Cowper Part 4

The task was not quite finished when the influence which had inspired it was withdrawn. Among the little mysteries and scandals of literary history is the rupture between Cowper and Lady Austen. Soon after the commencement of their friendship there had been a "fracas," of which Cowper gives an account in a letter to William Unwin. "My letters have already apprised you of that close and intimate connexion, that took place between the lady you visited in Queen Anne Street and us.

Nothing could be more promising, though sudden in the commencement.

She treated us with as much unreservedness of communication, as if we had been born in the same house and educated together. At her departure, she herself proposed a correspondence, and, because writing does not agree with your mother, proposed a correspondence with me.

This sort of intercourse had not been long maintained before I discovered, by some slight intimations of it, that she had conceived displeasure at somewhat I had written, though I cannot now recollect it; conscious of none but the most upright, inoffensive intentions, I yet apologized for the pa.s.sage in question, and the flaw was healed again. Our correspondence after this proceeded smoothly for a considerable time, but at length, having had repeated occasion to observe that she expressed a sort of romantic idea of our merits, and built such expectations of felicity upon our friendship, as we were sure that nothing human could possibly answer, I wrote to remind her that we were mortal, to recommend her not to think more highly of us than the subject would warrant, and intimating that when we embellish a creature with colours taken from our own fancy, and so adorned, admire and praise it beyond its real merits, we make it an idol, and have nothing to expect in the end but that it will deceive our hopes, and that we shall derive nothing from it but a painful conviction of our error. Your mother heard me read the letter, she read it herself, and honoured it with her warm approbation. But it gave mortal offence; it received, indeed, an answer, but such an one as I could by no means reply to; and there ended (for it was impossible it should ever be renewed) a friendship that bid fair to be lasting; being formed with a woman whose seeming stability of temper, whose knowledge of the world and great experience of its folly, but, above all, whose sense of religion and seriousness of mind (for with all that gaiety she is a great thinker) induced us both, in spite of that cautious reserve that marked our characters, to trust her, to love and value her, and to open our hearts for her reception. It may be necessary to add that by her own desire, I wrote to her under the a.s.sumed relation of a brother, and she to me as my sister. _Ceu fumus in auras_." It is impossible to read this without suspecting that there was more of "romance" on one side, than there was either of romance or of consciousness of the situation on the other. On that occasion the reconciliation, though "impossible," took place, the lady sending, by way of olive branch, a pair of ruffles, which it was known she had begun to work before the quarrel. The second rupture was final. Hayley, who treats the matter with sad solemnity, tells us that Cowper's letter of farewell to Lady Austen, as she a.s.sured him herself, was admirable, though unluckily, not being gratified by it at the time, she had thrown it into the fire.

Cowper has himself given us, in a letter to Lady Hesketh, with reference to the final rupture, a version of the whole affair:--"There came a lady into this country, by name and t.i.tle Lady Austen, the widow of the late Sir Robert Austen. At first she lived with her sister about a mile from Olney; but in a few weeks took lodgings at the vicarage here. Between the vicarage and the back of our house are interposed our garden, an orchard, and the garden belonging to the vicarage. She had lived much in France, was very sensible, and had infinite vivacity. She took a great liking to us, and we to her. She had been used to a great deal of company, and we, fearing that she would feel such a transition into silent retirement irksome, contrived to give her our agreeable company often. Becoming continually more and more intimate, a practice at length obtained of our dining with each other alternately every day, Sundays excepted. In order to facilitate our communication, we made doors in the two garden-walls aforesaid, by which means we considerably shortened the way from one house to the other, and could meet when we pleased without entering the town at all; a measure the rather expedient, because the town is abominably dirty, and she kept no carriage. On her first settlement in our neighbourhood, I made it my own particular business (for at that time I was not employed in writing, having published my first volume and not begun my second) to pay my _devoirs_ to her ladyship every morning at eleven. Customs very soon became laws. I began _The Task_, for she was the lady who gave me the _Sofa_ for a subject. Being once engaged in the work, I began to feel the inconvenience of my morning attendance. We had seldom breakfasted ourselves till ten; and the intervening hour was all the time I could find in the whole day for writing, and occasionally it would happen that the half of that hour was all that I could secure for the purpose. But there was no remedy.

Long usage had made that which was at first optional a point of good manners, and consequently of necessity, and I was forced to neglect _The Task_ to attend upon the Muse who had inspired the subject. But she had ill-health, and before I had quite finished the work was obliged to repair to Bristol." Evidently this was not the whole account of the matter, or there would have been no need for a formal letter of farewell. We are very sorry to find the revered Mr.

Alexander Knox saying, in his correspondence with Bishop Jebb, that he had a severer idea of Lady Austen than he should wish to put into writing for publication, and that he almost suspected she was a very artful woman. On the other hand, the unsentimental Mr. Scott is reported to have said, "Who can be surprised that two women should be continually in the society of one man and quarrel, sooner or later, with each other?" Considering what Mrs. Unwin had been to Cowper, and what he had been to her, a little jealousy on her part would not have been highly criminal. But, as Southey observes, we shall soon see two women continually in the society of this very man without quarrelling with each other. That Lady Austen's behaviour to Mrs. Unwin was in the highest degree affectionate, Cowper has himself a.s.sured us. Whatever the cause may have been, this bird of paradise, having alighted for a moment in Olney, took wing and was seen no more.

Her place, as a companion, was supplied, and more than supplied, by Lady Hesketh, like her a woman of the world, and almost as bright and vivacious, but with more sense and stability of character, and who, moreover, could be treated as a sister without any danger of, misunderstanding. The renewal of the intercourse between Cowper and the merry and affectionate play-fellow of his early days, had been one of the best fruits borne to him by _The Task_, or perhaps we should rather say by _John Gilpin_, for on reading that ballad she first became aware that her cousin had emerged from the dark seclusion of his truly Christian happiness, and might again be capable of intercourse with her sunny nature. Full of real happiness for Cowper were her visits to Olney; the announcement of her coming threw him into a trepidation of delight. And how was this new rival received by Mrs.

Unwin. "There is something," says Lady Hesketh in a letter which has been already quoted, "truly affectionate and sincere in Mrs. Unwin's manner. No one can express more heartily than she does her joy to have me at Olney; and as this must be for his sake it is an additional proof of her regard and esteem for him." She could even cheerfully yield precedence in trifles, which is the greatest trial of all. "Our friend," says Lady Hesketh, "delights in a large table and a large chair. There are two of the latter comforts in my parlour. I am sorry to say that he and I always spread ourselves out in them, leaving poor Mrs. Unwin to find all the comfort she can in a small one, half as high again as ours, and considerably harder than marble. However, she protests it is what she likes, that she prefers a high chair to a low one, and a hard to a soft one; and I hope she is sincere; indeed, I am persuaded she is." She never gave the slightest reason for doubting her sincerity; so Mr. Scott's coa.r.s.e theory of the "two women" falls to the ground, though, as Lady Hesketh was not Lady Austen, room is still left for the more delicate and interesting hypothesis.

By Lady Hesketh's care Cowper was at last taken out of the "well" at Olney and transferred with his partner to a house at Weston, a place in the neighbourhood, but on higher ground, more cheerful, and in better air. The house at Weston belonged to Mr. Throckmorton of Weston Hall, with whom and Mrs. Throckmorton, Cowper had become so intimate that they were already his Mr. and Mrs. Frog. It is a proof of his freedom from fanatical bitterness that he was rather drawn to them by their being Roman Catholics, and having suffered rude treatment from the Protestant boors of the neighbourhood. Weston Hall had its grounds, with the colonnade of chestnuts, the "sportive light" of which still "dances" on the pages of _The Task_; with the Wilderness,--

Whose well-rolled walks, With curvature of slow and easy sweep, Deception innocent, give ample s.p.a.ce To narrow bounds--

with the Grove,--

Between the upright shafts of whose tall elms We may discern the thresher at his task, Thump after thump resounds the constant flail That seems to swing uncertain, and yet falls Full on the destined ear. Wide flies the chaff, The rustling straw sends up a fragrant mist Of atoms, sparkling in the noonday beam.

A pretty little vignette, which the threshing-machine has now made antique. There were ramblings, picnics, and little dinner-parties.

Lady Hesketh kept a carriage. Gayhurst, the seat of Mr. Wright, was visited as well as Weston Hall; the life of the lonely pair was fast becoming social. The Rev. John Newton was absent in the flesh, but he was present in the spirit, thanks to the tattle of Olney. To show that he was, he addressed to Mrs. Unwin a letter of remonstrance on the serious change which had taken place in the habits of his spiritual children. It was answered by her companion, who in repelling the censure mingles the dignity of self-respect with a just appreciation of the censor's motives, in a style which showed that although he was sometimes mad, he was not a fool.

Having succeeded in one great poem, Cowper thought of writing another, and several subjects were started--_The Mediterranean_, _The Four Ages of Man_, _Yardley Oak_. _The Mediterranean_ would not have suited him well if it was to be treated historically, for of history he was even more ignorant than most of those who have had the benefit of a cla.s.sical education, being capable of believing that the Latin element of our language had come in with the Roman conquest. Of the _Four Ages_ he wrote a fragment. Of _Yardley Oak_ he wrote the opening; it was apparently to have been a survey of the countries in connexion with an immemorial oak which stood in a neighbouring chace. But he was forced to say that the mind of man was not a fountain but a cistern, and his was a broken one. He had expended his stock of materials for a long poem in _The Task_.

These, the sunniest days of Cowper's life, however, gave birth to many of those short poems which are perhaps his best, certainly his most popular works, and which will probably keep his name alive when _The Task_ is read only in extracts. _The Loss of the Royal George_, _The Solitude of Alexander Selkirk_, _The Poplar Field_, _The Shrubbery_, the _Lines on a Young Lady_, and those _To Mary, will hold their places for ever in the treasury of English Lyrics. In its humble way _The Needless Alarm_ is one of the most perfect of human compositions.

Cowper had reason to complain of Aesop for having written his fables before him. One great charm of these little pieces is their perfect spontaneity. Many of them were never published, and generally they have the air of being the simple effusions of the moment, gay or sad.

When Cowper was in good spirits his joy, intensified by sensibility and past suffering, played like a fountain of light on all the little incidents of his quiet life. An ink-gla.s.s, a flatting mill, a halibut served up for dinner, the killing of a snake in the garden, the arrival of a friend wet after a Journey, a cat shut up in a drawer, sufficed to elicit a little jet of poetical delight, the highest and brightest jet of all being _John Gilpin_. Lady Austen's voice and touch still faintly live in two or three pieces which were written for her harpsichord. Some of the short poems on the other hand are poured from the darker urn, and the finest of them all is the saddest. There is no need of ill.u.s.trations unless it be to call attention to a secondary quality less noticed, than those of more importance. That which used to be specially called "wit," the faculty of ingenious and unexpected combination, such as is shown in the similes of _Hudibras_, was possessed by Cowper in large measure.

A friendship that in frequent fits Of controversial rage emits The sparks of disputation, Like hand-in-hand insurance plates, Most unavoidably creates The thought of conflagration.

Some fickle creatures boast a soul True as a needle to the pole, Their humour yet so various-- They manifest their whole life through The needle's deviations too, Their love is so precarious.

The great and small but rarely meet On terms of amity complete; Plebeians must surrender, And yield so much to n.o.ble folk, It is combining fire with smoke, Obscurity with splendour.

Some are so placid and serene (As Irish bogs are always green) They sleep secure from waking; And are indeed a bog, that bears Your unpartic.i.p.ated cares Unmoved and without quaking.

Courtier and patriot cannot mix Their heterogeneous politics Without an effervescence, Like that of salts with lemon juice, Which does not yet like that produce A friendly coalescence.

Faint presages of Byron are heard in such a poem as _The Shrubbery_, and of Wordsworth in such a poem as that _To a Young Lady_. But of the lyrical depth and pa.s.sion of the great Revolution poets Cowper is wholly devoid. His soul was stirred by no movement so mighty, if it were even capable of the impulse. Tenderness he has, and pathos as well as playfulness; he has unfailing grace and ease; he has clearness like that of a trout-stream. Fashions, even our fashions, change. The more metaphysical poetry of our time has indeed too much in it, besides the metaphysics, to be in any danger of being ever laid on the shelf with the once admired conceits of Cowley; yet it may one day in part lose, while the easier and more limpid kind of poetry may in part regain, its charm.

The opponents of the Slave Trade tried to enlist this winning voice in the service of their cause. Cowper disliked the task, but he wrote two or three anti-Slave-Trade ballads. _The Slave Trader in the Dumps_, with its ghastly array of horrors dancing a jig to a ballad metre, justifies the shrinking of an artist from a subject hardly fit for art.

If the cistern which had supplied _The Task_ was exhausted, the rill of occasional poems still ran freely, fed by a spring which, so long as life presented the most trivial object or incident could not fail. Why did not Cowper go on writing these charming pieces which he evidently produced with the greatest facility? Instead of this, he took, under an evil star, to translating Homer. The translation of Homer into verse is the Polar Expedition of literature, always failing, yet still desperately renewed. Homer defies modern reproduction. His primeval simplicity is a dew of the dawn which can never be re-distilled. His primeval savagery is almost equally unpresentable. What civilized poet can don the barbarian sufficiently to revel, or seem to revel, in the ghastly details of carnage, in hideous wounds described with surgical gusto, in the butchery of captives in cold blood, or even in those particulars of the shambles and the spit which to the troubadour of barbarism seem as delightful as the images of the harvest and the vintage? Poetry can be translated into poetry only by taking up the ideas of the original into the mind of the translator, which is very difficult when the translator and the original are separated by a gulf of thought and feeling, and when the gulf is very wide, becomes impossible. There is nothing for it in the case of Homer but a prose translation. Even in prose to find perfect equivalents for some of the Homeric phrases is not easy. Whatever the chronological date of the Homeric poems may be, their political and psychological date may be pretty well fixed. Politically they belong, as the episode of Thersites shows, to the rise of democracy and to its first collision with aristocracy, which Homer regards with the feelings of a bard who sang in aristocratic halls. Psychologically they belong to the time when in ideas and language, the moral was just disengaging itself from the physical. In the wail of Andromache for instance, _adinon epos_, which Pope improves into "sadly dear," and Cowper, with better taste at all events, renders "precious," is really semi-physical, and scarcely capable of exact translation. It belongs to an unreproducible past, like the fierce joy which, in the same wail, bursts from the savage woman in the midst of her desolation at the thought of the numbers whom her husband's hands had slain. Cowper had studied the Homeric poems thoroughly in his youth, he knew them so well that he was able to translate them, not very incorrectly with only the help of a Clavis; he understood their peculiar qualities as well as it was possible for a reader without the historic sense to do; he had compared Pope's translation carefully with the original, and had decisively noted the defects which make it not a version of Homer, but a periwigged epic of the Augustan age. In his own translation he avoids Pope's faults, and he preserves at least the dignity of the original, while his command of language could never fail him, nor could he ever lack the guidance of good taste. But we well know where he will be at his best. We turn at once to such pa.s.sages as the description of Calypso's Isle,

Alighting on Pieria, down he (Hermes) stooped.

To Ocean, and the billows lightly skimmed In form a sea-mew, such as in the bays Tremendous of the barren deep her food Seeking, dips oft in brine her ample wing.

In such disguise o'er many a wave he rode, But reaching, now, that isle remote, forsook The azure deep, and at the s.p.a.cious grove Where dwelt the amber-tressed nymph arrived Found her within. A fire on all the hearth Blazed sprightly, and, afar diffused, the scent Of smooth-split cedar and of cypress-wood Odorous, burning cheered the happy isle.

She, busied at the loom and plying fast Her golden shuttle, with melodious voice Sat chanting there; a grove on either side, Alder and poplar, and the redolent branch Wide-spread of cypress, skirted dark the cave Where many a bird of broadest pinion built Secure her nest, the owl, the kite, and daw, Long-tongued frequenters of the sandy sh.o.r.es.

A garden vine luxuriant on all sides Mantled the s.p.a.cious cavern, cl.u.s.ter-hung Profuse; four fountains of serenest lymph, Their sinuous course pursuing side by side, Strayed, all around, and everywhere appeared Meadows of softest verdure purpled o'er With violets; it was a scene to fill A G.o.d from heaven with wonder and delight.

There are faults in this and even blunders, notably in the natural history; and "serenest lymph" is a sad departure from Homeric simplicity. Still on the whole the pa.s.sage in the translation charms, and its charm is tolerably identical with that of the original. In more martial and stirring pa.s.sages the failure is more signal, and here especially we feel that if Pope's rhyming couplets are sorry equivalents for the Homeric hexameter, blank verse is superior to them only in a negative way. The real equivalent, if any, is the romance metre of Scott, parts of whose poems, notably the last canto of _Marmion_ and some pa.s.sages in the _Lay of the Last Minstrel_, are about the most Homeric things in our language. Cowper brought such poetic gifts to his work that his failure might have deterred others from making the same hopeless attempt. But a failure his work is; the translation is no more a counterpart of the original, than the Ouse creeping through its meadows is the counterpart of the Aegean rolling before a fresh wind and under a bright sun. Pope delights school-boys; Cowper delights n.o.body, though on the rare occasions when he is taken from the shelf, he commends himself, in a certain measure, to the taste and judgment of cultivated men.

In his translations of Horace, both those from the Satires and those from the Odes, Cowper succeeds far better. Horace requires in his translator little of the fire which Cowper lacked. In the Odes he requires grace, in the Satires urbanity and playfulness, all of which Cowper had in abundance. Moreover, Horace is separated from us by no intellectual gulf. He belongs to what Dr. Arnold called the modern period of ancient history. Nor is Cowper's translation of part of the eighth book of Virgil's Aeneid bad, in spite of the heaviness of the blank verse. Virgil, like Horace, is within his intellectual range.

As though a translation of the whole of the Homeric poems had not been enough to bury his finer faculty, and prevent him from giving us any more of the minor poems, the publishers seduced him into undertaking an edition of Milton, which was to eclipse all its predecessors in splendour. Perhaps he may have been partly entrapped by a chivalrous desire to rescue his idol from the disparagement cast on it by the tasteless and illiberal Johnson. The project after weighing on his mind and spirits for some time was abandoned, leaving as its traces only translations of Milton's Latin poems, and a few notes on _Paradise Lost,_ in which there is too much of religion, too little of art.

Lady Hesketh had her eye on the Laureateship, and probably with that view persuaded her cousin to write loyal verses on the recovery of George III. He wrote the verses, but to the hint of the Laureateship he said, "Heaven guard my brows from the wreath you mention, whatever wreaths beside may hereafter adorn them. It would be a leaden extinguisher clapt on my genius, and I should never more produce a line worth reading." Besides, was he not already the mortuary poet of All Saints, Northampton?

CHAPTER VII.

THE LETTERS.

Southey, no mean judge in such a matter, calls Cowper the best of English, letter-writers. If the first place is shared with him by any one it is by Byron, rather than by Gray, whose letters are pieces of fine writing, addressed to literary men, or Horace Walpole, whose letters are memoirs, the English counterpart of St. Simon. The letters both of Gray and Walpole are manifestly written for publication. Those of Cowper have the true epistolary charm. They are conversation, perfectly artless, and at the same time autobiography, perfectly genuine, whereas all formal autobiography is cooked. They are the vehicles of the writer's thoughts and feelings, and the mirror of his life. We have the strongest proofs that they were not written for publication. In many of them there are outpourings of wretchedness which could not possibly have been intended for any heart but that to which they were addressed, while others contain medical details which no one would have thought of presenting to the public eye. Some, we know, were answers to letters received but a moment before; and Southey says that the ma.n.u.scripts are very free from erasures. Though Cowper kept a note-book for subjects, which no doubt were scarce with him, it is manifest that he did not premeditate. Grace of form he never lacks, but this was a part of his nature, improved by his cla.s.sical training.

The character and the thoughts presented are those of a recluse who was sometimes a hypochondriac; the life is life at Olney. But simple self-revelation is always interesting, and a garrulous playfulness with great happiness of expression can lend a certain charm even to things most trivial and commonplace. There is also a certain pleasure in being carried back to the quiet days before railways and telegraphs, when people pa.s.sed their whole lives on the same spot, and life moved always in the same tranquil round. In truth it is to such days that letter-writing, as a species of literature belongs, telegrams and postal cards have almost killed it now.

The large collection of Cowper's letters is probably seldom taken from the shelf; and the "Elegant Extracts" select those letters which are most sententious, and therefore least characteristic. Two or three specimens of the other style may not be unwelcome or needless as elements of a biographical sketch; though specimens hardly do justice to a series of which the charm, such as it is, is evenly diffused, not gathered, into centres of brilliancy like Madame de Sevigne's letter on the Orleans Marriage. Here is a letter written, in the highest spirits to Lady Hesketh.

"Olney, _Feb. 9th_, 1786.

"MY DEAREST COUSIN,--I have been impatient to tell you that I am impatient to see you again. Mrs. Unwin partakes with me in all my feelings upon this subject, and longs also to see you. I should have told you so by the last post, but have been so completely occupied by this tormenting specimen, that it was impossible to do it. I sent the General a letter on Monday, that would distress and alarm him; I sent him another yesterday, that will, I hope, quiet him again. Johnson has apologized very civilly for the mult.i.tude of his friend's strictures; and his friend has promised to confine himself in future to a comparison of me with the original, so that, I doubt not, we shall jog on merrily together. And now, my dear, let me tell you once more, that your kindness in promising us a visit has charmed us both. I shall see you again. I shall hear your voice. We shall take walks together. I will show you my prospects, the hovel, the alcove, the Ouse and its banks, everything that I have described. I antic.i.p.ate the pleasure of those days not very far distant, and feel a part of it at this moment.

Talk not of an inn! Mention it not for your life! We have never had so many visitors, but we could easily accommodate them all; though we have received Unwin, and his wife, and his sister, and his son all at once. My dear, I will not let you come till the end of May, or beginning of June, because before that time my greenhouse will not be ready to receive us, and it is the only pleasant room belonging to us.

When the plants go out, we go in. I line it with mats, and spread the floor with mats; and there you shall sit with a bed of mignonette at your side, and a hedge of honeysuckles, roses, and jasmine; and I will make you a bouquet of myrtle every day. Sooner than the time I mention the country will not be in complete beauty.

"And I will tell you what you shall find at your first entrance.

Imprimis, as soon as you have entered the vestibule, if you cast a look on either side of you, you shall see on the right hand a box of my making. It is the box in which have been lodged all my hares, and in which lodges Puss at present; but he, poor fellow, is worn out with age, and promises to die before you can see him. On the right hand stands a cupboard, the work of the same author, it was once a dove-cage, but I transformed it. Opposite to you stands a table, which I also made; but a merciless servant having scrubbed it until it became paralytic, it serves no purpose now but of ornament; and all my clean shoes stand under it. On the left hand, at the further end of this superb vestibule, you will find the door of the parlour, into which I will conduct you, and where I will introduce you to Mrs. Unwin, unless we should meet her before, and where we will be as happy as the day is long. Order yourself, my cousin, to the Swan at Newport, and there you shall find me ready to conduct you to Olney.

"My dear, I have told Homer what you say about casks and urns, and have asked him whether he is sure that it is a cask in which Jupiter keeps his wine. He swears that it is a cask, and that it will never be anything better than a cask to eternity. So if the G.o.d is content with it, we must even wonder at his taste, and be so too.

"Adieu! my dearest, dearest cousin.

W. C."

Here, by way of contrast, is a letter written in the lowest spirits possible to Mr. Newton. It displays literary grace inalienable even in the depths of hypochondria. It also shows plainly the connexion of hypochondria with the weather. January was a month to the return of which the sufferer always looked forward with dread as a mysterious season of evil. It was a season, especially at Olney, of thick fog combined with bitter frosts. To Cowper this state of the atmosphere appeared the emblem of his mental state; we see in it the cause. At the close the letter slides from spiritual despair to the worsted-merchant, showing that, as we remarked before, the language of despondency had become habitual, and does not always flow from a soul really in the depths of woe.

TO THE REV. JOHN NEWTON.

"_Jan. 13th_, 1784.

"MY DEAR FRIEND,--I too have taken leave of the old year, and parted with it just when you did, but with very different sentiments and feelings upon the occasion. I looked back upon all the pa.s.sages and occurrences of it, as a traveller looks back upon a wilderness through which he has pa.s.sed with weariness, and sorrow of heart, reaping no other fruit, of his labour, than the poor consolation that, dreary as the desert was, he has left it all behind him. The traveller would find even this comfort considerably lessened, if, as soon as he had pa.s.sed one wilderness, another of equal length, and equally desolate, should expect him. In this particular, his experience and mine would exactly tally. I should rejoice, indeed, that the old year is over and gone, if I had not every reason to prophesy a new one similar to it.

"The new year is already old in my account, I am not, indeed, sufficiently second-sighted to be able to boast by antic.i.p.ation an acquaintance with the events of it yet unborn, but rest convinced that, be they what they may, not one of them comes a messenger of good to me.

If even death itself should be of the number, he is no friend of mine.

It is an alleviation of the woes even of an unenlightened man, that he can wish for death, and indulge a hope, at least, that in death he shall find deliverance. But, loaded as my life is with despair, I have no such comfort as would result from a supposed probability of better things to come, were it once ended. For, more unhappy than the traveller with whom I set out, pa.s.s through what difficulties I may, through whatever dangers and afflictions, I am not a whit nearer the home, unless a dungeon may be called so. This is no very agreeable theme; but in so great a dearth of subjects to write upon, and especially impressed as I am at this moment with a sense of my own condition, I could choose no other. The weather is an exact emblem of my mind in its present state. A thick fog envelopes everything, and at the same time it freezes intensely. You will tell me that this cold gloom will be succeeded by a cheerful spring, and endeavour to encourage me to hope for a spiritual change resembling it;--but it will be lost labour. Nature revives again; but a soul once slain lives no more. The hedge that has been apparently dead, is not so; it will burst into leaf and blossom at the appointed time; but no such time is appointed for the stake that stands in it. It is as dead as it seems, and will prove itself no dissembler. The latter end of next month will complete a period of eleven years in which I have spoken no other language. It is a long time for a man whose eyes were once opened, to spend in darkness; long enough to make despair an inveterate habit; and such it is in me. My friends, I know, expect that I shall see yet again. They think it necessary to the existence of divine truth, that he who once had possession of it should never finally lose it. I admit the solidity of this reasoning in every case but my own. And why not in my own? For causes which to them it appears madness to allege, but which rest upon my mind with a weight of immovable conviction. If I am recoverable, why am I thus?--why crippled and made useless in the Church, just at that time of life when, my judgment and experience being matured, I might be most useful?--why cashiered and turned out of service, till, according to the course of nature, there is not life enough left in me to make amends for the years I have lost,--till there is no reasonable hope left that the fruit can ever pay the expense of the fallow? I forestall the answer:--G.o.d's ways are mysterious, and He giveth no account of His matters--an answer that would serve my purpose as well as theirs to use it. There is a mystery in my destruction, and in time it shall be explained.