eyes were once opened, to spend in darkness; long enough to make despair an inveterate habit; and such it is in me. My friends, I know, expect that I shall see yet again. They think it necessary to the existence of divine truth, that he who once had possession of it should never finally lose it. I admit the solidity of this reasoning in every case but my own. And why not in my own? For causes which to them it appears madness to allege, but which rest upon my mind with a weight of immovable conviction. If I am recoverable, why am I thus?—why crippled and made useless in the Church, just at that time of life when, my judgment and experience being matured, I might be most useful?—why cashiered and turned out of service, till, according to the course of nature, there is not life enough left in me to make amends for the years I have lost,—till there is no reasonable hope left that the fruit can ever pay the expense of the fallow? I forestall the answer:—God's ways are mysterious, and He giveth no account of His matters—an answer that would serve my purpose as well as theirs to use it. There is a mystery in my destruction, and in time it shall be explained.

"I am glad you have found so much hidden treasure; and Mrs. Unwin desires me to tell you that you did her no more than justice in believing that she would rejoice in it. It is not easy to surmise the reason why the reverend doctor, your predecessor, concealed it. Being a subject of a free government, and I suppose fall of the divinity most in fashion, he could not fear lest his riches should expose him to persecution. Nor can I suppose that he held it any disgrace for a dignitary of the church to be wealthy, at a time when churchmen in general spare no pains to become so. But the wisdom of some men has a droll sort of knavishness in it, much like that of a magpie, who hides what he finds with a deal of contrivance, merely for the pleasure of doing it.

"Mrs. Unwin is tolerably well. She wishes me to add that she shall be obliged to Mrs. Newton, if, when an opportunity offers, she will give the worsted-merchant a jog. We congratulate you that Eliza does not grow worse, which I know you expected would be the case in the course of the winter. Present our love to her. Remember us to Sally Johnson, and assure yourself that we remain as warmly as ever,

"Yours, W. C. M. U."

In the next specimen we shall see the faculty of imparting interest to the most trivial incident by the way of telling it. The incident in this case is one which also forms the subject of the little poem called The Colubriad.

To THE REV. WILLIAM UNWIN.

"Aug. 3rd, 1782.

"MY DEAR FRIEND,—Entertaining some hope that Mr. Newton's next letter would furnish me with the means of satisfying your inquiry on the subject of Dr. Johnson's opinion, I have till now delayed my answer to your last; but the information is not yet come, Mr. Newton having intermitted a week more than usual since his last writing. When I receive it, favourable or not, it shall be communicated to you; but I am not very sanguine in my expectations from that quarter. Very learned and very critical heads are hard to please. He may perhaps treat me with levity for the sake of my subject and design, but the composition, I think, will hardly escape his censure. Though all doctors may not be of the same mind, there is one doctor at least, whom I have lately discovered, my professed admirer. He too, like Johnson, was with difficulty persuaded to read, having an aversion to all poetry, except the Night Thoughts; which, on a certain occasion, when being confined on board a ship he had no other employment, he got by heart. He was, however, prevailed upon, and read me several times over; so that if my volume had sailed with him, instead of Dr. Young's, I might perhaps have occupied that shelf in his memory which he then allotted to the Doctor; his name is Renny, and he lives at Newport Pagnel.

"It is a sort of paradox, but it is true: we are never more in danger than when we think ourselves most secure, nor in reality more secure than when we seem to be most in danger. Both sides of this apparent contradiction were lately verified in my experience. Passing from the greenhouse to the barn, I saw three kittens (for we have so many in our retinue) looking with fixed attention at something, which lay on the threshold of a door, coiled up. I took but little notice of them at first, but a loud hiss engaged me to attend more closely, when behold—a viper! the largest I remember to have seen, rearing itself, darting its forked tongue, and ejaculating the afore-mentioned hiss at the nose of a kitten, almost in contact with his lips. I ran into the hall for a hoe with a long handle, with which I intended to assail him, and returning in a few seconds missed him: he was gone, and I feared had escaped me. Still, however, the kitten sat watching immovably upon the same spot. I concluded, therefore, that, sliding between the door and the threshold, he had found his way out of the garden into the yard. I went round immediately, and there found him in close conversation with the old cat, whose curiosity being excited by so novel an appearance, inclined her to pat his head repeatedly with her fore foot; with her claws, however, sheathed, and not in anger, but in the way of philosophical inquiry and examination. To prevent her falling a victim to so laudable an exercise of her talents, I interposed in a moment with the hoe, and performed an act of decapitation, which though not immediately mortal proved so in the end. Had he slid into the passages, where it is dark, or had he, when in the yard, met with no interruption from the cat, and secreted himself in any of the outhouses, it is hardly possible but that some of the family must have been bitten; he might have been trodden upon without being perceived, and have slipped away before the sufferer could have well distinguished what foe had wounded him. Three years ago we discovered one in the same place, which the barber slew with a trowel.

"Our proposed removal to Mr. Small's was, as you suppose, a jest, or rather a joco-serious matter. We never looked upon it as entirely feasible, yet we saw in it something so like practicability, that we did not esteem it altogether unworthy of our attention. It was one of those projects which people of lively imaginations play with, and admire for a few days, and then break in pieces. Lady Austen returned on Thursday from London, where she spent the last fortnight, and whither she was called by an unexpected opportunity to dispose of the remainder of her lease. She has now, therefore, no longer any connexion with the great city, she has none on earth whom she calls friends but us, and no house but at Olney. Her abode is to be at the vicarage, where she has hired as much room as she wants, which she will embellish with her own furniture, and which she will occupy, as soon as the minister's wife has produced another child, which is expected to make its entry in October.

"Mr. Bull, a dissenting minister of Newport, a learned, ingenious, good-natured, pious friend of ours, who sometimes visits us, and whom we visited last week, has put into my hands three volumes of French poetry, composed by Madame Guyon;—a quietist, say you, and a fanatic, I will have nothing to do with her. It is very well, you are welcome to have nothing to do with her, but in the meantime her verse is the only French verse I ever read that I found agreeable; there is a neatness in it equal to that which we applaud with so much reason in the compositions of Prior. I have translated several of them, and shall proceed in my translations, till I have filled a Lilliputian paper-book I happen to have by me, which, when filled, I shall present to Mr. Bull. He is her passionate admirer, rode twenty miles to see her picture in the house of a stranger, which stranger politely insisted on his acceptance of it, and it now hangs over his parlour chimney. It is a striking portrait, too characteristic not to be a strong resemblance, and were it encompassed with a glory, instead of being dressed, in a nun's hood, might pass for the face of an angel.

"Our meadows are covered with a winter-flood in August; the rushes with which our bottomless chairs were to have been bottomed, and much hay, which was not carried, are gone down the river on a voyage to Ely, and it is even uncertain whether they will ever return. Sic transit gloria mundi!

"I am glad you have found a curate, may he answer! Am happy in Mrs. Bouverie's continued approbation; it is worth while to write for such a reader. Yours,

"W. C."

The power of imparting interest to commonplace incidents is so great that we read with a sort of excitement a minute account of the conversion of an old card-table into a writing and dining-table, with the causes and consequences of that momentous event, curiosity having been first cunningly aroused by the suggestion that the clerical friend to whom the letter is addressed might, if the mystery were not explained, be haunted by it when he was getting into his pulpit, at which time, as he had told Cowper, perplexing questions were apt to come into his mind.

A man who lived by himself could have little but himself to write about. Yet in these letters there is hardly a touch of offensive egotism. Nor is there any querulousness, except that of religious despondency. From those weaknesses Cowper was free. Of his proneness to self-revelation we have had a specimen already.

The minor antiquities of the generations immediately preceding ours are becoming rare, as compared with those of remote ages, because nobody thinks it worth while to preserve them. It is almost as easy to get a personal memento of Priam or Nimrod as it is to get a harpsichord, a spinning-wheel, a tinder-box, or a scratch-back. An Egyptian wig is attainable, a wig of the Georgian era is hardly so, much less a tie of the Regency. So it is with the scenes of common life a century or two ago. They are being lost, because they were familiar. Here are two of them, however, which have limned themselves with the distinctness of the camera obscura on the page of a chronicler of trifles.

TO THE REV. JOHN NEWTON.

"Nov. 17th, 1783.

"MY DEAR FRIEND,—The country around is much alarmed with apprehensions of fire. Two have happened since that of Olney. One at Hitchin, where the damage is said to amount to eleven thousand pounds; and another, at a place not far from Hitchin, of which I have not yet learnt the name. Letters have been dropped at Bedford, threatening to burn the town; and the inhabitants have been so intimidated as to have placed a guard in many parts of it, several nights past. Since our conflagration here, we have sent two women and a boy to the justice, for depredation, S. R. for stealing a piece of beef, which, in her excuse, she said she intended to take care of. This lady, whom you well remember, escaped for want of evidence; not that evidence was wanting, but our men of Gotham judged it unnecessary to send it. With her went the woman I mentioned before, who, it seems, has made some sort of profession, but upon this occasion allowed, herself a latitude of conduct rather inconsistent with it, having filled her apron with wearing-apparel, which she likewise intended to take care of. She would have gone to the county gaol, had William Raban, the baker's son, who prosecuted, insisted upon it; but he, good-naturedly, though I think weakly, interposed in her favour, and begged her off. The young gentleman who accompanied these fair ones is the junior son of Molly Boswell. He had stolen some iron-work, the property of Griggs the butcher. Being convicted, he was ordered to be whipped, which operation he underwent at the cart's tail, from the stone-house to the high arch, and back again. He seemed to show great fortitude, but it was all an imposition upon the public. The beadle, who performed it, had filled his left hand with yellow ochre, through which, after every stroke, he drew the lash of his whip, leaving the appearance of a wound upon the skin, but in reality not hurting him at all. This being perceived by Mr. Constable H., who followed the beadle, he applied his cane, without any such management or precaution, to the shoulders of the too merciful executioner. The scene immediately became more interesting. The beadle could by no means be prevailed upon to strike hard, which provoked the constable to strike harder, and this double flogging continued, till a lass of Silver-End, pitying the pitiful beadle thus suffering under the hands of the pitiless constable, joined the procession, and placing herself immediately behind the latter, seized him by his capillary club, and pulling him backwards by the same, slapped his face with a most Amazon fury. This concatenation of events has taken up more of my paper than I intended it should, but I could not forbear to inform you how the beadle thrashed the thief, the constable the beadle, and the lady the constable, and how the thief was the only person concerned who suffered nothing. Mr. Teedon has been here, and is gone again. He came to thank me for some left-off clothes. In answer to our inquiries after his health, he replied that he had a slow fever, which made him take all possible care not to inflame his blood. I admitted his prudence, but in his particular instance, could not very clearly discern the need of it. Pump water will not heat him much, and, to speak a little in his own style, more inebriating fluids are to him, I fancy, not very attainable. Ho brought us news, the truth of which, however, I do not vouch for, that the town of Bedford was actually on fire yesterday, and the flames not extinguished when the bearer of the tidings left it.