Calamities and Quarrels of Authors. Disraeli Isaac
upon the barren sand.
But neglect was not all Cowley had to endure; the royal party seemed disposed to calumniate him. When Cowley was young he had hastily composed the comedy of “The Guardian;” a piece which served the cause of loyalty. After the Restoration, he rewrote it under the title of “Cutter of Coleman Street;” a comedy which may still be read with equal curiosity and interest: a spirited picture of the peculiar characters which appeared at the Revolution. It was not only ill received by a faction, but by those vermin of a new court, who, without merit themselves, put in their claims, by crying down those who, with great merit, are not in favour. All these to a man accused the author of having written a satire against the king’s party. And this wretched party prevailed, too long for the author’s repose, but not for his fame.[29] Many years afterwards this comedy became popular. Dryden, who was present at the representation, tells us that Cowley “received the news of his ill success not with so much firmness as might have been expected from so great a man.” Cowley was in truth a great man, and a greatly injured man. 40 His sensibility and delicacy of temper were of another texture than Dryden’s. What at that moment did Cowley experience, when he beheld himself neglected, calumniated, and, in his last appeal to public favour, found himself still a victim to a vile faction, who, to court their common master, were trampling on their honest brother?
We shall find an unbroken chain of evidence, clearly demonstrating the agony of his literary feelings. The cynical Wood tells us that, “not finding that preferment he expected, while others for their money carried away most places, he retired discontented into Surrey.” And his panegyrist, Sprat, describes him as “weary of the vexations and formalities of an active condition—he had been perplexed with a long compliance with foreign manners. He was satiated with the arts of a court, which sort of life, though his virtue made it innocent to him, yet nothing could make it quiet. These were the reasons that moved him to follow the violent inclination of his own mind,” &c. I doubt if either the sarcastic antiquary or the rhetorical panegyrist have developed the simple truth of Cowley’s “violent inclination of his own mind.” He does it himself more openly in that beautiful picture of an injured poet, in “The Complaint,” an ode warm with individual feeling, but which Johnson coldly passes over, by telling us that “it met the usual fortune of complaints, and seems to have excited more contempt than pity.”
Thus the biographers of Cowley have told us nothing, and the poet himself has probably not told us all. To these calumnies respecting Cowley’s comedy, raised up by those whom Wood designates as “enemies of the muses,” it would appear that others were added of a deeper dye, and in malignant whispers distilled into the ear of royalty. Cowley, in an ode, had commemorated the genius of Brutus, with all the enthusiasm of a votary of liberty. After the king’s return, when Cowley solicited some reward for his sufferings and services in the royal cause, the chancellor is said to have turned on him with a severe countenance, saying, “Mr. Cowley, your pardon is your reward!” It seems that ode was then considered to be of a dangerous tendency among half the nation; Brutus would be the model of enthusiasts, who were sullenly bending their neck under the yoke of royalty. Charles II. feared the attempt of desperate men; and he might have forgiven Rochester a loose pasquinade, but not Cowley a solemn invocation. This fact, then, is said to have been the true cause 41 of the despondency so prevalent in the latter poetry of “the melancholy Cowley.” And hence the indiscretion of the muse, in a single flight, condemned her to a painful, rather than a voluntary solitude; and made the poet complain of “barren praise” and “neglected verse.”[30]
While this anecdote harmonises with better known facts, it throws some light on the outcry raised against the comedy, which seems to have been but an echo of some preceding one. Cowley retreated into solitude, where he found none of the agrestic charms of the landscapes of his muse. When in the world, Sprat says, “he had never wanted for constant health and strength of body;” but, thrown into solitude, he carried with him a wounded spirit—the Ode of Brutus and the condemnation of his comedy were the dark spirits that haunted his cottage. Ill health soon succeeded low spirits—he pined in dejection, and perished a victim of the finest and most injured feelings.
But before we leave the melancholy Cowley, he shall speak the feelings, which here are not exaggerated. In this Chronicle of Literary Calamity no passage ought to be more memorable than the solemn confession of one of the most amiable of men and poets.
Thus he expresses himself in the preface to his “Cutter of Coleman Street.”
“We are therefore wonderful wise men, and have a fine business of it; we, who spend our time in poetry. I do sometimes laugh, and am often angry with myself, when I think on it; and if I had a son inclined by nature to the same folly, I believe I should bind him from it by the strictest conjurations of a paternal blessing. For what can be more ridiculous than to labour to give men delight, whilst they labour, on their part, most earnestly to take offence?”
And thus he closes the preface, in all the solemn expression of injured feelings:—“This I do affirm, that from all which I have written, I never received the least benefit or the least advantage; but, on the contrary, have felt sometimes the effects of malice and misfortune!”
Cowley’s ashes were deposited between those of Chaucer and Spenser; a marble monument was erected by a duke; and his eulogy was pronounced, on the day of his death, from 42 the lips of royalty. The learned wrote, and the tuneful wept: well might the neglected bard, in his retirement, compose an epitaph on himself, living there “entombed, though not dead.”
To this ambiguous state of existence he applies a conceit, not inelegant, from the tenderness of its imagery:
| Hic sparge flores, sparge breves rosas, Nam vita gaudet mortua floribus; Herbisque odoratis corona Vatis adhuc cinerem calentem. IMITATED. Here scatter flowers and short-lived roses bring. For life, though dead, enjoys the flowers of spring; With breathing wreaths of fragrant herbs adorn The yet warm embers in the poet’s urn. |
THE PAINS OF FASTIDIOUS EGOTISM.
I must place the author of “The Catalogue of Royal and Noble Authors,” who himself now ornaments that roll, among those who have participated in the misfortunes of literature.
Horace Walpole was the inheritor of a name the most popular in Europe;[31] he moved in the higher circles of society; and fortune had never denied him the ample gratification of his lively tastes in the elegant arts, and in curious knowledge. These were particular advantages. But Horace Walpole panted with a secret desire for literary celebrity; a full sense of his distinguished rank long suppressed the desire of venturing the name he bore to the uncertain fame of an author, and the caprice of vulgar critics. At length he pretended to shun authors, and to slight the honours of authorship. The cause of this contempt has been attributed to the perpetual consideration of his rank. But was this bitter contempt of so early a date? Was Horace Walpole a Socrates before his time? was he born that prodigy of indifference, to despise the secret object he languished to possess? His early associates were not only noblemen, but literary noblemen; and need he have been so petulantly fastidious at bearing the venerable title of author, when he saw Lyttleton, Chesterfield, 43 and other peers, proud of wearing the blue riband of literature? No! it was after he had become an author that he contemned authorship: and it was not the precocity of his sagacity, but the maturity of his experience, that made him willing enough to undervalue literary honours, which were not sufficient to satisfy his desires.
Let us estimate the genius of Horace Walpole by analysing his talents, and inquiring into the nature of his works.
His taste was highly polished; his vivacity attained to brilliancy;[32] and his picturesque fancy, easily excited, was soon extinguished; his playful wit and keen irony were perpetually exercised in his observations on life, and his memory was stored with the most amusing knowledge, but much too lively to be accurate; for his studies were but his sports. But other qualities of genius must distinguish the great author, and even