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each corner of the three nations, and overcome with equal facility both the riches of the south and the poverty of the north ; to be feared and courted by all foreign princes, and adopted a brother to the gods of the earth ; to call together Parliaments with a word of his pen, and scatter them again with the breath of his mouth; to be humbly and daily petitioned that he would please to be hired, at the rate of two millions a-year, to be the master of those who had hired him before to be their servant; to have the estates and lives of three kingdoms as much at his disposal, as was the little inheritance of his father, and to be as noble and liberal in the spending of them; and lastly, (for there is no end of all the particulars of his glory) to bequeath all this with one word to his posterity; to die with peace at home, and triumph abroad ; to be buried among kings, and with more than regal solemnity; and to leave a name behind him, not to be extinguished, but with the whole world; which as it is now too little for his praises, so might have been too for his conquests, if the short line of his human life could have been stretched out to the extent of his immortal designs!"

Cowley has left one comedy, called Cutter of Coleman Street, which met with an unfavourable

reception at the time, and is now (not undeservedly) forgotten. It contains, however, one good scene, which is rich both in fancy and humour, that between the puritanical bride, Tabitha, and her ranting royalist husband. It is said that this play was originally composed, and afterwards revived, as a satire upon the Presbyterian party; yet it was resented by the court party as a satire upon itself. A man must, indeed, be sufficiently blind with party-prejudice, to have considered this as a compliment to his own side of the question. “ Call you this backing of your friends ?” The cavaliers are in this piece represented as reduced to the lowest shifts in point of fortune, and sunk still lower in point of principle.

The greatest single production of wit of this period, I might say of this country, is Butler's Hudibras. It contains specimens of every variety of drollery and satire, and those specimens crowded together into almost every page. The proof of this is, that nearly one half of his lines are got by heart, and quoted for mottos. In giving instances of different sorts of wit, or trying to recollect good things of this kind, they are the first which stand ready in the memory; and they are those which furnish the best tests and most striking illustrations of what we want. Dr. Campbell,

in bis Philosophy of Rhetoric, when treating of the subject of wit, which he has done very neatly and sensibly, has constant recourse to two authors, Pope and Butler, the one for ornament, the other more for use. Butler is equally in the hands of the learned and the vulgar; for the sense is generally as solid, as the images are amusing and grotesque. Whigs and Tories join in his praise. He could not, in spite of himself,

narrow his mind, And to party give up what was meant for mankind.”

Though his subject was local and temporary, bis fame was not circumscribed within his own age. He was admired by Charles II. and has been rewarded by posterity. It is the poet's fate! It is not, perhaps, to be wondered at, that arbitrary and worthless monarchs like Charles II. should neglect those who pay court to them. The idol (if it had sense) would despise its worshippers. Indeed, Butler hardly merited any thing on the score of loyalty to the house of Stuart. True wit is not a parasite plant. The strokes which it aims at folly and knavery on one side of a question, tell equally home on the other. Dr. Zachary Grey, who added notes to the poem, and abused the leaders of Cromwell's party by name,

would be more likely to have gained a pension for his services than Butler, who was above such petty work. A poem like Hudibras could not be made to order of a court. Charles might very well have reproached the author with wanting to shew his own wit and sense rather than to favour a tottering cause; and he has even been suspected, in parts of his poem, of glancing at majesty itself. He in general ridicules not persons, but things, not a party, but their principles, which may belong, as time and occasion serve, to one set of solemn pretenders or another. This he has done most effectually, in every possible way, and from every possible source, learned or unlearned. He has exhausted the moods and figures of satire and sophistry*. It would be possible to deduce the different forms of syllogism in Aristotle, from the different violations or mock-imitations of them in Butler. He fulfils every one of Barrow's conditions of wit, which I have enumerated in the first Lecture. He makes you laugh or smile by

* “ And have not two saints power to use
A greater privilege than three Jews ?”

*

“ Her voice, the music of the spheres,
So loud it deafens mortals' ears,
As wise philosophers have thought,
And that's the cause we hear it not."

comparing the high to the low*, or by pretending to raise the low to the loftyt; he succeeds equally in the familiarity of his illustrations*, or their incredible extravagancell, by comparing things that are alike or not alike. He surprises equally by

*“No Indian prince has to his palace

More followers than a thief to the gallows."
+ " And in his nose, like Indian king,

He (Bruin) wore for ornament a ring."
* “ Whose noise whets valour sharp, like beer

By thunder turned to vinegar."
11 “Replete with strange hermetic powder,

That wounds nine miles point-blank would solder."

“ His tawny beard was th' equal grace
Both of his wisdom and his face;
In cut and die so like a tile,
A sudden view it would beguile :
The upper part thereof was whey,
The nether orange mixed with grey.
This hairy meteor did denounce
The fall of sceptres and of crowns;
With grisly type did represent
Declining age of government;
And tell with hieroglyphic spade
Its own grave and the state's were made."

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