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and ending with these remarkable lines,

Illi mors gravis incubat,
Qui notus nimis omnibus
Ignotus moritur sibi,

seems to have had much attraction for moralists and poets in the seventeenth century. Beside this paraphrase of it by Sir Matthew Hale, prefixed to one of his Contemplations, there is a translation by Cowley, and a third, the best of all, by Marvell, of which these are the concluding lines:

'Who exposed to others' eyes,

Into his own heart never pries,
Death's to him a strange surprise.'

P. 130, No. cx.-I have detached these two stanzas from a longer poem of which they constitute the only valuable portion. George Wither (a most profuse pourer forth of English rhyme’ Phillips calls him) was indeed so intolerable a proser in verse, so overlaid his good with indifferent or bad, that one may easily forget how real a gift he possessed, and sometimes showed that he possessed.

P. 131, No. cxii.-When Phillips, writing in 1675, styles Quarles the darling of our plebeian judgments,' he intimates the circle in which his popularity was highest, and helps us to understand the extreme contempt into which he afterwards fell, so that he who had a little earlier been hailed as

that sweet seraph of our nation, Quarles,'

became a byeword for all that was absurdest and worst in poetry. The reacquaintance which I have made with him, while looking for some specimen of his verse worthy to be cited here, has shown me that his admirers, though they may have admired a good deal too much, had far better right than his despisers.—1. 25 : 'To vie' is to put down a certain sum upon a card; to revie' is to cover this with a larger, by which the challenger becomes in turn the challenged.

P. 132, No. cxiii.-Milton's lines on Shakespeare cannot properly be counted an epitaph. But setting those aside, as not fairly coming into competition, this is, in my judgment, the finest and most affecting epitaph in the English language. Of Pope's there is not one which deserves to be compared with it. His are of art, artful, which this is no less, but this also of nature and natural. With all this it has grievous shortcomings. Death and eternity raise other issues concerning the departed besides those which are dealt with here.-This epitaph contains two fine allusions to Virgil's Eneid, with which Dryden was of necessity so familiar. The first, that of 1. 7-10 to book v, 1. 327-338. At the games with which

Eneas celebrates his father's funeral, Nisus and his younger friend Euryalus are among the competitors in the foot-race; Nisus, who is winning, slips, and Euryalus arrives the first at the goal, and carries off the prize. In the four concluding lines there is a beautiful allusion to the well-known passage, book vi. 1. 860-886, in which the poet deplores the early death of that young Marcellus, with which so many fair expectations of the imperial family and of the Roman people perished.

P. 133, No. cxiv.-Elizabeth, wife of Henry Hastings, fifth Earl of Huntingdon, is the lady commemorated in this fine epitaph, by him who says what he saw '-for this is the attestation to the truth of all that it asserts, which Lord Falkland, mindful of the ordinary untruthfulness of epitaphs, thinks it good to subscribe.

P. 136, No. cxix. -The writer of these lines commanded a vessel sent out in 1631 by some Bristol merchants for the discovery of the North-West passage. Frozen up in the ice, he passed a winter of frightful suffering on those inhospitable shores; many of his company sinking beneath the hardships of the time. The simple and noble manner in which these sufferings were borne he has himself left on record (Harris's Voyages, vol. i. pp. 600-606); how too, when at length the day of deliverance dawned, and the last evening which they should spend on that cruel coast had arrived-but he shall speak his own words:- and now the sun was set, and the boat came ashore for us, whereupon after evening prayer we assembled and went up to take a last view of our dead; where leaning upon my arm on one of their tombs I uttered these lines; which, though perhaps they may procure laughter in the wiser sort, they yet moved my young and tender-hearted companions at that time to some compassion. To me they seem to have the pathos, better than any other, of truth.

P. 137, No. cxxi. -A few lines from this exquisite monody have found their way, but even these rarely, into some modern selections. The whole poem, inexpressibly tender and beautiful as it is, is included in Headley's Select Beauties, 1810, but in no other that I know. Henry King, afterwards Bishop of Chichester, married Anne, the eldest daughter of Robert Berkeley; she probably died in 1624, and, as we learn from the poem itself (see vv. 28, 29), in or about her twenty-fourth year. It would be interesting to know whether this was the lady, all hope to whose hand he at one time supposed he must for ever renounce, and did renounce in those other lines, hardly less beautiful, which he has called The Surrender, and which will be found at p. 65 of this volume. Henry King's Poems have been carefully edited by the Rev. T. Hannah, London, 1843.

P. 141, No. cxxiii.-A rough rugged piece of verse, as indeed

almost all Donne's poetry is imperfect in form and workmanship; but it is the genuine cry of one engaged in that most terrible of all struggles, wherein, as we are winners or losers, we have won all or lost all. There is indeed much in Donne, in the unfolding of his moral and spiritual life, which often reminds us of St. Augustine. I do not mean that, noteworthy as on many accounts he was, and in the language of Carew, one of his contemporaries,

'A king who ruled as he thought fit

The universal monarchy of wit,'

he at all approached in intellectual or spiritual stature to the great Doctor of the Western Church. But still there was in Donne the same tumultuous youth, the same entanglement in youthful lusts, the same conflict with these, and the same final deliverance from them; and then the same passionate and personal grasp of the central truths of Christianity, linking itself as this did with all that he had suffered, and all that he had sinned, and all through which by God's grace he had victoriously struggled.

P. 142, No. cxxv.-There is a certain residue of truth in Johnson's complaint of the blending of incongruous theologies, or rather of a mythology and a theology, in this poem-Neptune and Phoebus and Panope and the Fury mixed up with St. Peter and a greater than St. Peter, and a fierce assault on the Clergy of the Church. At the same time there is a fusing power in the imagination, when it is in its highest exercise, which can bring together and chemically unite materials the most heterogeneous; and the fault of Johnson's criticism is that he has no eye for the mighty force of this which in Lycidas is displayed, and which has brought all or nearly all of its strange assemblage of materials into harmonious unity-and even where this is not so, hardly allows us to remember the fact, so wondrous is the beauty and splendour of the whole. But in weaker hands the bringing together of all which is here brought together, and the attempt to combine it all in one poem, would have inevitably issued in failure the most ridiculous.-1. 32-49: This and more than one other allusion in this poem implies that King wrote verses, and of an idyllic character, as would seem. In his brother's Elegy, contained in the same volume in which Lycidas first appeared, as much, and indeed a good deal more is said:

'He dressed the Muses in the brav'st attire
That e'er they wore.'

If he wrote English verse, and it is difficult to give any other meaning to these lines, none of it has reached us. A few pieces of Latin poetry bearing his name are scattered through the volumes of encomiastic verse which were issued from Cambridge during the

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time that he, as Fellow and Tutor of Christ's, was connected with it. They are only of average merit.—l. 50: A glorious appropriation of Virgil, Buc. x. 9, 10,

'Quæ nemora aut qui vos saltus habuere, puellæ
Naiades, indigno cum Gallus amore peribat?'

1. 132 Observe the exquisite art with which Milton manages the
transition from the Christian to the heathen. He assumes that
Alpheus and the Sicilian Muse had shrunk away ashamed while
St. Peter was speaking. In bidding them now to return, he implies
that he is coming down from the spiritual heights to which for a
while he had been lifted up, and entering the region of pastoral
poetry once more.-1. 159-164: These lines were for a long time
very obscure.
Dr. Todd in his learned notes, to which I must
refer, has done much to dissipate the obscurity, though I cannot
think all is clear even now.

P. 148, No. cxxvi.-These lines are the short answer to a very long question, or series of questions, which Davenant has called The Philosopher's Disquisition directed to the dying Christian. This poem, than which I know few weightier with thought, unfortunately extends to nearly four hundred lines—its length, and the fact that it appeals but to a limited circle of readers, precluding me from finding room for more than a brief extract from it, and that in this note; but it literally abounds with lines notable as the following:

'Tradition, Time's suspected register,

That wears out Truth's best stories into tales.'

I am well aware of the evil report under which Davenant labours, and there are passages in his poems which seem to bear it out, as for example this, which appears to call into question the resurrection :

'But ask not bodies doomed to die,

To what abode they go :

Since knowledge is but sorrow's spy,

It is not safe to know.'

At the same time 'the Philosopher' here does not so much deny that there is any truth for man as that he has any organ whereby, of himself, he may attain this truth. The poem-it is the dying Christian who is addressed-opens thus :

'Before by death you nearer knowledge gain,
(For to increase your knowledge you must die)
Tell me if all that learning be not vain,
On which we proudly in this life rely.

Is not the learning which we knowledge call,
Our own but by opinion and in part?
Not made entirely certain, nor to all,
And is not knowledge but disputed art?

And though a bad, yet 'tis a froward guide,
Who, vexing at the shortness of the day,

Doth, to o'ertake swift time, still onward ride,
While we still follow, and still doubt our way;

A guide, who every step proceeds with doubt,
Who guessingly her progress doth begin;
And brings us back where first she led us out,
To meet dark midnight at our restless inn.

It is a plummet to so short a line,
As sounds no deeper than the sounder's eyes;
The people's meteor, which not long can shine,
Nor far above the middle region rise.

This spy from Schools gets ill intelligence,
Where art, imposing rules, oft gravely errs;
She steals to nature's closet, and from thence
Brings nought but undecyphered characters.

She doth, like India's last discoverers, boast
Of adding to old maps; though she has bin
But sailing by some clear and open coast,
Where all is woody, wild, and dark within.

Of this forbidden fruit since we but gain
A taste, by which we only hungry grow,
We merely toil to find our studies vain,

And trust to Schools for what they cannot know.'

P. 150, No. cxxviii.-This poem, apart from its proper beauty, which is very considerable, has a deeper interest, as containing in the germ Wordsworth's still higher strain, namely his Ode on Intimations of Immortality from Recollections of Early Childhood. I do not mean that Wordsworth had ever seen this poem when he wrote his. The coincidences are so remarkable that it is certainly difficult to esteem them accidental; but Wordsworth was so little a reader of anything out of the way, and at the time when his Ode was composed, the Silex Scintillans was altogether out of the way, a book of such excessive rarity, that an explanation of the points of contact between the poems must be sought for elsewhere. The complete forgetfulness into which poetry, which, though not of the very highest order of all, is yet of a very high one, may fall, is strikingly exemplified in the fact that as nearly as possible two centuries intervened between the first and second editions of Vaughan's poems. The first edition of the first part of the Silex Scintillans appeared in 1650, the second edition of the book in 1847. Oblivion overtook him from the first. Phillips in his Theatrum Poetarum, 1675, just mentions him and no more; and knows him only by his Olor Iscanus, a juvenile production, of comparatively little worth; yet seeing that it yields such lines as the following--they form part of a poem addressed to the unfortunate Elizabeth of Bohemia, our first James' daughter-it cannot be affirmed to be of none:

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