Chapter XIII: Part 13

This cubit and half of commander, by the help of a diurnal, routed his enemies fifty miles off. It's strange you'll say, and yet 'tis generally believed he would as soon do it at that distance as nearer hand. Sure it was his sword for which the weapon-salve was invented; that so wounding and healing (like loving correlates) might both work at the same removes. But the squib is run to the end of the rope: room for the prodigy of valour. Madam Atropos in breeches, Waller's knight-errantry; and because every mountebank must have his zany, throw him in Hazelrig to set off his story. These two, like Bel and the Dragon, are always worshipped in the same chapter; they hunt in couples, what one doth at the head, the other scores up at the heels.

Thus they kill a man over and over, as Hopkins and Sternhold murder the psalms with another of the same; one chimes all in, and then the other strikes up as the saints-bell.

I wonder for how many lives my Lord Hopton took the lease of his body.

First Stamford slew him, then Waller outkilled that half a bar; and yet it is thought the sullen corpse would scarce bleed were both these manslayers never so near it.

The same goes of a Dutch headsman, that he would do his office with so much ease and dexterity, that the head after execution should stand upon the shoulders. Pray God Sir William be not probationer for the place; for as if he had the like knack too, most of those whom the diurnal hath slain for him, to us poor mortals seem untouched.

Thus these artificers of death can kill the man without wounding the body, like lightning, that melts the sword and never singes the scabbard.

This is the William whose lady is the conqueror; this is the city's champion and the diurnal's delight; he that cuckolds the general in his commission; for he stalks with Essex, and shoots under his belly, because his Excellency himself is not charged there: yet in all this triumph there is a whip and bell; translate but the scene to Roundway Down, there Hazelrig's lobsters turned crabs and crawled backwards, there poor Sir William ran to his lady for an use of consolation.

But the diurnal is weary of the arm of flesh, and now begins an hosanna to Cromwell; one that hath beat up his drums clean through the Old Testament; you may learn the genealogy of our Saviour by the names in his regiment; the muster-master uses no other list but the first chapter of Matthew.

With what face can they object to the king the bringing in of foreigners, when themselves entertain such an army of Hebrews? This Cromwell is never so valorous as when he is making speeches for the association, which nevertheless he doth somewhat ominously with his neck awry, holding up his ear as if he expected Mahomet's pigeon to come and prompt him. He should be a bird of prey too by his bloody beak; his nose is able to try a young eagle, whether she be lawfully begotten. But all is not gold that glitters. What we wonder at in the rest of them is natural to him to kill without bloodshed, for the most of his trophies are in a church window, when a looking-glass would show him more superstition. He is so perfect a hater of images that he hath defaced God's in his own countenance. If he deals with men, 'tis when he takes them napping in an old monument; then down goes dust and ashes, and the stoutest cavalier is no better. O brave Oliver! Time's voider, subsizer to the worms, in whom death, who formerly devoured our ancestors, now chews the cud. He said grace once as if he would have fallen aboard with the Marquis of Newcastle; nay, and the diurnal gave you his bill of fare; but it proved a running banquet, as appears by the story. Believe him as he whistles to his Cambridge team of committee-men, and he doth wonders. But holy men, like the holy language, must be read backwards. They rifle colleges to promote learning, and pull down churches for edification. But sacrilege is entailed upon him. There must be a Cromwell for cathedrals as well as abbeys; a secure sin, whose offence carries its pardon in its mouth; for how shall he be hanged for church-robbery, that gives himself the benefit of the clergy?

But for all Cromwell's nose wears the dominical letter, compared to Manchester he is but like the vigils to an holy-day. This, this is the man of God, so sanctified a thunderbolt, that Burroughs (in a proportionable blasphemy to his Lord of Hosts) would style him the archangel giving battle to the devil.

Indeed, as the angels each of them makes a several species, so every one of his soldiers makes a distinct church. Had these beasts been to enter into the ark it would have puzzled Noah to have sorted them into pairs. If ever there were a rope of sand it was so many sects twisted into an association.

They agree in nothing but that they are all Adamites in understanding. It is a sign of a coward to wink and fight, yet all their valour proceeds from their ignorance.

But I wonder whence their general's purity proceeds; it is not by traduction; if he was begotten a saint it was by equivocal generation, for the devil in the father is turned monk in the son, so his godliness is of the same parentage with good laws, both extracted out of bad manners, and would he alter the Scripture as he hath attempted the creed, he might vary the text and say to corruption, Thou art my Father.

This is he that put out one of the kingdom's eyes by clouding our mother university; and (if this Scotch mist farther prevail) he will extinguish the other. He hath the like quarrel to both, because both are strung with the same optic nerve, knowing loyalty.

Barbarous rebel! who will be revenged upon all learning, because his treason is beyond the mercy of the book.

The diurnal as yet hath not talked much of his victories, but there is the more behind, for the knight must always beat the giant, that's resolved.

If anything fall out amiss which cannot be smothered, the diurnal hath a help at maw. It is but putting to sea and taking a Danish fleet, or brewing it with some success out of Ireland, and then it goes down merrily.

There are more puppets that move by the wire of a diurnal, as Brereton and Cell, two of Mars his petty-toes, such snivelling cowards that it is a favour to call them so. Was Brereton to fight with his teeth (as in all other things he resembles the beast) he would have odds of any man at the weapon. Oh, he's a terrible slaughterman at a Thanksgiving dinner. Had he been cannibal to have eaten those that he vanquished, his gut would have made him valiant.

The greatest wonder is at Fairfax, how he comes to be a babe of grace, certainly it is not in his personal, but (as the State-sophies distinguish) in his politic capacity; degenerate _ab extra_ by the zeal of the house he sat in, as chickens are hatched at Grand Cairo by the adoption of an oven.

There is the woodmonger too, a feeble crutch to a declining cause, a new branch of the old oak of reformation.

And now I speak of reformation, _vous avez_, Fox the tinker, the liveliest emblem of it that may be; for what did this parliament ever go about to reform, but, tinkerwise, in mending one hole they made three?

But I have not ink enough to cure all the tetters and ring-worms of the State.

I will close up all thus. The victories of the rebels are like the magical combat of Apuleius, who thinking he had slain three of his enemies, found them at last but a triumvirate of bladders. Such, and so empty are the triumphs of a diurnal, but so many impostumated fancies, so many bladders of their own blowing.

* * * * *

_The "Surfeit to A.B.C." in 1656, was a look of Characters. "Naps upon Parnassus'" in 1658 contained Characters of a Temporizer and an Antiquary. In the same year appeared "Satyrical Characters and Handsome Descriptions, in Letters." In 1659 there was a third edition of a satire on the English, published as "A Character of England, as it was lately presented in a Letter to a Nobleman of France" replied to in that year by "A Character of France." These suggested the production in 1659 of "A Perfect Description of the People and Country of Scotland" and, also in 1659, "A Brief Character of the Low Countries under the States, being Three Weeks' Observation of the Vices and Virtues of the Inhabitants." This was written by Owen Feltham, and added to several editions of his "Resolves." In 1660 appeared "The Character of Italy" and "The Character of Spain;" in 1661, "Essays and Characters by L. G.;" in 1662-63, "The Assembly-Man" a Character that had been written by Sir John Birkenhead in 1647. Then came, in 1665, Richard Flecknoe, to whom Dryden ascribed sovereignty as one who

"In prose and verse was owned without dispute,
Through all the realms of Nonsense absolute."

As he was equally ready in all forms of writing that his neighbours followed he, of course, wrote Characters. They were "Fifty-five Enigmatical Characters, all very exactly drawn to the Life, from several Persons, Humours, Dispositions. Pleasant and full of Delight. By R. F., Esq." The Duke of Newcastle admired, and wrote, in lines prefixed to the book--_

"Flecknoe, thy characters are so full of wit
And fancy, as each word is throng'd with it.
Each line's a volume, and who reads would swear
Whole libraries were in each character.
Nor arrows in a quiver stuck, nor yet
Lights in the starry skies are thicker set,
Nor quills upon the armed porcupine,
Than wit and fancy in this work of thine."

_This is one of Flecknoe's Characters:--_

THE VALIANT MAN.

He is only a man; your coward and rash being but tame and savage beasts. His courage is still the same, and drink cannot make him more valiant, nor danger less. His valour is enough to leaven whole armies; he is an army himself, worth an army of other men. His sword is not always out like children's daggers, but he is always last in beginning quarrels, though first in ending them. He holds honour, though delicate as crystal, yet not so slight and brittle to be broke and cracked with every touch; therefore, though most wary of it, is not querulous nor punctilious. He is never troubled with passion, as knowing no degree beyond clear courage; and is always valiant, but never furious. He is the more gentle in the chamber, more fierce he's in the field, holding boast (the coward's valour), and cruelty (the beast's), unworthy a valiant man. He is only coward in this, that he dares not do an unhandsome action. In fine, he can only be overcome by discourtesy, and has but one defect--he cannot talk much--to recompense which he does the more.

_In 1673 there was published "The Character of a Coffee House, with the symptoms of a Town Wit;" and in the same year, "Essays of Love and Marriage ... with some Characters and other Passages of Wit;" in 1675, "The Character of a Fanatick. By a Person of Quality;" a set of eleven Characters appeared in 1675; "A Whip for a Jockey, or a Character of an Horse-Courser," in 1677; "Four for a Penny, or Poor Robin's Character of an unconscionable Pawnbroker and Ear-mark of an oppressing Tally-man, with a friendly description of a Bum-bailey, and his merciless setting cur or Follower," appeared in 1678; and in the same year the Duke of Buckingham's "Character of an Ugly Woman." In 1681 appeared the "Character of a Disbanded Courtier," and in 1684 Oldham's "Character of a certain ugly old P----." In 1686 followed "Twelve ingenious Characters, or pleasant Descriptions of the Properties of sundry Persons and Things." Sir William Coventry's "Character of a Trimmer," published in 1689, had been written before 1659, when it had been answered by a "Character of a Tory," not printed at the time, but included (1721) in the works of George Villiers, second Duke of Buckingham. In 1689 appeared "Characters addressed to Ladies of Age," and also "The Ceremony-Monger his Character, in Six Chapters, by E. Hickeringill, Rector of All Saints, Colchester." Ohe! Enough, enough!_

SAMUEL BUTLER,

_Author of "Hudibras," who died in 1680, also exercised his wit in Character writing. When Butler's "Remains" were published in two volumes in 1759 by R. Thyer, Keeper of the Public Library of Manchester, 460 pages of the second volume, (all the volume except forty or fifty pages of "Thoughts on Various Subjects,") was occupied by a collection of 120 Characters that he had written. I close this volume of "Character Writings of the Seventeenth Century" with as many of Samuel Butler's Characters as the book has room for,--none are wittier--space being left for one Character by a poet of our own century, Wordsworth's "Character of the Happy Warrior" to bring us to a happy close._

CHARACTERS.

BY SAMUEL BUTLER.

A DEGENERATE NOBLE; OR, ONE THAT IS PROUD OF HIS BIRTH,

Is like a turnip, there is nothing good of him but that which is underground; or rhubarb, a contemptible shrub that springs from a noble root. He has no more title to the worth and virtue of his ancestors than the worms that were engendered in their dead bodies, and yet he believes he has enough to exempt himself and his posterity from all things of that nature for ever. This makes him glory in the antiquity of his family, as if his nobility were the better the further off it is, in time as well as desert, from that of his predecessors. He believes the honour that was left him as well as the estate is sufficient to support his quality without troubling himself to purchase any more of his own; and he meddles us little with the management of the one as the other, but trusts both to the government of his servants, by whom he is equally cheated in both. He supposes the empty title of honour sufficient to serve his turn, though he has spent the substance and reality of it, like the fellow that sold his ass but would not part with the shadow of it; or Apicius, that sold his house, and kept only the balcony to see and be seen in. And because he is privileged from being arrested for his debts, supposes he has the same freedom from all obligations he owes humanity and his country, because he is not punishable for his ignorance and want of honour, no more than poverty or unskilfulness is in other professions, which the law supposes to be punishment enough to itself. He is like a fanatic, that contents himself with the mere title of a saint, and makes that his privilege to act all manner of wickedness; or the ruins of a noble structure, of which there is nothing left but the foundation, and that obscured and buried under the rubbish of the superstructure. The living honour of his ancestors is long ago departed, dead and gone, and his is but the ghost and shadow of it, that haunts the house with horror and disquiet where once it lived. His nobility is truly descended from the glory of his forefathers, and may be rightly said to fall to him, for it will never rise again to the height it was in them by his means, and he succeeds them as candles do the office of the sun. The confidence of nobility has rendered him ignoble, as the opinion of wealth makes some men poor, and as those that are born to estates neglect industry and have no business but to spend, so he being born to honour believes he is no further concerned than to consume and waste it. He is but a copy, and so ill done that there is no line of the original in him but the sin only. He is like a word that by ill-custom and mistake has utterly lost the sense of that from which it was derived, and now signifies quite contrary; for the glory of noble ancestors will not permit the good or bad of their posterity to be obscure. He values himself only upon his title, which being only verbal gives him a wrong account of his natural capacity, for the same words signify more or less, according as they are applied to things, as ordinary and extraordinary do at court; and sometimes the greater sound has the less sense, as in accounts, though four be more than three, yet a third in proportion is more than a fourth.

A HUFFING COURTIER

Is a cipher, that has no value himself but from the place he stands in. All his happiness consists in the opinion he believes others have of it. This is his faith, but as it is heretical and erroneous, though he suffer much tribulation for it, he continues obstinate, and not to be convinced. He flutters up and down like a butterfly in a garden, and while he is pruning of his peruke takes occasion to contemplate his legs and the symmetry of his breeches. He is part of the furniture of the rooms, and serves for a walking picture, a moving piece of arras. His business is only to be seen, and he performs it with admirable industry, placing himself always in the best light, looking wonderfully politic, and cautious whom he mixes withal. His occupation is to show his clothes, and if they could but walk themselves they would save him the labour and do his work as well as himself. His immunity from varlets is his freehold, and he were a lost man without it. His clothes are but his tailor's livery, which he gives him, for 'tis ten to one he never pays for them. He is very careful to discover the lining of his coat, that you may not suspect any want of integrity or flaw in him from the skin outwards. His tailor is his creator, and makes him of nothing; and though he lives by faith in him, he is perpetually committing iniquities against him. His soul dwells in the outside of him, like that of a hollow tree, and if you do but peel the bark off him he deceases immediately. His carriage of himself is the wearing of his clothes, and, like the cinnamon tree, his bark is better than his body. His looking big is rather a tumour than greatness. He is an idol that has just so much value as other men give him that believe in him, but none of his own. He makes his ignorance pass for reserve, and, like a hunting-nag, leaps over what he cannot get through. He has just so much of politics as hostlers in the university have Latin. He is as humble as a Jesuit to his superior, but repays himself again in insolence over those that are below him, and with a generous scorn despises those that can neither do him good nor hurt. He adores those that may do him good, though he knows they never will, and despises those that would not hurt him if they could. The court is his church, and he believes as that believes, and cries up and down everything as he finds it pass there. It is a great comfort to him to think that some who do not know him may perhaps take him for a lord, and while that thought lasts he looks bigger than usual and forgets his acquaintance, and that's the reason why he will sometimes know you and sometimes not. Nothing but want of money or credit puts him in mind that he is mortal, but then he trusts Providence that somebody will trust him, and in expectation of that hopes for a better life, and that his debts will never rise up in judgment against him. To get in debt is to labour in his vocation, but to pay is to forfeit his protection, for what's that worth to one that owes nothing? His employment being only to wear his clothes, the whole account of his life and actions is recorded in shopkeepers' books, that are his faithful historiographers to their own posterity; and he believes he loses so much reputation as he pays off his debts, and that no man wears his clothes in fashion that pays for them, for nothing is further from the mode. He believes that he that runs in debt is beforehand with those that trust him, and only those that pay are behind. His brains are turned giddy, like one that walks on the top of a house, and that's the reason it is so troublesome to him to look downwards. He is a kind of spectrum, and his clothes are the shape he takes to appear and walk in, and when he puts them off he vanishes. He runs as busily out of one room into another as a great practiser does in Westminster Hall from one court to another. When he accosts a lady he puts both ends of his microcosm in motion, by making legs at one end and combing his peruke at the other. His garniture is the sauce to his clothes, and he walks in his portcannons like one that stalks in long grass. Every motion of him cries "Vanity of vanities, all is vanity, quoth the preacher." He rides himself like a well-managed horse, reins in his neck, and walks _terra-terra_. He carries his elbows backward, as if he were pinioned like a trussed-up fowl, and moves as stiff as if he was upon the spit. His legs are stuck in his great voluminous breeches like the whistles in a bagpipe, those abundant breeches in which his nether parts are not clothed but packed up. His hat has been long in a consumption of the fashion, and is now almost worn to nothing; if it do not recover quickly it will grow too little for a head of garlic. He wears garniture on the toes of his shoes to justify his pretensions to the gout, or such other malady that for the time being is most in fashion or request. When he salutes a friend he pulls off his hat, as women do their vizard-masks. His ribbons are of the true complexion of his mind, a kind of painted cloud or gaudy rainbow, that has no colour of itself but what it borrows from reflection. He is as tender of his clothes as a coward is of his flesh, and as loth to have them disordered. His bravery is all his happiness, and, like Atlas, he carries his heaven on his back. He is like the golden fleece, a fine outside on a sheep's back. He is a monster or an Indian creature, that is good for nothing in the world but to be seen. He puts himself up into a sedan, like a fiddle in a case, and is taken out again for the ladies to play upon, who, when they have done with him, let down his treble-string till they are in the humour again. His cook and _valet de chambre_ conspire to dress dinner and him so punctually together that the one may not be ready before the other. As peacocks and ostriches have the gaudiest and finest feathers, yet cannot fly, so all his bravery is to flutter only. The beggars call him "my lord," and he takes them at their words and pays them for it. If you praise him, he is so true and faithful to the mode that he never fails to make you a present of himself, and will not be refused, though you know not what to do with him when you have him.

A COURT BEGGAR

Waits at Court, as a dog does under a table, to catch what falls, or force it from his fellows if he can. When a man is in a fair way to be hanged that is richly worth it, or has hanged himself, he puts in to be his heir and succeed him, and pretends as much merit as another, as no doubt he has great reason to do if all things were rightly considered. He thinks it vain to deserve well of his Prince as long as he can do his business more easily by begging, for the same idle laziness possesses him that does the rest of his fraternity, that had rather take an alms than work for their livings, and therefore he accounts merit a more uncertain and tedious way of rising, and sometimes dangerous. He values himself and his place not upon the honour or allowances of it, but the convenient opportunity of begging, as King Clause's courtiers do when they have obtained of the superior powers a good station where three ways meet to exercise the function in. The more ignorant, foolish, and undeserving he is, provided he be but impudent enough, which all such seldom fail to be, the better he thrives in his calling, as others in the same way gain more by their sores and broken limbs than those that are sound and in health. He always undervalues what he gains, because he comes easily by it; and, how rich soever he proves, is resolved never to be satisfied, as being, like a Friar Minor, bound by his order to be always a beggar. He is, like King Agrippa, almost a Christian; for though he never begs anything of God, yet he does very much of his vicegerent the King, that is next Him. He spends lavishly what he gets, because it costs him so little pains to get more, but pays nothing; for if he should, his privilege would be of no use at all to him, and he does not care to part with anything of his right. He finds it his best way to be always craving, because he lights many times upon things that are disposed of or not beggable; but if one hit, it pays for twenty that miscarry; even as those virtuosos of his profession at large ask as well of those that give them nothing as those few that, out of charity, give them something. When he has passed almost all offices, as other beggars do from constable to constable, and after meets with a stop, it does but encourage him to be more industrious in watching the next opportunity, to repair the charge he has been at to no purpose. He has his emissaries, that are always hunting out for discoveries, and when they bring him in anything that he judges too heavy far his own interest to carry, he takes in others to join with him (like blind men and cripples that beg in consort), and if they prosper they share, and give the jackal some small snip for his pains in questing; that is, if he has any further use of him; otherwise he leaves him, like virtue, to reward himself; and because he deserves well, which he does by no means approve of, gives him, that which he believes to be the fittest recompense of all merit, just nothing. He believes that the King's restoration being upon his birthday, he is bound to observe it all the days of his life, and grant, as some other kings have done upon the same occasion, whatever is demanded of him, though it were the one-half of his kingdom.

A BUMPKIN OR COUNTRY SQUIRE

Is a clown of rank and degree. He is the growth of his own land, a kind of Autocthonus, like the Athenians that sprang out of their own ground, or barnacles that grow upon trees in Scotland. His homely education has rendered him a native only of his own soil and a foreigner to all other places, from which he differs in language, manner of living, and behaviour, which are as rugged as the coat of a colt that has been bred upon a common. The custom of being the best man in his own territories has made him the worst everywhere else. He assumes the upper end of the table at an ale-house as his birthright, receives the homage of his company, which are always subordinate, and dispenses ale and communication like a self-conforming teacher in a conventicle. The chief points he treats on are the memoirs of his dogs and horses, which he repeats as often as a holder-forth that has but two sermons, to which if he adds the history of his hawks and fishing he is very painful and laborious. He does his endeavour to appear a droll, but his wit being, like his estate, within the compass of a hedge, is so profound and obscure to a stranger that it requires a commentary, and is not to be understood without a perfect knowledge of all circumstances of persons and the particular idiom of the place. He has no ambition to appear a person of civil prudence or understanding more than in putting off a lame, infirm jade for sound wind and limb, to which purpose he brings his squirehood and groom to vouch, and, rather than fail, will outswear an affidavit-man. The top of his entertainment is horrible strong beer, which he pours into his guests (as the Dutch did water into our merchants when they tortured them at Amboyna) till they confess they can drink no more, and then he triumphs over them as subdued and vanquished, no less by the strength of his brain than his drink. When he salutes a man he lays violent hands upon him, and grips and shakes him like a fit of an ague; and when he accosts a lady he stamps with his foot, like a French fencer, and makes a lunge at her, in which he always misses his aim, too high or too low, and hits her on the nose or chin. He is never without some rough-handed flatterer, that rubs him, like a horse, with a curry-comb till he kicks and grunts with the pleasure of it. He has old family stories and jests, that fell to him with the estate, and have been left from heir to heir time out of mind. With these he entertains all comers over and over, and has added some of his own times, which he intends to transmit over to posterity. He has but one way of making all men welcome that come to his house, and that is by making himself and them drunk; while his servants take the same course with theirs, which he approves of as good and faithful service, and the rather because, if he has occasion to tell a strange, improbable story, they may be in a readiness to vouch with the more impudence, and make it a case of conscience to lie as well as drink for his credit. All the heroical glory he aspires to is but to be reputed a most potent and victorious stealer of deer and beater-up of parks, to which purpose he has compiled commentaries of his own great actions that treat of his dreadful adventures in the night, of giving battle in the dark, discomfiting of keepers, horsing the deer on his own back, and making off with equal resolution and success.

AN ANTIQUARY

Is one that has his being in this age, but his life and conversation is in the days of old. He despises the present age as an innovation and slights the future, but has a great value for that which is past and gone, like the madman that fell in love with Cleopatra. He is an old frippery-philosopher, that has so strange a natural affection to worm-eaten speculation that it is apparent he has a worm in his skull. He honours his forefathers and foremothers, but condemns his parents as too modern and no better than upstarts. He neglects himself because he was born in his own time and so far off antiquity, which he so much admires, and repines, like a younger brother, because he came so late into the world. He spends the one-half of his time in collecting old insignificant trifles, and the other in showing them, which he takes singular delight in, because the oftener he does it the farther they are from being new to him. All his curiosities take place of one another according to their seniority, and he values them not by their abilities, but their standing. He has a great veneration for words that are stricken in years, and are grown so aged that they have outlived their employments. These he uses with a respect agreeable to their antiquity and the good services they have done. He throws away his time in inquiring after that which is past and gone so many ages since, like one that shoots away an arrow to find out another that was lost before. He fetches things out of dust and ruins, like the fable of the chemical plant raised out of its own ashes. He values one old invention, that is lost and never to be recovered, before all the new ones in the world, though never so useful. The whole business of his life is the same with his that shows the tombs at Westminster, only the one does it for his pleasure, and the other for money. As every man has but one father, but two grandfathers and a world of ancestors, so he has a proportional value for things that are ancient, and the farther off the greater.

He is a great time-server, but it is of time out of mind to which he conforms exactly, but is wholly retired from the present. His days were spent and gone long before he came into the world, and since his only business is to collect what he can out of the ruins of them. He has so strong a natural affection to anything that is old, that he may truly say to dust and worms, "You are my father;" and to rottenness, "Thou art my mother." He has no providence nor foresight, for all his contemplations look backward upon the days of old; and his brains are turned with them, as if he walked backwards. He had rather interpret one obscure word in any old senseless discourse than be author of the most ingenious new one, and, with Scaliger, would sell the Empire of Germany (if it were in his power) for an old song. He devours an old manuscript with greater relish than worms and moths do, and, though there be nothing in it, values it above anything printed, which he accounts but a novelty. When he happens to cure a small botch in an old author, he is as proud of it as if he had got the philosopher's stone and could cure all the diseases of mankind. He values things wrongfully upon their antiquity, forgetting that the most modern are really the most ancient of all things in the world, like those that reckon their pounds before their shillings and pence of which they are made up. He esteems no customs but such as have outlived themselves and are long since out of use, as the Catholics allow of no saints but such as are dead, and the fanatics, in opposition, of none but the living.

A PROUD MAN

Is a fool in fermentation, that swells and boils over like a porridge-pot. He sets out his feathers like an owl, to swell and seem bigger than he is. He is troubled with a tumour and inflammation of self-conceit, that renders every part of him stiff and uneasy. He has given himself sympathetic love-powder, that works upon him to dotage and has transformed him into his own mistress. He is his own gallant, and makes most passionate addresses to his own dear perfections. He commits idolatry to himself, and worships his own image; though there is no soul living of his Church but himself, yet he believes as the Church believes, and maintains his faith with the obstinacy of a fanatic. He is his own favourite, and advances himself not only above his merit, but all mankind; is both Damon and Pythias to his own dear self, and values his crony above his soul. He gives place to no man but himself, and that with very great distance to all others, whom he esteems not worthy to approach him. He believes whatsoever he has receives a value in being his, as a horse in a nobleman's stable will bear a greater price than in a common market. He is so proud that he is as hard to be acquainted with himself as with others, for he is very apt to forget who he is, and knows himself only superficially; therefore he treats himself civilly as a stranger with ceremony and compliment, but admits of no privacy. He strives to look bigger than himself as well as others, and is no better than his own parasite and flatterer. A little flood will make a shallow torrent swell above its banks, and rage and foam and yield a roaring noise, while a deep, silent stream glides quietly on. So a vain-glorious, insolent, proud man swells with a little frail prosperity, grows big and loud, and overflows his bounds, and when he sinks, leaves mud and dirt behind him. His carriage is as glorious and haughty as if he were advanced upon men's shoulders or tumbled over their heads like knipperdolling. He fancies himself a Colosse, and so he is, for his head holds no proportion to his body, and his foundation is lesser than his upper storeys. We can naturally take no view of ourselves unless we look downwards, to teach us how humble admirers we ought to be of our own values. The slighter and less solid his materials are the more room they take up and make him swell the bigger, as feathers and cotton will stuff cushions better than things of more close and solid parts.

A SMALL POET

Is one that would fain make himself that which Nature never meant him, like a fanatic that inspires himself with his own whimsies. He sets up haberdasher of small poetry, with a very small stock and no credit. He believes it is invention enough to find out other men's wit, and whatsoever he lights upon, either in books or company, he makes bold with as his own. This he puts together so untowardly, that you may perceive his own wit has the rickets by the swelling disproportion of the joints. Imitation is the whole sum of him, and his vein is but an itch that he has catched of others, and his flame like that of charcoals that were burnt before. But as he wants judgment to understand what is best, he naturally takes the worst, as being most agreeable to his own talent. You may know his wit not to be natural, 'tis so unquiet and troublesome in him; for as those that have money but seldom are always shaking their pockets when they have it, so does he when he thinks he has got something that will make him appear. He is a perpetual talker, and you may know by the freedom of his discourse that he came lightly by it, as thieves spend freely what they get. He measures other men's wit by their modesty, and his own by his confidence. He makes nothing of writing plays, because he has not wit enough to understand the difficulty. This makes him venture to talk and scribble, as chouses do to play with cunning gamesters until they are cheated and laughed at. He is always talking of wit, as those that have bad voices are always singing out of tune, and those that cannot play delight to fumble on instruments. He grows the unwiser by other men's harms, for the worse others write, he finds the more encouragement to do so too. His greediness of praise is so eager that he swallows anything that comes in the likeness of it, how notorious and palpable soever, and is as shot-free against anything that may lessen his good opinion of himself. This renders him incurable, like diseases that grow insensible.

If you dislike him, it is at your own peril; he is sure to put in a caveat beforehand against your understanding, and, like a malefactor in wit, is always furnished with exceptions against his judges. This puts him upon perpetual apologies, excuses, and defences, but still by way of defiance, in a kind of whiffling strain, without regard of any man that stands in the way of his pageant. Where he thinks he may do it safely, he will confidently own other men's writings; and where he fears the truth may be discovered, he will, by feeble denials and feigned insinuations, give men occasion to suppose it.

If he understands Latin or Greek he ranks himself among the learned, despises the ignorant, talks criticisms out of Scaliger, and repeats Martial's bawdy epigrams, and sets up his rest wholly upon pedantry. But if he be not so well qualified, he cries down all learning as pedantic, disclaims study, and professes to write with as great facility as if his Muse was sliding down Parnassus. Whatsoever he hears well said he seizes upon by poetical license, and one way makes it his own; that is, by ill-repeating of it. This he believes to be no more theft than it is to take that which others throw away. By this means his writings are, like a tailor's cushion of mosaic work, made up of several scraps sewed together. He calls a slovenly, nasty description great Nature, and dull flatness strange easiness. He writes down all that comes in his head, and makes no choice, because he has nothing to do it with that is judgment. He is always repealing the old laws of comedy, and, like the Long Parliament, making ordinances in their stead, although they are perpetually thrown out of coffee-houses and come to nothing. He is like an Italian thief, that never robs but he murders, to prevent discovery; so sure is he to cry down the man from whom he purloins, that his petty larceny of wit may pass unsuspected. He is but a copier at best, and will never arrive to practise by the life; for bar him the imitation of something he has read, and he has no image in his thoughts. Observation and fancy, the matter and form of just wit, are above his philosophy. He appears so over-concerned in all men's wits as if they were but disparagements of his own, and cries down all they do as if they were encroachments upon him. He takes jests from the owners and breaks them, as justices do false weights and pots that want measure. When he meets with anything that is very good he changes it into small money, like three groats for a shilling, to serve several occasions. He disclaims study, pretends to take things in motion, and to shoot flying, which appears to be very true by his often missing of his mark. His wit is much troubled with obstructions, and he has fits as painful as those of the spleen. He fancies himself a dainty, spruce shepherd, with a flock and a fine silken shepherdess, that follow his pipe as rats did the conjurers in Germany.

As for epithets, he always avoids those that are near akin to the sense. Such matches are unlawful, and not fit to be made by a Christian poet, and therefore all his care is to choose out such as will serve, like a wooden leg, to piece out a maimed verse that wants a foot or two; and if they will but rhyme now and then into the bargain, or run upon a letter, it is a work of supererogation.

For similitudes, he likes the hardest and most obscure best; for as ladies wear black patches to make their complexions seem fairer than they are, so when an illustration is more obscure than the sense that went before it, it must of necessity make it appear clearer than it did, for contraries are best set off with contraries.

He has found out a way to save the expense of much wit and sense; for he will make less than some have prodigally laid out upon five or six words serve forty or fifty lines. This is a thrifty invention, and very easy, and, if it were commonly known, would much increase the trade of wit and maintain a multitude of small poets in constant employment. He has found out a new sort of poetical Georgics, a trick of sowing wit like clover-grass on barren subjects which would yield nothing before. This is very useful for the times, wherein, some men say, there is no room left for new invention. He will take three grains of wit like the elixir, and projecting it upon the iron age, turn it immediately into gold. All the business of mankind has presently vanished; the whole world has kept holiday; there have been no men but heroes and poets, no women but nymphs and shepherdesses; trees have borne fritters, and rivers flowed plum-porridge.

We read that Virgil used to make fifty or sixty verses in a morning, and afterwards reduce them to ten. This was an unthrifty vanity, and argues him as well ignorant in the husbandry of his own poetry as Seneca says he was in that of a farm; for, in plain English, it was no better than bringing a noble to nine-pence. And as such courses brought the prodigal son to eat with hogs, so they did him to feed with horses, which were not much better company, and may teach us to avoid doing the like. For certainly it is more noble to take four or five grains of sense, and, like a gold-beater, hammer them into so many leaves as will fill a whole book, than to write nothing but epitomes, which many wise men believe will be the bane and calamity of learning. When he writes he commonly steers the sense of his lines by the rhyme that is at the end of them, as butchers do calves by the tail. For when he has made one line, which is easy enough, and has found out some sturdy hard word that will but rhyme, he will hammer the sense upon it, like a piece of hot iron upon an anvil, into what form he pleases.

There is no art in the world so rich in terms as poetry; a whole dictionary is scarce able to contain them, for there is hardly a pond, a sheep-walk, or a gravel-pit in all Greece but the ancient name of it is become a term of art in poetry. By this means small poets have such a stock of able hard words lying by them, as dryads, hamadryads, Aonides, fauni, nymphae, sylvani, &c., that signify nothing at all, and such a world of pedantic terms of the same kind, as may serve to furnish all the new inventions and thorough reformations that can happen between this and Plato's great year.

When he writes he never proposes any scope or purpose to himself, but gives his genius all freedom; for as he that rides abroad for his pleasure can hardly be out of his way, so he that writes for his pleasure can seldom be beside his subject. It is an ungrateful thing to a noble wit to be confined to anything. To what purpose did the ancients feign Pegasus to have wings if he must be confined to the road and stages like a pack-horse, or be forced to be obedient to hedges and ditches? Therefore he has no respect to decorum and propriety of circumstance, for the regard of persons, times, and places is a restraint too servile to be imposed upon poetical license, like him that made Plato confess Juvenal to be a philosopher, or Persius, that calls the Athenians Quirites.

For metaphors, he uses to choose the hardest and most far-set that he can light upon. These are the jewels of eloquence, and therefore the harder they are the more precious they must be.

He'll take a scant piece of coarse sense and stretch it on the tenterhooks of half-a-score rhymes, until it crack that you may see through it and it rattle like a drumhead. When you see his verses hanged up in tobacco-shops, you may say, in defiance of the proverb, "that the weakest does not always go to the wall;" for 'tis well known the lines are strong enough, and in that sense may justly take the wall of any that have been written in our language. He seldom makes a conscience of his rhymes, but will often take the liberty to make "preach" rhyme with "cheat," "vote" with "rogue," and "committee-man" with "hang."

He'll make one word of as many joints as the tin-pudding that a juggler pulls out of his throat and chops in again. What think you of _glud-fum-flam-hasta-minantes?_ Some of the old Latin poets bragged that their verses were tougher than brass and harder than marble; what would they have done if they had seen these? Verily they would have had more reason to wish themselves an hundred throats than they then had to pronounce them.

There are some that drive a trade in writing in praise of other writers (like rooks, that bet on gamesters' hands), not at all to celebrate the learned author's merits, as they would show but their own wits, of which he is but the subject. The lechery of this vanity has spawned more writers than the civil law. For those whose modesty must not endure to hear their own praises spoken may yet publish of themselves the most notorious vapours imaginable. For if the privilege of love be allowed--_Dicere quiz puduit, scribere jussit amor_--why should it not be so in self-love too? For if it be wisdom to conceal our imperfections, what is it to discover our virtues? It is not likely that Nature gave men great parts upon such terms as the fairies used to give money, to pinch and leave them if they speak of it. They say--Praise is but the shadow of virtue, and sure that virtue is very foolish that is afraid of its own shadow.

When he writes anagrams he uses to lay the outsides of his verses even (like a bricklayer) by a line of rhyme and acrostic, and fill the middle with rubbish. In this he imitates Ben Jonson, but in nothing else.

There was one that lined a hatcase with a paper of Benlowes' poetry; Prynne bought it by chance and put a new demi-castor into it. The first time he wore it he felt only a singing in his head, which within two days turned to a vertigo. He was let blood in the ear by one of the State physicians, and recovered; but before he went abroad he wrote a poem of rocks and seas, in a style so proper and natural that it was hard to determine which was ruggeder.

There is no feat of activity nor gambol of wit that ever was performed by man, from him that vaults on Pegasus to him that tumbles through the hoop of an anagram, but Benlowes has got the mastery in it, whether it be high-rope wit or low-rope wit. He has all sorts of echoes, rebuses, chronograms, &c., besides carwitchets, clenches, and quibbles. As for altars and pyramids in poetry, he has outdone all men that way; for he has made a gridiron and a frying-pan in verse, that, beside the likeness in shape, the very tone and sound of the words did perfectly represent the noise that is made by those utensils, such as the old poet called _sartago loquendi_. When he was a captain he made all the furniture of his horse, from the bit to the crupper, in beaten poetry, every verse being fitted to the proportion of the thing, with a moral allusion of the sense to the thing; as the bridle of moderation, the saddle of content, and the crupper of constancy; so that the same thing was both epigram and emblem, even as a mule is both horse and ass.