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Others ride longer in the storm; it may be until seven years of vanity be expired, and then peradventure the sun shines hot upon their heads, and they fall into the shades below, into the cover of death and darkness of the grave to hide them. But if the bubble stands the shock of a bigger drop, and outlives the chances of a child, of a careless nurse, of drowning in a pail of water, of being overlaid by a sleepy servant, or such little accidents, then the young man dances like a bubble empty and gay, and shines like a dove's neck, or the image of a rainbow, which hath no substance, and whose very imagery and colours are fantastical; and so he dances out the gaiety of his youth, and is all the while in a storm, and endures, only because he is not knocked on the head by a drop of bigger rain, or crushed by the pressure of a load of indigested meat, or quenched by the disorder of an ill-placed humour; and to preserve a man alive in the midst of so many chances and hostilities, is as great a miracle as to create him; to preserve him from rushing into nothing, and at first to draw him up from nothing, were equally the issues of an Almighty power.”
Another instance of the same rich continuity of feeling, and transparent brilliancy in working out an idea, is to be found in his description of the dawn and progress of reason :
“Some are called at age at fourteen, some at one-and-twenty, some never; but all men late enough; for the life of a man comes upon him slowly and ing sensiby. But as when the sun approaches towards the gates of the morning, he first opens a little eye of heaven, and sends away the spirits of darkness, and gives light to a cock, and calls up the lark to matins, and by-and-by gilds the fringes of a cloud, and peeps over the eastern hills, thrusting out his golden horns, like those which decked the brows of Moses, when he was forced to wear a veil, because himself had seen the face of God; and still, while a man tells the story, the sun gets up higher, till he shows a fair face and a full light, and then he shines one whole day, under a cloud often, and sometimes weeping great and little showers, and sets quickly; so is a man's reason and his life.”
This passage puts one in mind of the rising dawn and kindling skies in one of Claude's landscapes. Sir Thomas Brown has nothing of this rich finishing and exact gradation. The genius of the two men differed, as that of the painter from the mathema. tician. The one measures objects, the other copies them. The one shows that things are nothing out of themselves, or in rela. tion to the whole : the one, what they are in themselves and in relation to us. Or the one may be said to apply the telescope of the mind to distant bodies; the other looks at nature in its infinite minuteness and glossy splendour through a solar microscope.
In speaking of Death, our author's style assumes the port and The following are
withering smile of the King of Terrors. scattered passages on this subject.
“ It is the same harmless thing that a poor shepherd suffered yesterday or a maid-servant to-day; and at the same time in which you die, in that very night a thousand creatures die with you, some wise men, and many fools; and the wisdom of the first will not quit him, and the folly of the latter does not make him unable to die."
“ I have read of a fair young German gentleman, who, while living, often refused to be pictured, but put off the importunity of his friends' desire by giving way that after a few days' burial, they might send a painter to his vault, ám: if they saw cause for it, draw the image of his death unto the life. They did so, and found his face half eaten, and his midriff and back-bone full of serpents; and so he stands pictured among his armed ancestors."
" It is a mighty change that is made by the death of every person, and it is visible to us, who are alive. Reckon but from the sprightfulness of youth and che fair cheeks and full eyes of childhood, from the vigorousness and strong fexure of the joints of five-and-twenty, to the hollowness and dead paleness, to the loathsomeness and horror of a three days' burial, and we shall perceive the distance to be very great and very strange, But so have I seen a rose newly springing from the clefts of its hood, and at first it was fair as the morning, and full with the dew of heaven, as the lamb’s fleece; but when a ruder breath had forced open its virgin modesty, and dismantled its too youthful and unripe retirements, it began to put on darkness and to decline to sofiness and the symptoms of a sickly age, it bowed the head and broke its stalk, and at night, having lost some of its leaves, and all its beauty, it fell into the portion of weeds and out-worn faces. So does the fairest beauty change, and it will be as bad with you and me; and then what servants shall we have to wait upon us in the grave ? What friends to visit us? What officious people to cleanse away the moist and unwholesome cloud reflected upon our faces from the sides of the weeping vaults, which are the longest weepers for our funerals ?"
“A man may, read a sermon, the best and most passionate that ever man preached, if he shall but enter into the sepulchres of kings. In the same Escurial where the Spanish princes live in greatness and power, and decree war or peace, they have wisely placed a cemetery where their ashes and their glory shall sleep till time shall be no more: and where our kings have been crowned, their ancestors lie interred, and they must walk over their grandsires head to take his crowrı. There is an acre sown with royal seed, the copy of the greatest change from rich to naked, from ceiled roofs to arched coffins, from living like gods to die like men. There is enough to cool the flames of lust, to abate the heights of pride, to appease the itch of covetous desires, to sully and dash out the dissembling colours of a lustful, artificial, and imaginary beauty. There the warlike and the peaceful, the fortunate and the miserable, the beloved and the despised princes mingle their dust, and pay down their symbol of mortality, and tell all the world that when we die, our ashes shall be equal to kings, and our accounts easier, and our pains for our crimes shall be less.* To my apprehension, it is a sad record which is left by Athenæus concerning Ninus the great Assyrian monarch, whose life and death is summed up in these words: “Ninus the Assyrian had an ocean of gold, and other riches more than the sand in the Caspian sea; he never saw the stars, and perhaps he never desired it; he never stirred up the holy fire among the Magi: nor touched his god with the sacred rod according to the laws: he never offered sacrifice, nor worshipped the deity, nor administered justice, norspake to the people; nor numbered them: but he was most valiant to eat and drink, and having mingled his wines, he threw the rest upon the stones. This man is dead, behold his sepulchre, and now hear
Sometime I was Ninus, and drew the breath of a living man,
nothing but clay. I have nothing but what I did eat, and what I served to myself in lust is all my portion: the wealth with which I was blessed, my enemies meeting together shall carry away, as the mad Thyades carry a raw goat. I am gone to hell: and when I went thither, I neither carried gold, nor horse, nor silver chariot. I that wore a mitre, am now a little heap of dust.'
but now an
He who wrote in this manner also wore a mitre, and is now a heap of dust: but when the name of Jeremy Taylor is no longer remembered with reverence, genius will have become a mockery, and virtue an empty shade!
* The above passage is an inimitably fine paraphrase of some lines on tha tombs in Westminster Abbey by F. Beaumont. It shows how near Jeremy Taylor's style was to poetry, and how well it weaves in with it.
“Mortality, behold, and fear,
On the Spirit of Ancient and Modern LiteratureOn the German Drama,
contrasted with that of the Age of Elizabeth.
BEFORE I proceed to the more immediate subject of the present Lecture, I wish to say a few words of one or two writers in our own time, who have imbibed the spirit and imitated the language of our elder dramatists. Among these I may reckon the ingenious author of The Apostate' and `Evadne,' who, in the lastmentioned play, in particular, has availed himself with much judgment and spirit of the tragedy of “The Traitor,' by old Shirley. It would be curious to hear the opinion of a professed admirer of the Ancients, and captious despiser of the Moderns, with respect to this production, before he knew it was a copy of an old play. Shirley himself lived in the time of Charles I. and died in the beginning of Charles II. ;* but he had formed his style on that of the preceding age, and had written the greatest number of his plays in conjunction with Jonson, Decker, and Massinger. He was “the last of those fair clouds that on the bosom of bright honour sailed in long procession, beautiful and calm.” The name of Mr. Tobin is familiar to every lover' of the drama. His “Honey-Moon' is evidently founded on • The Taming of a Shrew,' and Duke Aranza has been pronounced by a polite critic to be “an elegant Petruchio.” The plot is taken from Shakspeare; but the language and sentiments, both of this play and of “The Curfew,' bear a more direct resemblance to the flowery tenderness of Beaumont and Fletcher, who were, I believe, the favourite study of our author. Mr. Lamb's 6 John Woodvil may be considered as a dramatic fragment, intended for the closet rather than the stage. It would sound oddly in the lobbies of either theatre, amidst the noise and
* He and his wife both died from fright, occasioned by the great fire 9! London in 1665, and lie buried in St. Giles's churchyard.
glare and bustle of resort; but “there where we have treasured up our hearts,” in silence and in solitude, it may claim and find a place for itself. It might be read with advantage in the still retreats of Sherwood Forest, where it would throw a new-born light on the green, sunny glades; the tenderest flower might seem to drink of the poet's spirit, and “the tall deer that paints a dancing shadow of his horns in the swift brook,” might seem to do so in mockery of the poet's thought. Mr. Lamb, with a modesty often attendant on fine feeling, has loitered too long in the humbler avenues leading to the temple of ancient genius, instead of marching boldly up to the sanctuary, as many with half his pretensions would have done : “ but fools rush in, where angels fear to tread.” The defective or objectionable parts of this production are imitations of the defects of the old writers: its beauties are his own, though in their manner. The touches of thought and passion are often as pure and delicate as they are profound; and the character of his heroine Margaret is perhaps the finest and most genuine female character out of Shakspeare. This tragedy was not critic-proof: it had its cracks and flaws and breaches, through which the enemy marched in triumphant. The station which he had chosen was not indeed a walled town, but a straggling village, which the experienced en. gineers proceeded to lay waste; and he is pinned down in more than one Review of the day, as an exemplary warning to indiscreet writers, who venture beyond the pale of periodical taste and conventional criticism. Mr. Lamb was thus hindered by the taste of the polite vulgar from writing as he wished ; his own taste would not allow him to write like them: and he (perhaps wisely) turned critic and prose-writer in his own defence. To
say that he has written better about Shakspeare, and about Hogarth, than anybody else, is saying little in his praise. A gentleman of the name of Cornwall, who has lately published a volume of Dramatic Scenes, has met with a very different reception, but I cannot say that he has deserved it. He has made no sacrifice at the shrine of fashionable affectation or false glitter. There is nothing common-place in his style to soothe the compiacency of dulness, nothing extravagant to startle the grossness of ignorance. He writes with simplicity, delicacy, and fervour;