Old Portraits and Modern Sketches Part 4

"There is a spirit which I feel which delights to do no evil, nor to avenge any wrong; but delights to endure all things, in hope to enjoy its own in the end; its hope is to outlive all wrath and contention, and to weary out all exultation and cruelty, or whatever is of a nature contrary to itself. It sees to the end of all temptations; as it bears no evil in itself, so it conceives none in thought to any other: if it be betrayed, it bears it, for its ground and spring is the mercy and forgiveness of G.o.d. Its crown is meekness; its life is everlasting love unfeigned; it takes its kingdom with entreaty, and not with contention, and keeps it by lowliness of mind. In G.o.d alone it can rejoice, though none else regard it, or can own its life. It is conceived in sorrow, and brought forth with none to pity it; nor doth it murmur at grief and oppression. It never rejoiceth but through sufferings, for with the world's joy it is murdered. I found it alone, being forsaken. I have fellowship therein with them who lived in dens and desolate places of the earth, who through death obtained resurrection and eternal Holy Life."

So died James Nayler. He was buried in "Thomas Parnell's burying-ground, at King's Rippon," in a green nook of rural England. Wrong and violence, and temptation and sorrow, and evil-speaking, could reach him no more.

And in taking leave of him, let us say, with old Joseph Wyeth, where he touches upon this case in his _Anguis Flagellatus_: "Let none insult, but take heed lest they also, in the hour of their temptation, do fall away."

ANDREW MARVELL

"They who with a good conscience and an upright heart do their civil duties in the sight of G.o.d, and in their several places, to resist tyranny and the violence of superst.i.tion banded both against them, will never seek to be forgiven that which may justly be attributed to their immortal praise."--Answer to Eikon Basilike.

Among, the great names which adorned the Protectorate,--that period of intense mental activity, when political and religious rights and duties were thoroughly discussed by strong and earnest statesmen and theologians,--that of Andrew Marvell, the friend of Milton, and Latin Secretary of Cromwell, deserves honorable mention. The magnificent prose of Milton, long neglected, is now perhaps as frequently read as his great epic; but the writings of his friend and fellow secretary, devoted like his own to the cause of freedom and the rights of the people, are scarcely known to the present generation. It is true that Marvell's political pamphlets were less elaborate and profound than those of the author of the glorious _Defence of Unlicensed Printing_. He was light, playful, witty, and sarcastic; he lacked the stern dignity, the terrible invective, the bitter scorn, the crushing, annihilating retort, the grand and solemn eloquence, and the devout appeals, which render immortal the controversial works of Milton. But he, too, has left his foot-prints on his age; he, too, has written for posterity that which they "will not willingly let die." As one of the inflexible defenders of English liberty, sowers of the seed, the fruits of which we are now reaping, he has a higher claim on the kind regards of this generation than his merits as a poet, by no means inconsiderable, would warrant.

Andrew Marvell was born in Kingston-upon-Hull, in 1620. At the age of eighteen he entered Trinity College, whence he was enticed by the Jesuits, then actively seeking proselytes. After remaining with them a short time, his father found him, and brought him back to his studies.

On leaving college, he travelled on the Continent. At Rome he wrote his first satire, a humorous critique upon Richard Flecknoe, an English Jesuit and verse writer, whose lines on Silence Charles Lamb quotes in one of his Essays. It is supposed that he made his first acquaintance with Milton in Italy.

At Paris he made the Abbot de Manihan the subject of another satire. The Abbot pretended to skill in the arts of magic, and used to prognosticate the fortunes of people from the character of their handwriting. At what period he returned from his travels we are not aware. It is stated, by some of his biographers, that he was sent as secretary of a Turkish mission. In 1653, he was appointed the tutor of Cromwell's nephew; and, four years after, doubtless through the instrumentality of his friend Milton, he received the honorable appointment of Latin Secretary of the Commonwealth. In 1658, he was selected by his townsmen of Hull to represent them in Parliament. In this service he continued until 1663, when, notwithstanding his st.u.r.dy republican principles, he was appointed secretary to the Russian emba.s.sy. On his return, in 1665, he was again elected to Parliament, and continued in the public service until the prorogation of the Parliament of 1675.

The boldness, the uncompromising integrity and irreproachable consistency of Marvell, as a statesman, have secured for him the honorable appellation of "the British Aristides." Unlike too many of his old a.s.sociates under the Protectorate, he did not change with the times. He was a republican in Cromwell's day, and neither threats of a.s.sa.s.sination, nor flatteries, nor proffered bribes, could make him anything else in that of Charles II. He advocated the rights of the people at a time when patriotism was regarded as ridiculous folly; when a general corruption, spreading downwards from a lewd and abominable Court, had made legislation a mere scramble for place and emolument. English history presents no period so disgraceful as the Restoration. To use the words of Macaulay, it was "a day of servitude without loyalty and sensuality without love, of dwarfish talents and gigantic vices, the paradise of cold hearts and narrow minds, the golden age of the coward, the bigot, and the slave. The principles of liberty were the scoff of every grinning courtier, and the Anathema Maranatha of every fawning dean." It is the peculiar merit of Milton and Marvell, that in such an age they held fast their integrity, standing up in glorious contrast with clerical apostates and traitors to the cause of England's liberty.

In the discharge of his duties as a statesman Marvell was as punctual and conscientious as our own venerable Apostle of Freedom, John Quincy Adams.

He corresponded every post with his const.i.tuents, keeping them fully apprised of all that transpired at Court or in Parliament. He spoke but seldom, but his great personal influence was exerted privately upon the members of the Commons as well as upon the Peers. His wit, accomplished manners, and literary eminence made him a favorite at the Court itself.

The voluptuous and careless monarch laughed over the biting satire of the republican poet, and heartily enjoyed his lively conversation. It is said that numerous advances were made to him by the courtiers of Charles II., but he was found to be incorruptible. The personal compliments of the King, the encomiums of Rochester, the smiles and flatteries of the frail but fair and high-born ladies of the Court; nay, even the golden offers of the King's treasurer, who, climbing with difficulty to his obscure retreat on an upper floor of a court in the Strand, laid a tempting bribe of L1,000 before him, on the very day when he had been compelled to borrow a guinea, were all lost upon the inflexible patriot.

He stood up manfully, in an age of persecution, for religious liberty, opposed the oppressive excise, and demanded frequent Parliaments and a fair representation of the people.

In 1672, Marvell engaged in a controversy with the famous High-Churchman, Dr. Parker, who had taken the lead in urging the persecution of Non- conformists. In one of the works of this arrogant divine, he says that "it is absolutely necessary to the peace and government of the world that the supreme magistrate should be vested with power to govern and conduct the consciences of subjects in affairs of religion. Princes may with less hazard give liberty to men's vices and debaucheries than to their consciences." And, speaking of the various sects of Non-conformists, he counsels princes and legislators that "tenderness and indulgence to such men is to nourish vipers in their own bowels, and the most sottish neglect of our quiet and security." Marvell replied to him in a severely satirical pamphlet, which provoked a reply from the Doctor. Marvell rejoined, with a rare combination of wit and argument. The effect of his sarcasm on the Doctor and his supporters may be inferred from an anonymous note sent him, in which the writer threatens by the eternal G.o.d to cut his throat, if he uttered any more libels upon Dr. Parker. Bishop Burnet remarks that "Marvell writ in a burlesque strain, but with so peculiar and so entertaining a conduct 'that from the King down to the tradesman his books were read with great pleasure, and not only humbled Parker, but his whole party, for Marvell had all the wits on his side.'"

The Bishop further remarks that Marvell's satire "gave occasion to the only piece of modesty with which Dr. Parker was ever charged, namely, of withdrawing from town, and not importuning the press for some years, since even a face of bra.s.s must grow red when it is burnt as his has been."

Dean Swift, in commenting upon the usual fate of controversial pamphlets, which seldom live beyond their generation, says: "There is indeed an exception, when a great genius undertakes to expose a foolish piece; so we still read Marvell's answer to Parker with pleasure, though the book it answers be sunk long ago."

Perhaps, in the entire compa.s.s of our language, there is not to be found a finer piece of satirical writing than Marvell's famous parody of the speeches of Charles II., in which the private vices and public inconsistencies of the King, and his gross violations of his pledges on coming to the throne, are exposed with the keenest wit and the most laugh-provoking irony. Charles himself, although doubtless annoyed by it, could not refrain from joining in the mirth which it excited at his expense.

The friendship between Marvell and Milton remained firm and unbroken to the last. The former exerted himself to save his ill.u.s.trious friend from persecution, and omitted no opportunity to defend him as a politician and to eulogize him as a poet. In 1654 he presented to Cromwell Milton's n.o.ble tract in _Defence of the People of England_, and, in writing to the author, says of the work, "When I consider how equally it teems and rises with so many figures, it seems to me a Trajan's column, in whose winding ascent we see embossed the several monuments of your learned victories."

He was one of the first to appreciate _Paradise Lost_, and to commend it in some admirable lines. One couplet is exceedingly beautiful, in its reference to the author's blindness:--

"Just Heaven, thee like Tiresias to requite, Rewards with prophecy thy loss of sight."

His poems, written in the "s.n.a.t.c.hed leisure" of an active political life, bear marks of haste, and are very unequal. In the midst of pa.s.sages of pastoral description worthy of Milton himself, feeble lines and hackneyed phrases occur. His _Nymph lamenting the Death of her Fawn_ is a finished and elaborate piece, full of grace and tenderness. _Thoughts in a Garden_ will be remembered by the quotations of that exquisite critic, Charles Lamb. How pleasant is this picture!

"What wondrous life is this I lead!

Ripe apples drop about my head; The luscious cl.u.s.ters of the vine Upon my mouth do crush their wine; The nectarine and curious peach Into my hands themselves do reach; Stumbling on melons as I pa.s.s, Ensnared with flowers, I fall on gra.s.s.

"Here at this fountain's sliding foot, Or at the fruit-tree's mossy root, Casting the body's vest aside, My soul into the boughs does glide.

There like a bird it sits and sings, And whets and claps its silver wings; And, till prepared for longer flight, Waves in its plumes the various light.

"How well the skilful gard'ner drew Of flowers and herbs this dial true!

Where, from above, the milder sun Does through a fragrant zodiac run; And, as it works, the industrious bee Computes his time as well as we.

How could such sweet and wholesome hours Be reckoned but with herbs and flowers!"

One of his longer poems, _Appleton House_, contains pa.s.sages of admirable description, and many not unpleasing conceits. Witness the following:--

"Thus I, an easy philosopher, Among the birds and trees confer, And little now to make me wants, Or of the fowl or of the plants.

Give me but wings, as they, and I Straight floating on the air shall fly; Or turn me but, and you shall see I am but an inverted tree.

Already I begin to call In their most learned original; And, where I language want, my signs The bird upon the bough divines.

No leaf does tremble in the wind, Which I returning cannot find.

Out of these scattered Sibyl's leaves, Strange prophecies my fancy weaves: What Rome, Greece, Palestine, e'er said, I in this light Mosaic read.

Under this antic cope I move, Like some great prelate of the grove; Then, languishing at ease, I toss On pallets thick with velvet moss; While the wind, cooling through the boughs, Flatters with air my panting brows.

Thanks for my rest, ye mossy banks!

And unto you, cool zephyrs, thanks!

Who, as my hair, my thoughts too shed, And winnow from the chaff my head.

How safe, methinks, and strong behind These trees have I encamped my mind!"

Here is a picture of a piscatorial idler and his trout stream, worthy of the pencil of Izaak Walton:--

"See in what wanton harmless folds It everywhere the meadow holds: Where all things gaze themselves, and doubt If they be in it or without; And for this shade, which therein shines Narcissus-like, the sun too pines.

Oh! what a pleasure 't is to hedge My temples here in heavy sedge; Abandoning my lazy side, Stretched as a bank unto the tide; Or, to suspend my sliding foot On the osier's undermining root, And in its branches tough to hang, While at my lines the fishes tw.a.n.g."

A little poem of Marvell's, which he calls Eyes and Tears, has the following pa.s.sages:--

"How wisely Nature did agree With the same eyes to weep and see!

That having viewed the object vain, They might be ready to complain.

And, since the self-deluding sight In a false angle takes each height, These tears, which better measure all, Like watery lines and plummets fall."

"Happy are they whom grief doth bless, That weep the more, and see the less; And, to preserve their sight more true, Bathe still their eyes in their own dew; So Magdalen, in tears more wise, Dissolved those captivating eyes, Whose liquid chains could, flowing, meet To fetter her Redeemer's feet.

The sparkling glance, that shoots desire, Drenched in those tears, does lose its fire; Yea, oft the Thunderer pity takes, And there his hissing lightning slakes.

The incense is to Heaven dear, Not as a perfume, but a tear; And stars shine lovely in the night, But as they seem the tears of light.

Ope, then, mine eyes, your double sluice, And practise so your n.o.blest use; For others, too, can see or sleep, But only human eyes can weep."

The Bermuda Emigrants has some happy lines, as the following:--

"He hangs in shade the orange bright, Like golden lamps in a green night."

Or this, which doubtless suggested a couplet in Moore's _Canadian Boat Song_:--

"And all the way, to guide the chime, With falling oars they kept the time."

His facetious and burlesque poetry was much admired in his day; but a great portion of it referred to persons and events no longer of general interest. The satire on Holland is an exception. There is nothing in its way superior to it in our language. Many of his best pieces were originally written in Latin, and afterwards translated by himself. There is a splendid Ode to Cromwell--a worthy companion of Milton's glorious sonnet--which is not generally known, and which we transfer entire to our pages. Its simple dignity and the melodious flow of its versification commend themselves more to our feelings than its eulogy of war. It is energetic and impa.s.sioned, and probably affords a better idea of the author, as an actor in the stirring drama of his time, than the "soft Lydian airs" of the poems that we have quoted.

AN HORATIAN ODE UPON CROMWELL'S RETURN FROM IRELAND.

The forward youth that would appear Must now forsake his Muses dear; Nor in the shadows sing His numbers languishing.

'T is time to leave the books in dust, And oil the unused armor's rust; Removing from the wall The corslet of the hall.

So restless Cromwell could not cease In the inglorious arts of peace, But through adventurous war Urged his active star.