A History of English Literature - George Saintsbury (romantic books to read .TXT) 📗

"Prayer is the peace of our spirit, the stillness of our thoughts, the evenness of recollection, the seat of meditation, the rest of our cares, and the calm of our tempest. Prayer is the issue of a quiet mind, of untroubled thoughts; it is the daughter of charity and the sister of meekness; and he that prays to God with an angry—that is a troubled and discomposed—spirit, is like him that retires into a battle to meditate and sets up his closet in the outquarters of an army, and chooses a frontier garrison to be wise in. Anger is a perfect alienation of the mind from prayer, and therefore is contrary to that attention which presents our prayers in a right line to God. For so have I seen a lark rising from his bed of grass, soaring upwards and singing as he rises and hopes to get to Heaven and climb above the clouds; but the poor bird was beaten back with the loud sighings of an eastern wind and his motion made irregular and inconstant, descending more at every breath of the tempest than it could recover by the vibration and frequent weighing of his wings; till the little creature was forced to sit down and pant and stay till the storm was over; and then it made a prosperous flight and did rise and sing as if it had learned music and motion from an angel as he passed sometimes through the air about his ministries here below. So is the prayer of a good man: when his affairs have required business, and his business was matter of discipline, and his discipline was to pass upon a sinning person, or had a design of charity, his duty met with infirmities of a man and anger was its instrument, and the instrument became stronger than the prime agent and raised a tempest and overruled the man; and then his prayer was broken and his thoughts troubled.

"For so an impure vapour—begotten of the slime of the earth by the fevers and adulterous heats of an intemperate summer sun, striving by the ladder of a mountain to climb to heaven and rolling into various figures by an uneasy, unfixed revolution, and stopped at the middle region of the air, being thrown from his pride and attempt of passing towards the seat of the stars—turns into an unwholesome flame and, like the breath of hell, is confined into a prison of darkness and a cloud, till it breaks into diseases, plagues and mildews, stinks and blastings. So is the prayer of an unchaste person. It strives to climb the battlements of heaven, but because it is a flame of sulphur salt and bitumen, and was kindled in the dishonourable regions below, derived from Hell and contrary to God, it cannot pass forth to the element of love; but ends in barrenness and murmurs, fantastic expectations and trifling imaginative confidences; and they at last end in sorrows and despair."

Indeed, like all very florid writers, Taylor is liable to eclipses of taste; yet both the wording of his flights and the occasion of them (they are to be found passim in the Sermons) are almost wholly admirable. It is always a great and universal idea—never a mere conceit—that fires him. The shortness and dangers of life, the weakness of children, the fragility of women's beauty and men's strength, the change of the seasons, the vicissitudes of empires, the impossibility of satisfying desire, the disgust which follows satiety—these are, if any one chooses, commonplace enough; yet it is the observation of all who have carefully studied literature, and the experience of all who have observed their own thoughts, that it is always in relation to these commonplaces that the most beautiful expressions and the noblest sentiments arise. The uncommon thought is too likely if not too certain to be an uncommon conceit, and if not worthless, yet of inferior worth. Among prose writers Taylor is unequalled for his touches of this universal material, for the genius with which he makes the common uncommon. For instance, he has the supreme faculty of always making the verbal and the intellectual presentation of the thought alike beautiful, of appealing to the ear and the mind at the same time, of never depriving the apple of gold of its picture of silver. Yet for all this the charge of over-elaboration which may justly be brought against Browne very rarely hits Taylor. He seldom or never has the appearance which ornate writers of all times, and of his own more especially, so often have, of going back on a thought or a phrase to try to better it—of being stimulated by actual or fancied applause to cap the climax. His most beautiful passages come quite suddenly and naturally as the subject requires and as the thought strikes light in his mind. Nor are they ever, as Milton's so often are, marred by a descent as rapid as their rise. He is never below a certain decent level; he may return to earth from heaven, but he goes no lower, and reaches even his lower level by a quiet and equable sinking. As has been fully allowed, he has grave defects, the defects of his time. But from some of these he was conspicuously free, and on the whole no one in English prose (unless it be his successor here) has so much command of the enchanter's wand as Jeremy Taylor.

Sir Thomas Browne was born in the heart of London in 1605, his father (of whom little is known except one or two anecdotes corresponding with the character of the son) having been a merchant of some property, and claiming descent from a good family in Cheshire. This father died when he was quite young, and Browne is said to have been cheated by his guardians; but he was evidently at all times of his life in easy circumstances, and seems to have had no complaint to make of his stepfather, Sir Thomas Dutton. This stepfather may at least possibly have been the hero of the duel with Sir Hatton Cheeke, which Mr. Carlyle has made famous. With him Browne visited Ireland, having previously been brought up at Winchester and at Broadgates Hall, which became, during his own residence, Pembroke College, at Oxford. Later he made the usual grand tour. Then he took medical degrees; practised it is said, though on no very precise evidence, both in Oxfordshire and Yorkshire; settled, why is not known, at Norwich; married in 1641 Dorothy Mileham, a lady of good family in his adopted county; was a steady Royalist through the troubles; acquired a great name for medical and scientific knowledge, though he was not a Fellow of the Royal Society; was knighted by Charles II. in 1662, and died in 1682. His first literary appearance had been made forty years earlier in a way very common in French literary history, but so uncommon in English as to have drawn from Johnson a rather unwontedly illiberal sneer. At a time unknown, but by his own account before his thirtieth year (therefore before 1635), Browne had written the Religio Medici. It was, according to the habit of the time, copied and handed about in MS. (there exist now five MS. copies showing remarkable differences with each other and the printed copies), and in 1642 it got into print. A copy was sent by Lord Dorset to the famous Sir Kenelm Digby, then under confinement for his opinions, and the husband of Venetia wrote certain not very forcible and not wholly complimentary remarks which, as Browne was informed, were at once put to press. A correspondence ensued, and Browne published an authorised copy, in which perhaps a little "economy" might be noticed. The book made an extraordinary impression, and was widely translated and commented on in foreign languages, though its vogue was purely due to its intrinsic merits, and not at all to the circumstances which enabled Milton (rather arrogantly and not with absolute truth) to boast that "Europe rang from side to side" with his defence of the execution of Charles I. Four years later, in 1646, Browne published his largest and in every sense most popular book, the Pseudodoxia Epidemica or Enquiry into Vulgar Errors. Twelve more years passed before the greatest, from a literary point of view, of his works, the Hydriotaphia or Urn-Burial,—a magnificent descant on the vanity of human life, based on the discovery of certain cinerary urns in Norfolk,—appeared, in company with the quaint Garden of Cyrus, a half-learned, half-fanciful discussion of the mysteries of the quincunx and the number five. Nor did he publish anything more himself; but two collections of posthumous works were issued after his death, the most important item of which is the Christian Morals, and the total has been swelled since by extracts from his MSS., which at the death of his grandson and namesake in 1710 were sold by auction. Most fortunately they were nearly all bought by Sir Hans Sloane, and are to this day in the British Museum. Browne's good luck in this respect was completed by the devotion of his editor, Simon Wilkin, a Norwich bookseller of gentle blood and good education, who produced (1835) after twelve years' labour of love what Southey has justly called the best edited book in the English language. Not to mention other editions, the Religio Medici, which exhibits, owing to its history, an unusual variation of text, has been, together with the Christian Morals, separately edited with great minuteness by Dr.