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In that so much unhappy, had not he
That honoured then his sword with victory,
Half-brother to Janusa been, a bright
But cruel lady, whose refined delight
Her slave (though husband), Ammurat, durst not
Ruffle with discontent; wherefore, to cool that hot
Contention of her blood, which he foresaw
That heavy news would from her anger draw,
To quench with the brave Christian's death, he sent
Him living to her, that her anger, spent
In flaming torments, might not settle in
The dregs of discontent. Staying to win
Some Rhodian castles, all the prisoners were
Sent with a guard into Sardinia, there
To meet their wretched thraldom. From the rest
Argalia severed, soon hopes to be bless'd
With speedy death, though waited on by all
The hell-instructed torments that could fall
Within invention's reach; but he's not yet
Arrived to his period, his unmoved stars sit
Thus in their orbs secured. It was the use
Of the Turkish pride, which triumphs in the abuse
Of suffering Christians, once, before they take
The ornaments of nature off, to make
Their prisoners public to the view, that all
Might mock their miseries: this sight did call
Janusa to her palace-window, where,
Whilst she beholds them, love resolved to bear
Her ruin on her treacherous eye-beams, till
Her heart infected grew; their orbs did fill,
As the most pleasing object, with the sight
Of him whose sword opened a way for the flight
Of her loved brother's soul.

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HENRY VAUGHAN.

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VAUGHAN was born in Wales, on the banks of the Uske, in Brecknockshire, in 1614. His father was a gentleman, but, we presume, poor, as his son was bred to a profession. Young Vaughan became first a lawyer, and then a physician; and we suppose, had it not been for his advanced life, he would have become latterly a clergyman, since he grew, when old, exceedingly devout. In life, he was not fortunate, and we find him, like Chamberlayne, complaining bitterly of the poverty of the poetical tribe. In 1651, he published a volume of verse, in which nascent excellence struggles with dim obscurities, like a young moon with heavy clouds. But his 'Silex Scintillans,' or Sacred Poems, produced in later life, attests at once the

6 depth of his devotion, and the truth and originality of his genius. He died in 1695.

Campbell, always prone to be rather severe on pious poets, and whose taste, too, was finical at times, says of Vaughan• He is one of the harshest even of the inferior order of the school of conceit; but he has some few scattered thoughts that meet the eye amidst his harsh pages, like wild flowers on a barren heath.' Surely this is rather harsh' judgment. At the same time, it is not a little laughable to find that Campbell has himself appropriated one of these wild flowers.' In his beautiful 'Rainbow,' he cries—

• How came the world's gray fathers forth

To mark thy sacred sign!'
Vaughan had said-

• How bright wert thou when Shem's admiring eye,
Thy burnished, flaming arch did first descry;
When Terah, Nahor, Haran, Abram, Lot,
The youthful world's gray fathers in one knot,
Did with intentive looks watch every hour

For thy new light, and trembled at each shower!' Indeed, all Campbell's' Rainbow' is just a reflection of Vaughan's, and reminds you of those faint, pale shadows of the heavenly bow you sometimes see in the darkened and disarranged skies of

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spring. To steal from, and then strike down the victim, is more suitable to robbers than to poets.

Perhaps the best criticism on Vaughan may be found in the title of his own poems, 'Silex Scintillans.' He had a good deal of the dulness and hardness of the flint about his mind, but the influence of poverty and suffering,—for true it is that

Wretched men
Are cradled into poetry by wrong;

They learn in suffering what they teach in song: and latterly the power of a genuine, though somewhat narrow piety, struck out glorious scintillations from the bare but rich rock. He ranks with Crashaw, Quarles, and Herbert, as one of the best of our early religious poets; like them in their faults, and superior to all of them in refinement and beauty, if not in strength of genius.

ON A CHARNEL-HOUSE.

Where are you, shoreless thoughts, vast-tentered 1 hope,
Ambitious dreams, aims of an endless

scope,
Whose stretched excess runs on a string too high,
And on the rack of self-extension die?
Chameleons of state, air-mongering2 band,
Whose breath, like gunpowder, blows up a land,
Come, see your dissolution, and weigh
What a loathed nothing you shall be one day.
As the elements by circulation pass
From one to the other, and that which first was
Is so again, so 'tis with you. The grave
And nature but complete: what the one gave,
The other takes. Think, then, that in this bed
There sleep the relics of as proud a head,
As stern and subtle as your own; that hath
Performed or forced as much; whose tempest-wrath
Hath levelled kings with slaves; and wisely, then,

1. Vast-tentered :' extended.- Air-mongering:' dealing in air or unsubstantial visions.

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Calm these high furies, and descend to men.
Thus Cyrus tamed the Macedon; a tomb
Checked him who thought the world too strait a room.
Have I obeyed the powers of a face,
A beauty, able to undo the race
Of easy man? I look but here, and straight
I am informed; the lovely counterfeit
Was but a smoother clay. That famished slave,
Beggared by wealth, who starves that he may save,
Brings hither but his sheet. Nay, the ostrich-man,
That feeds on steel and bullet, he that can
Outswear his lordship, and reply as tough
To a kind word, as if his tongue were buff,
Is chapfallen here: worms, without wit or fear,
Defy him now; death has disarmed the bear.
Thus could I run o'er all the piteous score
Of erring men, and having done, meet more.
Their shuffled wills, abortive, vain intents,
Fantastic humours, perilous ascents,
False, empty honours, traitorous delights,
And whatsoe'er a blind conceit invites,
But these, and more, which the weak vermins swell,
Are couched in this accumulative cell,
Which I could scatter; but the grudging sun
Calls home his beams, and warns me to be gone:
Day leaves me in a double night, and I
Must bid farewell to my sad library,
Yet with these notes. Henceforth with thought of thee
I'll season all succeeding jollity,
Yet damn not mirth, nor think too much is fit:
Excess hath no religion, nor wit;
But should wild blood swell to a lawless strain,
One check from thee shall channel it again.

ON GOMBAULD'S ENDYMION. I've read thy soul's fair night-piece, and have seen The amours and courtship of the silent queen; Her stolen descents to earth, and what did move her To juggle first with heaven, then with a lover; With Latmos' louder rescue, and, alas! To find her out, a hue and cry in brass; Thy journal of deep mysteries, and sad Nocturnal pilgrimage; with thy dreams, clad In fancies darker than thy cave; thy glass Of sleepy draughts; and as thy soul did pass In her calm voyage, what discourse she heard Of spirits; what dark groves and ill-shaped guard Ismena led thee through; with thy proud flight O’er Periardes, and deep-musing night Near fair Eurotas' banks; what solemn green The neighbour shades wear; and what forms are seen In their large bowers; with that sad path and seat Which none but light-heeled nymphs and fairies beat, Their solitary life, and how exempt From common frailty, the severe contempt They have of man, their privilege to live A tree or fountain, and in that reprieve What ages they consume: with the sad vale Of Diophania; and the mournful tale Of the bleeding, vocal myrtle :—these and more, Thy richer thoughts, we are upon the score To thy rare fancy for. Nor dost thou fall From thy first majesty, or ought at all Betray consumption. Thy full vigorous bays Wear the same green, and scorn the lean decays Of style or matter; just as I have known Some crystal spring, that from the neighbour down

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