Chapter LX: Book II: As when from mountain tops, &c (6)

"No Greek or Latin poetry is comparable to the Psalms. That which begins, 'The God of gods, the Lord hath spoken, and hath called up the earth,' exceeds whatever human imagination has produced. Neither Homer, nor any other poet, equals Isaiah, in describing the majesty of God, in whose presence empires are as a grain of sand, and the whole universe as a tent, which to-day is set up, and removed to-morrow. Sometimes, as when he paints the charms of peace, Isaiah has the softness and sweetness of an eclogue; at others, he soars above mortal conception. But what is there in profane antiquity comparable to the wailings of Jeremiah, when he mourns over the calamities of his people? or to Nahum, when he foresees in spirit the downfall of Nineveh, under the assault of an innumerable army? We almost behold the formidable host, and hear the arms and the chariots. Read Daniel, denouncing to Belshazzar the vengeance of God, ready to fall upon him; compare it with the most sublime passages of pagan antiquity; you find nothing comparable to it. It must be added that, in the Scriptures, every thing sustains itself; whether we consider the historical, the legal, or the poetical part of it, the proper character appears in all."

[786] The reasons which he assigns, in justification of this
opinion, are thus specified.

"Let no pious ear be offended if I advance, in opposition to
many authorities, that poetical devotion cannot often please.
The doctrines of religion may indeed be defended in a didactic
poem; and he who has the happy power of arguing in verse will not
lose it because his subject is sacred. A poet may describe the
beauty and the grandeur of nature, the flowers of the spring,
and the harvests of autumn, the vicissitudes of the tide, and
the revolutions of the sky, and praise the Maker for his works,
in lines which no reader shall lay aside. The subject of the
disputation is not piety, but the motives to piety; that of the
description is not God, but the works of God.

"Contemplative piety, or the intercourse between God and the
human soul, cannot be poetical. Man, admitted to implore the
mercy of his Creator, and plead the merits of his Redeemer, is
already in a higher state than poetry can confer.

"The essence of poetry is invention; such invention as, by
producing something unexpected, surprises and delights. The
topics of devotion are few, and being few are universally known;
but, few as they are, they can be made no more; they can receive
no grace from novelty of sentiment, and very little from novelty
of expression.

"Poetry pleases by exhibiting an idea more grateful to the
mind than things themselves afford. This effect proceeds from
the display of those parts of nature which attract, and the
concealment of those which repel the imagination. But Religion
must be shown as it is: suppression and addition equally corrupt
it; and such as it is, it is known already.

"From poetry the reader justly expects, and from good poetry
always obtains, the enlargement of his comprehension and
elevation of his fancy; but this is rarely to be hoped by
Christians from metrical devotion. Whatever is great, desirable,
or tremendous, is comprised in the name of the Supreme Being.
Omnipotence cannot be exalted; Infinity cannot be amplified;
Perfection cannot be improved.

"The employments of pious meditation are Faith, Thanksgiving,
Repentance, and Supplication. Faith invariably uniform, cannot be
invested by fancy with decorations. Thanksgiving, the most joyful
of all holy effusions, yet addressed to a Being without passions,
is confined to a few modes, and is to be felt, rather than
expressed. Repentance, trembling in the presence of the Judge,
is not at leisure for cadences and epithets. Supplication of man
to man may diffuse itself through many topics of persuasion; but
supplication to God can only cry for mercy.

"Of sentiments purely religious it will be found that the most
simple expression is the most sublime. Poetry loses its lustre
and its power, because it is applied to the decoration of
something more excellent than itself. All that pious verse can do
is to help the memory and delight the ear, and for these purposes
it may be very useful; but it supplies nothing to the mind. The
ideas of Christian theology are too simple for eloquence, too
sacred for fiction, and too majestic for ornament; to recommend
them by tropes and figures, is to magnify by a concave mirror the
sidereal hemisphere."--See Life of Waller.

These remarks seem to be founded on very erroneous principles;
but having already offered our sentiments, we forbear any further
comment, except to state that we profess to belong to the school
of Cowper; that we participate in the expression of his regret,

"Pity that Religion has so seldom found
A skilful guide into poetic ground:"

and that we cordially share in his conviction,

"The flowers would spring where'er she deign'd to stray,
And every Muse attend her on her way."

_Table Talk._

It would be singular, if a subject which unveils to the eye of faith the glories of the invisible world, and which is to be a theme of gratitude and praise throughout eternity, could inspire no ardour in a poet's soul; and if the wings of imagination could take flight to every world save to that which is eternal. We leave our Montgomeries to refute so gross an error, and appeal with confidence to the page of Cowper.

We quote the following passage, to show that religion can not only supply the noblest theme, but also communicate a corresponding sublimity of thought and language. It is the glowing and poetical description of the millennial period, commencing with--

Sweet is the harp of prophecy.

We have room only for the concluding portion:--

One song employs all nations, and all cry,
"Worthy the Lamb, for he was slain for us!"
The dwellers in the vales and on the rocks
Shout to each other, and the mountain tops
From distant mountains catch the flying joy;
Till nation after nation taught the strain,
Earth rolls the rapturous Hosanna round.
Behold the measure of the promise fill'd;
See Salem built, the labour of a god!
Bright as a sun the sacred city shines;
All kingdoms and all princes of the earth
Flock to that light; the glory of all lands
Flows into her; unbounded is her joy,
And endless her increase. Thy rams are there,
Nebaioth, and the flocks of Kedar there;
The looms of Ormus, and the mines of Ind,
And Saba's spicy groves pay tribute there.
Praise is in all her gates: upon her walls,
And in her streets, and in her spacious courts,
Is heard salvation. Eastern Java there
Kneels with the native of the farthest west;
And Ethiopia spreads abroad the hand,
And worships. Her report has travell'd forth
Into all lands. From every clime they come
To see thy beauty, and to share thy joy,
O Sion! An assembly such as Earth
Saw never, such as Heaven stoops down to see.

_Task_, book vi.

By this devotional strain of poetry, so adapted to the spirit of the present age, Cowper is rapidly accomplishing a revolution in the public taste, and creating a new race of readers. He is purifying the literary atmosphere from its noxious vapours. The muse has too long taken her flight _downwards_; Cowper leads her to hold communion with the skies. He has taught us that literary celebrity, acquired at the cost of public morals, is but an inglorious triumph, and merits no better title than that of splendid infamy. His page has fully proved that the varied field of nature, the scenes of domestic life, and the rich domain of moral and religious truth, are sufficiently ample for the exercise of poetic taste and fancy; while they never fail to tranquillize the mind, to invigorate the principles, and to enlarge the bounds of virtuous pleasure.

The writings of Cowper have also been highly beneficial to the church of England. If he has been a severe, he has also been a faithful monitor. We allude to such passages as the following--

There stands the messenger of truth: there stands
The legate of the skies!--His theme divine,
His office sacred, his credentials clear.
By him the violated law speaks out
Its thunders; and by him, in strains as sweet
As angels use, the gospel whispers peace.
He 'stablishes the strong, restores the weak,
Reclaims the wand'rer, binds the broken heart,
And, arm'd himself in panoply complete
Of heavenly temper, furnishes with arms
Bright as his own, and trains, by every rule
Of holy discipline, to glorious war,
The sacramental host of God's elect!
Are all such teachers? Would to Heaven all were!

_Task_, book ii.

I venerate the man, whose heart is warm,
Whose hands are pure, whose doctrine and whose life,
Coincident, exhibit lucid proof
That he is honest in the sacred cause.
To such I render more than mere respect,
Whose actions say that they respect themselves.
But, loose in morals, and in manners vain,
In conversation frivolous, in dress
Extreme--
From such apostles, O ye mitred heads,
Preserve the church! and lay not careless hands
On skulls that cannot teach and will not learn.

There was a period when the chase was not considered to be incompatible with the functions of the sacred office. On this subject Cowper exclaims, with just and indignant feeling--

Is this the path of sanctity? Is this
To stand a way-mark in the road to bliss?
Go, cast your orders at your bishop's feet,
Send your dishonour'd gown to Monmouth-street!
The sacred function in your hands is made--
Sad sacrilege! no function, but a trade!

_The Progress of Error._

The danger of popular applause:

O popular applause! what heart of man
Is proof against thy sweet seducing charms?
The wisest and the best feel urgent need
Of all their caution in the gentlest gales;
But, swell'd into a gust--who then, alas!
With all his canvass set, and inexpert,
And therefore heedless, can withstand thy power?
Ah, spare your idol! think him human still.
Charms he may have, but he has frailties too!
Dote not too much, nor spoil what ye admire.

These rebukes, pungent as they are, were needed. The works of Mrs. Hannah More bear unquestionable testimony to this fact. But we may now record with gratitude a very perceptible change, and appeal to the evidences of reviving piety among all classes of the clergy.

Though the singular and mysterious malady of Cowper has been the occasion of repeated remark, yet we cannot dismiss the subject without a few concluding reflections.

In contrasting with his other letters the correspondence with Newton, the chosen depositary of all his secret woe, it is difficult to recognise in the writer the same identity of character. His mind appears to have undergone some transforming process, and the gay and lively tints of his sportive imagination to be suddenly shrouded in the gloom of a mysterious and appalling darkness. We seem to enter into the regions of sorrow and despair, and to trace the terrific inscription so finely drawn by the poet, in his celebrated "Inferno:"

"Voi ch' entrate lasciate ogni speranza."[787]

Ye who enter here leave all hope behind.

[787] See the "Inferno" of Dante, where this motto is inscribed
over the entrance into the abodes of woe.

In contemplating this afflicting dispensation, and referring every event, as we must, to the appointment or permissive providence of God, we feel constrained to exclaim with the patriarch, "_The thunder of his power who can understand?_"[788] But life, as Bishop Hall observes, is made up of perturbations; and those seem most subject to their occurrence who are distinguished by the gifts of rank, fortune, or genius. Such is the discipline which the moral Governor of the world sees fit to employ for the purification of their possessors! In recording the lot of genius, Milton, it is known, was blind, Pope was afflicted with sickness, and Tasso, Swift, Smart, and Collins, were exposed to the aberrations of reason. "Moralists," says Dr. Johnson, "talk of the uncertainty of fortune, and of the transitoriness of beauty; but it is yet more dreadful to consider that the powers of the mind are equally liable to change--that understanding may make its appearance and depart, that it may blaze and expire." It seems as if the mind were too ethereal to be confined within the bounds of its earthly prison, or that the too frequent and intense exercise of thought disturbs the digestive organs, and lays the foundation of hypochondriacal feelings, which cloud the serenity of the soul. It is painful to reflect how much our sensations of comfort and happiness depend on the even flow and circulation of the blood. But the connexion of physical and moral causes has been the subject of philosophical remark in all ages. The somewhat analogous case of the celebrated Dr. Johnson seems to have been overlooked by preceding biographers of Cowper. "The morbid melancholy," observes Boswell, "which was lurking in his constitution, and to which we may ascribe those peculiarities, and that aversion to regular life, which, at a very early period, marked his character, gathered such strength in his twentieth year, as to afflict him in a dreadful manner. While he was at Lichfield, in the college vacation, in 1729, he felt himself overwhelmed with a horrible hypochondria, with perpetual irritation, fretfulness, and impatience; and with a dejection, gloom, and despair, which made existence misery. From this dismal malady he never afterwards was perfectly relieved; and all his labours, and all his enjoyments, were but temporary interruptions of its baleful influence."

[788] Job xxvi. 14.

Let those to whom Providence has assigned a humbler path, learn the duty of contentment, and be thankful that if they are denied the honours attendant on rank and genius, they are at least exempted from its trials. For where there are _heights_, there are _depths_; and he who occupies the summit is often seen descending into the valley of humiliation.

That a similar morbid temperament may be traced in the case of Cowper is indisputable; nor can a more conclusive evidence be adduced than the words of his own memoir:--"I was struck, not long after my settlement in the Temple, with such a dejection of spirits, as none but they who have felt the same can have the least conception of. Day and night I was upon the rack, lying down in horror, and rising up in despair."[789] In his subsequent attack, religion became an adjunct, not a cause, for he describes himself at that period as having lived without religion. The impression under which he laboured was therefore manifestly not suggested by a theological creed, but was the delusion of a distempered fancy. Every other view is founded on misconception, and must inevitably tend to mislead the public.

[789] See page 451.

Before we conclude the Life of Cowper, there are some important reflections, arising from his unhappy malady, which we beg to impress on the attention of the reader.

The fruitful source of all his misery was the indulgence of an over-excited state of feeling. His mind was never quiescent. Occurrences, which an ordinary degree of self-possession would have met with calmness, or passive indifference, were to him the subject of mental agony and distress. His imagination gave magnitude to trifles, till what was at first ideal, at length assumed the character of a terrible reality. He was always anticipating evil; and so powerful is the influence of fancy that what we dread we seldom fail to realize. Thus Swift lived in the constant fear of mental imbecility, and at length incurred the calamity. We scarcely know a spectacle more pitiable, and yet more reprehensible. For what is the use of reason, if we reject its dictates? or the promise of the Spirit to help our infirmities, if we nevertheless yield to their sway? How important in the education of youth to repress the first symptoms of nervous irritability, to invigorate the principles, and to train the mind to habits of self-discipline, and firm reliance upon God! The far greater proportion of human trials originate not in the appointment of Providence, but may be traced to the want of a well-ordered and duly regulated mind; to the ascendency of passion, and to the absence of mental and moral energy. It is possible to indulge in a state of mind that shall rob every blessing of half its enjoyment, and give to every trial a double portion of bitterness.

We turn with delight to a more edifying feature in his character--

_His submission under this dark dispensation._

It is easy to exhibit the triumphs of faith in moments of exultation and joy; but the vivid energy of true faith is never more powerfully exemplified, than when it is left to its own naked exercise, unaided by the influence of exciting causes. It is amid the desolation of hope, and when the iron enters into the soul--it is amid pain, depression, and sorrow, when the eye is suffused with tears, and every nerve vibrates with emotion--to be able to exclaim at such a moment, "Here I am, let him do with me as seemeth him good;"[790] this is indeed the faith which is of the operation of the Spirit, which none but God can give, and which will finally lead to a triumphant crown.

[790] Letter to Newton, May 20, 1786.

That the mind should still indulge its sorrows, in moments of awakened feeling, is natural. On this subject we know nothing more touching than the manner in which Cowper parodies and appropriates to himself Milton's affecting lamentation over his own blindness:[791]

Seasons return, but not to me returns
God, or the sweet approach of heavenly day,
Or sight of cheering truth, or pardon seal'd,
Or joy, or hope, or Jesus' face divine;
But cloud, &c.

To this quotation we might add the affecting conclusion of the poem of "The Castaway."

We perish'd each alone;
But I beneath a rougher sea,
And whelm'd in deeper gulfs than he.[792]

[791] Paradise Lost, book iii.

[792] See p. 446.

_The overruling Providence of God is no less discernible in this event._

The severest trials are not without their alleviation, nor the accompaniment of some gracious purpose. Had it not been for Cowper's visitation, the world might never have been presented with The Task, nor the Church of Christ been edified with the Olney Hymns. He was constrained to write, in order to divert his melancholy. "Despair," he observes, "made amusement necessary, and I found poetry the most agreeable amusement."[793] "In such a situation of mind, encompassed by the midnight of absolute despair, and a thousand times filled with unspeakable horror, I first commenced an author. Distress drove me to it; and the impossibility of subsisting without some employment, still recommends it."[794] How wonderful are the ways of God, and what a powerful commentary on Cowper's own celebrated hymn--

God moves in a mysterious way, &c.

It will probably be found, at the last great day, that the darkest dispensations were the most essential links in the chain of providential dealings; and that what we least understood, and often contemplated with solemn awe on earth, will form the subject of never-ceasing praise in eternity.

[793] Letter to Newton, Aug. 6, 1785.

[794] Letter to Newton, May 20, 1786.

_Whatever were the trials of Cowper, they are now terminated._

It will be remembered that his kinsman saw, or thought he saw, in the features of his deceased friend, "an expression of calmness and composure, mingled, as it were, with holy surprise."[795] We would not attach too much importance to a look, but rather rest our hopes of Cowper's happiness on the covenanted mercy and faithfulness of God. Still the supposition is natural and soothing; and we by no means think it improbable that the disembodied spirit might communicate to the earthly lineaments, in the moment of departure, the impression of its own heavenly joy. And O! what must have been the expression of that surprise and joy, when, as his immortal spirit ascended to him that gave it, instead of beholding the averted eye of an offended God, he recognised the radiant smiles of his reconciled countenance, and the caresses of his tenderness and love--when all heaven burst upon his astonished view; and when, amid angels, and archangels, and the spirits of just men made perfect, he was invited to bear his part in the glorious song of the redeemed, _Thou art worthy, O Lord, to receive glory, and honour, and power; for thou hast redeemed us to God by thy blood, and hast made us unto our God kings and priests for ever and ever_.

[795] See page 448.

But it is time to close our remarks on the Life and Writings of Cowper. It is a name that has long entwined itself around the affections of our heart, and appealed, from early days, both to conscience and feeling. We lament our inadequacy to fulfil all the duties of the present important undertaking, but the motives which have powerfully urged us to engage in it, are founded on a wish to exhibit Cowper in accordance with his own Christian character and principles; to vindicate him from prevailing misconceptions; and in imputing the gloom of depression, under which he laboured, to its true causes, so to treat this delicate subject as to make it the occasion of sympathizing interest, and not of revolting and agonized feelings. The private correspondence, in this respect, is invaluable, and absolutely essential to the clear elucidation of his case. Other documents have also been inserted that never appeared in any previous biography of Cowper; and private sources of information have been explored, not easily accessible to other inquirers. We trust this object has been attained, and the hope of so important a result is a source of cheering consolation. The history of Cowper is fruitful in the pathetic, the sublime, and the terrible, so as to produce an effect that seems almost to realize the fictions of romance. A life composed of such materials cannot fail to command attention. It possesses all the bolder lineaments of character, relieved by the familiar, the tender, the sportive, and the gay. Emotions are thus excited in which the heart loves to indulge; for who does not delight alternately in the calmness of repose, and in the excitement of awakened feeling?

But, independently of the interest created by the events of Cowper's life, there is something singularly impressive in the mechanism of his mind. It is so curiously wrought, and wonderfully made, as to form a subject for contemplation to the philosopher, the Christian, and the medical observer. The union of these several qualifications seems necessary to analyze the interior springs of thought and action, to mark the character of God's providential dealings, and to trace the influence of morbid temperament on the powers of the intellect and the passions of the soul. His mind presents the most wonderful combinations of the grave and the gay, the social and the retired, ministering to the spiritual joy of others, yet enveloped in the gloom of darkness, enchained with fetters, yet vigorous and free, soaring to the heights of Zion, yet precipitated to the depths below. It resembles a beautiful landscape, overshadowed by a dark and impending cloud. Every moment we expect the cloud to burst on the head of the devoted sufferer; and the awful anticipation would be fulfilled, were it not that a divine hand, which guides every event, and without which not even a sparrow falls to the ground, interposes and arrests the shock. Upwards of twenty years expired, during which he was thus graciously upheld. He then began to sink under his accumulated sorrows. But it is worthy of observation, that during this period his mind never suffered _a total alienation_. It was a partial eclipse, not night, nor yet day. He lived long enough, both for himself and others, sufficient to discharge all the claims of an affectionate friendship, and to raise to himself an imperishable name on the noble foundation of moral virtue. At length, when he stood alone, as it were, like a column in the melancholy waste; when he was his own world, and the solitary agent, around which clung the sensations of a heart always full, and the reflections of a mind unconscious of a pause--he died. But his last days and moments were soothed by the offices of Christian kindness, and the most disinterested regard. His beloved kinsman never left him till he had closed his eyes in death, and till the disembodied spirit, at length, found the rest in heaven, which for ever obliterated all its earthly sorrows.

_And there shall be no more curse, but the throne of God and of the Lamb shall be in it; and his servants shall serve him. And they shall see his face; and his name shall be in their foreheads. And there shall be no night there; and they need no candle, neither light of the sun; for the Lord God giveth them light; and they shall reign for ever and ever._--Rev. xxii. 3-5.

ON THE GENIUS AND POETRY OF COWPER.

BY THE REV. J. W. CUNNINGHAM, A.M., VICAR OF HARROW.

In presenting to the public the first Complete Edition of the Works of Cowper, it is thought desirable to prefix to the Poems a short dissertation on his Genius and Poetry. It is true that criticisms abound which have nearly the same object. It is true also that some of these criticisms are of a very high order of excellence. But perhaps their very number and merit supply a reason for adding at least one to the catalogue. The observations of the different Reviewers are scattered over so large a number of volumes, and these volumes are many of them, either of so expensive or so ephemeral a character, that an essay which endeavours to collect these criticisms into a focus, and present them at once to the eye of the reader, is far from superfluous. And the present critique pretends to little more than the accomplishment of this object. The writer is not ashamed to profit from the labour and genius of his predecessors in the same course, and to let them say for him, what he could not say so well for himself.

With this apology for what might otherwise be deemed a work of supererogation, we enter upon the proposed undertaking.

And here we must begin by observing that it is impossible not to be struck with certain peculiarities in the _history_ of Cowper, as connected with his poetical productions. Although, as it has been truly said of him--"born a poet, if ever there was one,"--thinking and feeling upon all occasions as none but a poet could, expressing himself in verse with almost incredible facility, it does not appear that Cowper, between the ages of fourteen and thirty-three, produced anything beyond the most trifling specimens of his art. The only lines characteristic of his genius and peculiarities as a poet, and which, though composed at a distance of more than thirty years from the publication of "The Task," have so intimate a resemblance to it as to seem to be a page out of the same volume, are those written at the age of eighteen, on finding the heel of an old shoe.

"This ponderous heel of perforated hide,
Compact, with pegs indented, many a row,
Haply (for such its massy form bespeaks)
The weighty tread of some rude peasant clown
Upbore: on this supported, oft he stretched,
With uncouth strides, along the furrow'd glebe,
Flattening the stubborn clod; till cruel time,
(What will not cruel time?) or a wry step,
Sever'd the strict cohesion; when, alas!
He who could erst, with even, equal pace,
Pursue his destin'd way, with symmetry,
And some proportion form'd, now, on one side,
Curtail'd and maim'd, the sport of vagrant boys,
Cursing his frail supporter, treach'rous prop!
With toilsome steps, and difficult, moves on."

A few light and agreeable poems, two hymns written at Huntingdon, with about sixty others composed at Olney, are almost the only known poetical productions of his pen between the years 1749 and 1782, at which last period he committed his volume of poems in rhyme to the press. There are examples in the physical world, of mountains reposing in coldness and quietness for ages; and, at length, without any apparently new stimulus, awaking from their slumber, and deluging the surrounding vineyards with streams of fire. But it is, we believe, an unheard-of poetical phenomenon, for a mind teeming with such tendencies and capabilities as that of Cowper, to sleep through so long a period, and, at length, suddenly to awake, when illness and age might seem to have laid their palsying hand upon its energies, and at once to erect itself into poetical life and supremacy. In general, the poet either 'lisps in numbers,' or begins to put forth his hidden powers under the exciting influence of some new passion or emotion--such as love, fear, hope, or disappointment. But, how wide of this was the history of Cowper! In his case, the muse had no infancy, but sprang full armed from the brain of the poet.

But, if the tardy development of the poetical powers of our author was one peculiarity in his case, the suddenness and completeness of the development, when it did take place, was, under his circumstances, a still greater subject of surprise. In the account of his life we learn, that, after quitting Westminster school, at the age of eighteen, he spent three years in a solicitor's office; and passed from thence, at the age of twenty-one, into chambers in the Inner Temple. Soon after this event, he says of himself, "I was struck, not long after my settlement in the Temple, with such a dejection of spirits, as none but they who have felt the same can have the least conception of. Day and night I was upon the rack, lying down in horror, rising up in despair. I presently lost all relish for the studies to which before I had been closely attached. The classics had no longer any charm for me. I had need of something more salutary than amusement, but I had no one to direct me where to find it." This dejection of mind, as our readers are aware, led him onward from depth to depth of misery and despair, till at length he was borne away, helpless and hopeless, in the year 1768, to an asylum for insane patients at St. Albans. Released from the awful grasp of a perverted imagination, chiefly by the power of that religion, which, in spite of every fact in his history, has been, with malignant hatred to Christianity, charged as the cause of his madness, he spent the two happiest years of his life at Huntingdon. After this, he retired with the Unwin family to Olney, in Buckinghamshire; and there, after passing through the most tremendous mental conflicts, sank again into a state of despondency; from which he at length awoke, (if it might be called awaking,) not indeed to be freed from his delusions, but, whilst under their dominion, to delight, instruct, and astonish mankind, with some of the most original and enchanting poems in any language. The philosophical work of Browne, dedicated to Queen Caroline, and composed, as the author says, by a man who had lost his "rational soul," has been always reputed the miracle of literature. But Browne's case is scarcely more remarkable than that of Cowper. That a work sparkling with the most childlike gaiety and brilliant wit; exhibiting the most cheerful views of the character of God, the face of nature, and the circumstances of man, should proceed from a writer who at the time regarded God as an implacable enemy; the earth we live on, as the mere porch to a world of punishment; and human life, at least in his own case, as the cloudy morning of a day of interminable anguish--all this is to be explained only by the fact that madness disdains all rules, and reconciles all contrarieties. His history supplies an example, not without its parallel, of a mind--like some weapon drawn from its sheath to fight a particular battle, and then suspended on the walls again--called forth to accomplish an important end, and then sent back again into obscurity. And it is no less an evidence, amongst a thousand other instances, that our heavenly Father "in judgment remembers mercy," and bestows this mitigation of the heaviest of all maladies, that those exposed to its deadliest influence and themselves denied all access to the bright sources of happiness, are sometimes privileged to pour the streams of consolation over the path of others. How truly may it be said of such persons, "_Sic vos, non vobis, mellificatis apes_."

But whilst we speak of certain peculiarities in the case of Cowper, as calculated to destroy all reasonable expectation of such poems as he has given to the public, we are not sure that these very peculiarities have not assisted to supply his poetry with some of its characteristic and most valuable features. Among the qualities, for example, by which his compositions are distinguished, are those of strong sense--moderation on all the subjects most apt to throw the mind off its balance--maturity in thought, reasoning and imagination--fulness without inflation--the "strength of the oak without its nodosities"--the "inspiration of the Sybil without her contortions"--the most profound and extensive views of human nature. But perhaps every one of these qualities is oftener the growth of age than of youth; and is rather the tardy fruit of patient experience than the sudden shoot of untrained and undisciplined genius.

In like manner, the poetry of Cowper is characterised by the most touching tenderness, by the deepest sympathy with the sufferings of others, by a penetrating insight into the dark recesses of a tempted and troubled heart. But where are qualities such as these so likely to be cultivated as in the shady places of a suffering mind, and in the school of that stern mistress who teaches us "from our own, to melt at others' woe," and to administer to others the medicines which have healed ourselves? A celebrated physician is said to have inoculated himself with the virus of the plague, in order to practise with more efficacy in the case of others. Such voluntary initiation in sorrow was needless in the case of Cowper;--another hand had opened the wound which was to familiarize him with the deepest trials of suffering humanity.

It is time, however, that we should proceed to consider some of the claims of Cowper to the character of a poet. Large multitudes have found an almost irresistible charm in his writings. In what peculiarities does this powerful influence mainly reside?

In order to reply to this question, we would first direct the attention of our readers to the constitution of his mind.

And here we may enter on our work by observing, that almost all critics have regarded an _ardent love of nature_ as a _sine quâ non_ in the constitution of a poet. And nature, surely, never had a more enthusiastic admirer than the author of the Task. How feelingly does he write on this subject!

"I have loved the rural walk through lanes
Of grassy swarth, close cropp'd by nibbling sheep,
And skirted thick with intertexture firm
Of thorny bows; have loved the rural walk
O'er hills, through valleys, and by river's brink,
E'er since, a truant boy, I pass'd my bounds,
T' enjoy a ramble on the banks of Thames.

When Homer describes his shepherd as contemplating the heavens and earth by the light of the moon and stars, and says, with his accustomed simplicity and grace,--"The heart of the shepherd is glad;" our author might seem to have sat for the portrait. Although unacquainted with nature in her sublimest aspect, every point in creation appears to have a charm for him. To no lips would the strain of another poet be more appropriate.

"I care not, fortune, what you me deny;
You cannot rob me of free nature's grace;
You cannot shut the windows of the sky,
Through which Aurora shows her brightening face;
You cannot bar my constant feet to trace
The woods and lawns by living stream at eve."

It is true, that every enthusiastic lover of nature is not a poet: but a man can scarcely rise to the dignity of that high office who has not a touch of this enthusiasm. Poetry is essentially an imitative art; and he who is no lover of nature loses all the finest subjects of imitation. On the contrary, this attachment, especially if it be of an ardent character, supplies subjects to the muse every where. Winter or summer, the wilderness and the garden, the cedar of Libanus, and the hyssop on the wall; all that is dull and ineloquent to another has a voice for him, and rouses him to think, to feel, to admire, and to speak. The following lines are said to have been introduced into "The Task," to gratify Mrs. Unwin, after the first draught of the poem was finished. But what language can exhibit a more genuine attachment to nature?

"And witness, dear companion of my walks,
Whose arm this twentieth winter I perceive
Fast lock'd in mine....
Witness a joy that thou hast doubled long.
Thou know'st my praise of nature most sincere,
And that my raptures are not conjur'd up
To serve occasion of poetic pomp,
But genuine; and art partner of them all."

Nor was the delight which he derived from nature confined, in the case of our poet, to one sense. "All the _sounds_," he writes, "that nature utters are delightful, at least in this country. I should not perhaps find the roarings of lions in Africa, or of bears in Russia, very pleasing; but I know of no beast in England, whose voice I do not account musical, save and except only the braying of an ass. The notes of all our birds and fowls please me, without one exception. I should not indeed think of keeping a goose in a cage, that I might hang him up in the parlour for the sake of his melody, but the goose upon a common, or in a farm-yard, is no bad performer. Seriously, however, it strikes me as a very observable instance of providential kindness to man, that such an exact accord has been contrived between his ear and the sounds with which, at least in a rural situation, it is almost every moment visited. The fields, the woods, the gardens, have each their concerts; and the ear of man is for ever regaled by creatures who seem only to please themselves. Even the ears that are deaf to the Gospel are continually entertained, though without knowing it, by sounds for which they are solely indebted to its Author."[796]

[796] Letter to Mr. Newton.

It is interesting to compare with this the poetical expression of the same thought.

"Nor rural sights alone, but rural sounds
Exhilirate the spirit, and restore
The tone of languid nature....
........
Nature inanimate employs sweet sounds,
But animated nature sweeter still,
To soothe or satisfy the human ear.
Ten thousand warblers cheer the day, and one
The live-long night. Nor those alone whose notes
Nice finger'd art must emulate in vain;
But cawing rooks, and kites, that swim sublime
In still repeated circles, screaming loud;
The jay, the pie, and e'en the boding owl,
That hails the rising moon, have charms for me."

Another poetical quality in the mind of Cowper is his _ardent love of his species_--a love which led him to contemplate, with the most solicitous regard, their wants, tastes, passions; their diseases, and the appropriate remedies for them. It has been justly observed, that, if there are some who have little taste for the poetry which delineates only inanimate beings or objects, there is hardly any one who does not listen, with sympathy and delight, to that which exhibits the fortunes and feelings of man. The truth is, we suppose, that this last order of topics is most easily brought home to our own business and bosoms. Aristotle considers that the imitation or delineation of human action is one of the main objects of poetry. But if this be true, if the "proper study of mankind is man," and one of the highest offices of poetry be to exhibit, as upon the stage, the fortunes and passions of his fellow beings--few have attained such eminence in his art as Cowper. His hymns are the close transcripts of his own soul. His rhymed poems have more of a didactic character; but they are for the most part exhibitions of man in all his attitudes of thought and action. They are mirrors in which every man may contemplate his own mind. In the "Task," he passes every moment from the contemplation of nature to that of the being who inhabits this fair, though fallen, world. He lashes the vices, laughs at the follies, mourns over the guilt of his species; he spares no pains to conduct the guilty to the feet of their only true Friend, and to land the miserable amidst the green pastures and still waters of heavenly consolation.

Another property in the mind of Cowper, which has given birth to some of the noblest passages in his poems, is his intense love of freedom. The political state of this country was scarcely ever more degraded than at the period when he began to write; and every real patriot who could wield the pen, or lift the voice in the cause of legitimate and regulated freedom, had plenty to do at home. At the same period also the profligacy and tyranny of the privileged orders in France, and other of the old European dynasties, were such as to provoke the indignation of every lover of liberty. And lastly, at this time, that horrible traffic in human flesh, that capital crime, disgrace, and curse of the human species, the Slave Trade, prevailed in all its horrors. How splendid are many of the passages scattered so prodigally through his poems, in which the author rebukes the crimes of despotism and cruelty at home or abroad, and claims for mankind the high privileges with which God, by an everlasting charter, had endowed them.

What lines can breathe a deeper indignation, than those quoted with such admiration by Mr. Fox, in the House of Commons, on the Bastile?

"Ye horrid towers, th' abode of broken hearts,
Ye dungeons and ye cages of despair,
That monarchs have supplied, from age to age,
With music such as suits their sovereign ears,
The sighs and groans of miserable men:
There's not an English heart that would not leap
To hear that ye were fallen at last."

And what passage in any uninspired writer is more noble and heart-stirring, than that on the decision in the case tried by the illustrious Granville Sharpe, to establish the liberty of all who touched the soil of England--a passage confessedly the foundation of the noblest effort of Curran, in his great speech on the liberty of the subject!

"I would not have a slave to till my ground,
To carry me, to fan me while I sleep,
And tremble when I wake, for all the wealth
That sinews bought and sold have ever earn'd.
No: dear as freedom is, and in my heart's
Just estimation priz'd above all price,
I had much rather be myself the slave,
And wear the bonds, than fasten them on him.
We have no slaves at home--then why abroad?
And they themselves once ferried o'er the wave
That parts us, are emancipate and loos'd.
Slaves cannot breathe in England; if their lungs
Receive our air, that moment they are free;
They touch our country, and their shackles fall.
That's noble, and bespeaks a nation proud
And jealous of the blessing. Spread it then,
And let it circulate through ev'ry vein
Of all your empire; that, where Britain's pow'r
Is felt, mankind may feel her mercy too."

But after all, perhaps, the peculiarity in the mind of Cowper, which gives the chief charm to his poetry, is the _depth and ardour of his piety_.

It is impossible not to be aware of the severance which critics have laboured to effect between religion and poetry,--between the character of the prophet and the poet: and that Johnson's decision is thought by some to be final on the subject. Cowper himself admits that the connexion has been rare between the two characters--as witness the following lines--

"Pity religion has so seldom found
A skilful guide into poetic ground!
For flow'rs would spring where'er she deigned to stray,
And ev'ry muse attend her in her way.
Virtue indeed meets many a rhyming friend,
And many a compliment politely penn'd;
But, unattir'd in that becoming vest
Religion weaves for her, and half undrest,
Stands in the desert, shiv'ring and forlorn,
A wintry figure like a wither'd thorn."

But he does not despair of seeing some

"Bard all fire,
Touch'd with a coal from heaven, assume the lyre,
And tell the world, still kindling as he sung,
With more than mortal music on his tongue,
That He who died below, and reigns above,
Inspires the song, and that his name is 'Love.'"

Indeed no theory can have less foundation either in philosophy or in fact, than that poetry and religion have too little in common, for either to gain by an attempt to unite them. They seem to us born for each other. And, so important is this topic, that, although at the risk of repeating what has been said elsewhere, it may be well for a moment, to dwell upon it.

The theory which endeavours to secure a perpetual divorce between religion and poetry has not the authority of the great critics of antiquity. Longinus maintains, in one place, that "he who aims at the reputation of a sublime writer must spare no labour to educate his soul to grandeur, and to impregnate it with great and generous ideas." And he affirms, in another, that "the faculties of the soul will grow stupid, the spirit be lost, and good sense and genius lie in ruins, when the care and study of man is engaged about the mortal and worthless part of himself, and he has ceased to cultivate virtue, and polish up the nobler part, his soul." Quintilian has a whole chapter to prove that a great writer must be a good man. And the greatest modern critics hold the same language. But, perhaps, in no passage is the truth upon this subject more nobly expressed, and a difficulty connected with it more ably explained, than in the following verses of a poem now difficult of access:

"But, of our souls, the high-born loftier part,
Th' ethereal energies that touch the heart;
Conceptions ardent, labouring thought intense,
Creative fancy's wild magnificence;
And all the dread sublimities of song
--These, Virtue, these to thee alone belong.
Chill'd by the breath of Vice, their radiance dies,
And brightest burns, when lighted at the skies;
Like vestal lamps, to purest bosoms giv'n,
And kindled only by a ray from heav'n."[797]

[797] Grant's (now Lord Glenelg) prize poem on "Restoration of
Learning in the East."

Nor does this sentiment stand on the mere authority of critics; but appears to be founded on just views of the constitution of our nature. Lighter themes can be expected to awaken only light and transient feelings in the bosom. The profounder topics of religion sink deeper; touch all the hidden springs of thought and action; and awaken emotions, which have all the force and permanence of the great principles and interests in which they originate.

To us, no assertion would seem to have less warrant, than that _taste_ suffers by its alliance with religion. The proper objects of taste are beauty and sublimity; and if (as a modern critic seems to us to have incontrovertibly established) beauty and sublimity do not reside in the mere forms and colours of the objects we contemplate, but in the associations which they suggest to the mind, it cannot be questioned that the associations suggested to a man of piety, exceed both in beauty and sublimity those of every other class. God, as a Father, is the most lovely of all objects--God, as an avenger, is the most terrible; and it is to the religious man exclusively, that this at once most tender and most terrible Being is disclosed, in all the beauty and majesty of holiness, by every object which he contemplates--

"Præsentiorem conspicimus Deum
Per invias rupes, fera per juga,
Clivosque præruptos sonantes,
Inter aquas, nemorumque noctem."

Or, as the same sentiment is expressed by Cowper,

"His are the mountains, and the valleys his,
And the resplendent rivers. His to enjoy
With a propriety that none can feel,
But who, with filial confidence inspired,
Can lift to heaven an unpresumptuous eye,
And smiling say,--'My Father made them all!'"

It is striking to what an extent the greatest poets of all ages and countries have called in religion, under some form or other, to their assistance. How are the Iliad and Odyssey ennobled by their mythological machinery; by the scales of Fate, the frown of Jove, and the intercession of Minerva! How anxiously does Virgil labour to give a moral and religious character to his Georgics and Æneid! And how nobly do these kindred spirits, by a bold fiction bordering upon truth, display the eternal mansions of joy and of misery, of reward and of punishment; thus disclosing, not by the light of revelation, but by the blended flashes of genius and tradition, the strongest incentives to virtue, and the most terrific penalties of crime.

The same may be affirmed of many of our own most distinguished poets; of "the sage and serious Spenser," and the immortal author of "the Paradise Lost" himself. Nor can we hesitate to trace the deep interest continually excited by the poetry of Cowper, in great measure, to the same source. Though often careless in the structure of his verse; though sometimes lame, and lengthy, and prosaic in his manner; though frequently employed about unpopular topics; he is perhaps the most popular, with the exception of one, of all the English poets: and we believe that the main source of his general acceptance is the fact that he never fails to introduce the Creator into the scenes of his own universe; that, by the soarings of his own mind, he lifts us from earth to heaven, and "makes us familiar with a world unseen;" that he draws largely from the mine of Scripture, and thus exhibits the majesty and love of the Divine Being, in words and imagery which the great object of his wonder and love Himself provides.

It is wholly needless for us to refer to any particular parts of the works of our author, as illustrative of his deep and sanguine spirit of piety. That spirit breathes through every line, and letter. It is, if we may so speak, the animating soul of his verses. The mind of the Christian reader is refreshed, in every step of his progress, by the conviction that the songs thus sung on earth were taught from Heaven; and that, in resigning himself to the sweetest associate for this world, he is choosing the very best guide to another. Indeed, few have been disposed to deny to Cowper the highest of all poetical titles--that of The Poet of Christianity. In this field he has but one rival, the author of the "Paradise Lost." And happily the provinces which they have chosen for themselves within the sacred enclosure are, for the most part, so distinct, that it is scarcely necessary to bring them into comparison. The distinguishing qualities of Milton are a surpassing elevation of thought and energy of expression, which leave the mind scarcely able to breathe under the pressure of his majesty, courage, and sublimity. The main defect of his poetry, as has been justly stated by an anonymous critic, is "the absence of a charm neither to be named nor defined, which would render the whole as lovely as it is beautiful, and as captivating as it is sublime." "His poetry," it is added by the same critic, "will be ever praised by the many, and read by the few. The weakest capacity may be offended by its faults, but it requires a genius equal to his own to comprehend and enjoy all his merits.