In 1678 Oldham left Croydon and was afterwards tutor in two good families; he thought of medicine as a profession, but was always drawn to poetry. The Earl of Kingston made Oldham his guest and friend at Holme Pierrepoint until his death, and would have made him his chaplain if he had entered the Church; but what he thought of the servile gentility of chaplainship as then too commonly understood, he tells in a satire addressed to a friend about to leave the university and come abroad into the world. These are the lines, which form only PART OF A SATIRE. Some think themselves exalted to the sky, If they light in some noble family: Diet, an horse, and thirty pounds a year, The credit of the business, and the state, Are things that in a youngster's sense sound great. Little the unexperienc'd wretch does know What slavery he oft must undergo, 10 20 20 When dinner calls, the implement must wait All those high morals which in books we meet; Who tho' in silken scarf and cassock drest, Wears but a gayer livery at best. 10 But she is good because she will be so. Her virtue scorns at a low pitch to fly, 20 30 Who share their time 'twixt ecstasy and prayer, So chaste, the dead themselves are only more, For mere board-wages such their freedom sell, And they, tho' loose, still drag about their chain. A chaplainship serv'd up, and seven years' thrall, Let others who such meannesses can brook, Strike countenance to every great man's look; Let those that have a mind turn slaves to eat. And live contented by another's plate: I rate my freedom higher, nor will I For food and raiment truck my liberty. 30 The movements that led immediately to the Revolution after the first sharp conflict for the exclusion of James, Duke of York, from the succession to the throne, are expressed vigorously in the literature of the time; in Dryden's "Absalom and Achitophel," Samuel Pordage's "Azaria and Hushai," Dryden's "Medal," Samuel Pordage's "Medal Reversed," and many other pieces upon the endeavour of the king to crush opposition in the person of Lord Shaftesbury. The reasoning on Church questions in Dryden's "Religio Laici," though nominally Protestant, maintained the same principle of authority as the safeguard of unity that he asserted five years later in the "Hind and Panther," when the natural bias of his mind towards that principle of authority which had brought him to the king's side carried him on into sincere Catholicism. Every change in Dryden's mind was natural as that of a ball placed on a high slope, stationary till the impulse came that set it moving, and then true to its one possible course. There is no instance in his life of change against the bias, and he stood firm on the ground to which he at last came, when others, whom none blame for it, varied opinions with the times. After the Revolution John Dryden ceased to be laureate, by his own act, because he would not take the formal oaths required of one who held a post under the crown upon the change of sovereign. Charles Montague, who was to be a foremost statesman of the Whigs, first earned his credit as a wit by fulsome verses on the death of Charles II., at the beginning of whose reign he had been born. He was fourth son of the Hon. George Montague, of Harton, in Northamptonshire, and grandson to the first Earl of Manchester. At Westminster School he formed a strong friendship with George Stepney, known afterwards as a poet, and became, in the year 1682, his fellow-student in Trinity College, Cambridge. On the death of Charles II., in February, 1685, Charles Montague contributed the following poem to the book of condolence and congratulation presented by the University to James II. :— ON THE DEATH OF HIS MOST SACRED MAJESTY KING CHARLES II. Farewell, great Charles, monarch of blest renown, The best good man that ever fill'd a throne; Whom Nature, as her highest pattern, wrought, And mix'd both sexes' virtues in one draught: Wisdom for councils, bravery in war, His youth for valorous patience was renown'd, In conquests mild, he came from exile kind, A mighty series of new time began, In the still gentle voice he lov'd to speak, Yet though they wak'd the laws, his tender mind 20 30 40 50 60 70 Firmer he stands, and boldly keeps the field, Showing stout minds, when unprovok'd, are mild. So when the good man made the crowd presume, He show'd himself, and did the king assume; For goodness in excess may be a sin, And teaches restless water constancy, Which, under the warm influence of bright days, The fickle motion of each blast obeys. 90 100 Such is thy glory, Charles, thy lasting name May boldness, strength, and daring conquest boast; Oh! had he more resembled it! oh, why 120 In Thames, the ocean's darling, England's pride, The ploughman's hopes and life into the deep; 130 140 This poem procured for Montague an invitation to town from the Earl of Dorset and Sir Charles Sedley, by whom it had been admired; the Earl of Dorset was active afterwards as a promoter of the Revolution. When Dryden's "Hind and Panther" appeared, in 1687, it was promptly followed by a lively and witty caricature in the manner of Buckingham's "Rehearsal," "The Hind and the Panther Transvers'd to the Story of the Country Mouse and the City Mouse." The writers were Charles Montague and Matthew Prior, two or three years younger, whom the Earl of Dorset had discovered as a clever Westminster boy reading Horace in the "Rummer Tavern," kept by the lad's uncle and guardian, Samuel Prior. It was, as we have seen, one mark of a gentleman in those days to be prompt in recognition of good wit, and liberal in its encouragement. The Earl of Dorset, therefore, sent Matthew Prior, at his own cost, to St. John's College, Cambridge, in the same year in which Montague entered at Trinity. In the year of the Revolution, three collections were made "of the Newest and most Ingenious Poems, Satyrs, Songs, &c., against Popery and Tyranny relating to the Times." One example of contemptuous irony will suffice to show how low the king had fallen, when he was trusting to the support of an armed force on Hounslow Heath, in the year before he was held to have vacated the throne : HOUNSLOW HEATH. Near Hampton Court there lies a Common, Which never was with blood defiled, Though it has been of war the seat, Here you may see Great James the Second, (The greatest of our kings he's reckoned!) A hero of such high renown, Whole nations tremble at his frown; And when he smiles men die away, In transports of excessive joy. A prince of admirable learning! Quick wit! of judgment most discerning! No monarch ever knew so much : Not that old blust'ring king of Pontus,1 1 Mithridates Eupator, according to Cicero the greatest monarch who ever ruled. He spoke fluently the languages of twenty-five nations; he also invented a famous antidote against poison, of which he took a dose every morning, and which was called after him, Mithridatium. Serenus Samonicus says that when Pompey took the baggage of this famous king he was surprised to find that his antidote consisted only of twenty leaves of rue, a little salt, two walnuts, and two figs. The medicine called Mithridate in later time was made up from such a prescription as might drive a modern druggist mad. There were various proportions of about fifty vegetable gums, seeds, and juices to be made up into an electuary with clarified honey and the best canary. His two and twenty languages Were trifles, if compar'd to his, Jargons, which we esteem but small; English and French are worth 'em all. What though he had some skill in physic, To 'scape the danger of rank poison, And could prepare an antidote Should carry 't off, though down your throat? These are but poor mechanic arts, Inferior to Great James his parts; Shall he be set in the same rank With a pedantic mountebank? He's master of such eloquence, Well-chosen words, and weighty sense; That he ne'er parts his lovely lips, But out a trope or figure slips; And, when he moves his fluent tongue, Is sure to ravish all the throng; And every mortal that can hear, Is held fast prisoner by the car. His other gifts we need but name, They are so spread abroad by fame, His faith, his zeal, his constancy, Aversion to all bigotry! His firm adhering to the laws, By which he judges every cause, In which the subject's greatest trust is! With far more rigour than his nation's : Were he to gain an empire by 't! From hence does flow that chastity, Temperance, love, sincerity, And unaffected piety, That just abhorrence of ambition, Idolatry, and superstition, Which through his life have shin'd so bright, That nought could dazzle their clear light! Because they all are duties Christian; 90 100 Who perished not by sword or bullet, But melted gold poured down the gullet. Heroes of old were only fam'd For having millions kill'd or maim'd; For being the instruments of fate, In making nations desolate; For wading to the chin i' th' blood Of those that in their passage stood, And thought the point they had not gain'd Our monarch, by more gentle rules, Without committing aught that's ill. Will act the dreadful scene of Bude. To teach men war than shed their blood. Now pause, and view the army royal, Compos'd of valiant souls and loyal; Not rais'd (as ill men say) to hurt ye, But to defend or to convert ye: For that's the method now in use, The faith Tridentine to diffuse. Time was the Word was powerful; But now 'tis thought remiss and dull: Has not that energy and force Which is in well-arm'd foot and horse. Thus, when the faith has had mutation, We change its way of propagation: So Mahomet, with arms and terrors, Spread over half the world his errors. Here daily swarm prodigious wights, As ladies lewd, and foppish knights, Upon the world, with Hind and Panther, 110 120 130 140 The noise whereof is spread so far, Was nothing, to what's practis'd here; Though carried on for forty year 80 1 Old Squab. Dryden. Shallow contempt, in their own day or after it, little affects the reputation earned by a man of genius who has dealt faithfully, according to his light, with the essentials of his time. Dryden is Dryden, though the author of this doggrel called him "Old Squab," and supposed him to have written wretched poetry. Words. worth is Wordsworth, and the master poet of our century, though Byron found a clever way of writing him down an idiot, and the author of the second Peter Bell gave him for epitaph- "Here lies W. W., who never more will trouble yoa, trouble you." Insrent wenste in philosophy, Wild nulling plese is as much fare a Another year. This rhymer knew the end to be at hand Next year the Revolution. CHAPTER XV. FROM THE ENGLISH REVOLUTION TO THE DEATH THERE was no great wealth of English poetry in the, "Music hath charms to soothe a savage breast, There But when Congreve's Valentine in "Love for Love" says, "I would have music.-Sing me the song that I like," this is the strain : CHANGE. I tell thee, Charmion, could I time retrieve, I know, my eyes would lead my heart to you, For by our weak and weary truth I find, · There was too much trek in Vaabe's satire when, after a song in the Prov ked Wife" not here quotable, be male Sir John Erite say, "I would not give a fig for a song that is not full of sin and imprese Thomas Sumbere is anag the dramatists of William III's reim, and we have the beginning of the careers of Rowe and Colley Cibber. But at the close of the seventeenth century there is one sign of wholesome reaction in the controversy raised by Jeremy Collier's Short View of the Immorality and Profaneness of the Stage." There was gross writing by smail poets whose ephemeral fame has come down to us with their books; and there was a stifling fog of French-classical criticism, in which none but the most vigorous wit could draw breath heartily. But the native vigour was there also to assert itself. With Daniel Defoe, who had written pamphlets in the time of James II, and who became conspicuous in literature through his rhymes of The True Born Englishman" in the latter days of William III., our stream of literature took a new bend in its course, and began to broaden into the great expanse now about us. The French-classical influence long weakened the tone of current criticism, and formed the style of courtly fastidious second-rate writers, who looked only on the polite world for their public. But with Defoe we begin the renewal of a race of greater men who dealt with essentials of life, as all true thinkers do. They spoke straight home to the main body of the people, created by degrees a more national audience, and wrote under influence of a sense that they had to touch the minds and hearts of Englishmen at large. Their matter rose in worth, their manner became more direct, and there was gradual paling of French-classical moonshine in the dawn of what may be called an English Popular Influence. It was, indeed, such influence of the people at large upon its writers that had helped to give power to the Elizabethan drama. Successive stages of this change will be observed more readily in illustrations of our prose literature. Steele and Addison were becoming young men during William III.'s reign, and each at the end of this reign was upon the threshold of his literary life; Steele was then ready to follow De Foe's lead, and help his friend Addison into the work by which he served his countrymen and won his fame. Daniel Foe, a Dissenter's son, was born in 1661, and after training at a good school for Dissenters became a factor in the hosiery trade. He was distinguished from his father, who lived long, by constant use of his Christian name or its initial, and it has been reasonably suggested that a playful impulse led to the transformation of D. Foe into De Foe. From the first, De Foe cared intensely for the issue of the contest that led to the Revolution of 1688. He 10 joined Monmouth in insurrection, he wrote pamphlets upon vital questions in the reign of James II, he was heart and soul with the Revolution, and when, towards the close of William III.'s reign, a poem called the "Foreigners" echoed the cry then common against the King, who for men like Defoe and young Steele personified the blessing of the Revolution, Defoe replied in 1701 with his satire called "The True Born Englishman." Of this many thousands Such singing indicates a change of fashion since the Restoration, change that struck at the true life in which lies the strength of song. John Vanbrugh and George Farquhar began also in King William's reign to write their comedies, and finished under Anne. |