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

Cartwright, a short-lived man but a hard student, shows best in his dramas. In his occasional poems, strongly influenced by Donne, he is best at panegyric, worst at burlesque and epigram. In "On a Gentlewoman's Silk Hood" and some other pieces he may challenge comparison with the most futile of the metaphysicals; but no one who has read his noble elegy on Sir Bevil Grenvil, unequal as it is, will think lightly of Cartwright. Sir Edward Sherburne was chiefly a translator in the fashionable style. His original poems were those of a very inferior Carew (he even copies the name Celia), but they are often pretty. Alexander Brome, of whom very little is known, and who must not be confounded with the dramatist, was a lawyer and a cavalier song-writer, who too frequently wrote mere doggerel; but on the other hand, he sometimes did not, and when he escaped the evil influence, as in the stanzas "Come, come, let us drink," "The Trooper," and not a few others, he has the right anacreontic vein.

As for Charles Cotton, his "Virgil Travesty" is deader than Scarron's, and deserves to be so. The famous lines which Lamb has made known to every one in the essay on "New Year's Day" are the best thing he did. But there are many excellent things scattered about his work, despite a strong taint of the mere coarseness and nastiness which have been spoken of. And though he was also much tainted with the hopeless indifference to prosody which distinguished all these belated cavaliers, it is noteworthy that he was one of the few Englishmen for centuries to adopt the strict French forms and write rondeaux and the like. On the whole his poetical power has been a little undervalued, while he was also dexterous in prose.

Thomas Stanley has been classed above as a translator because he would probably have liked to have his scholarship thus brought into prominence. It was, both in ancient and modern tongues, very considerable. His History of Philosophy was a classic for a very long time; and his edition of Æschylus had the honour of revision within the nineteenth century by Porson and by Butler. It is not certain that Bentley did not borrow from him; and his versions of Anacreon, of various other Greek lyrists, of the later Latins, and of modern writers in Spanish and Italian are most remarkable. But he was also an original poet in the best Caroline style of lyric; and his combination of family (for he was of the great Stanley stock), learning, and genius gave him a high position with men of letters of his day. Sidney Godolphin, who died very young fighting for the King in Hopton's army, had no time to do much; but he has been magnificently celebrated by no less authorities than Clarendon and Hobbes, and fragments of his work, which has only recently been collected, have long been known. None of it, except a commendatory poem or two, was printed in his own time, and very little later; while the MSS. are not in very accomplished form, and show few or no signs of revision by the author. Some, however, of Godolphin's lyrics are of great beauty, and a couplet translation of the Fourth Æneid has as much firmness as Sandys or Waller. Another precocious poet whose life also was cut short, though less heroically, and on the other side of politics, was John Hall, a Cambridge man, who at barely twenty (1645-6) issued a volume of poems and another, Horæ Vacivæ, of prose essays, translated Longinus, did hack-work on the Cromwellian side, and died, it is said, of loose and lazy living. Hall's poems are of mixed kinds—sacred and profane, serious and comic—and the best of them, such as "The Call" and "The Lure," have a slender but most attractive vein of fantastic charm. Patrick Carey, again, a Royalist and brother of the famous Lord Falkland, brought up as a Roman Catholic but afterwards a convert to the Church of England, left manuscript pieces, human and divine, which were printed by Sir Walter Scott in 1819, and are extremely pleasant; while Bishop King, though not often at the height of his well-known "Tell me no more how fair she is," never falls below a level much above the average. The satirist John Cleveland, whose poems were extremely popular and exist in numerous editions (much blended with other men's work and hard to disentangle), was made a sort of "metaphysical helot" by a reference in Dryden's Essay of Dramatic Poesy and quotations in Johnson's Life of Cowley. He partly deserves this, though he has real originality of thought and phrase; but much of his work is political or occasional, and he does not often rise to the quintessential exquisiteness of some of those who have been mentioned. A few examples of this class may be given:—