]
[Footnote 74: This life was originally written by Dr.
[Footnote 74: This life was originally written by Dr.
Samuel Johnson - Lives of the Poets - 1
The account of those
salutary conferences is given by Burnet in a book entitled, Some Passages
of the Life and Death of John, Earl of Rochester, which the critick ought
to read for its elegance, the philosopher for its arguments, and the
saint for its piety. It were an injury to the reader to offer him an
abridgment.
He died July 26, 1680, before he had completed his thirty-fourth year;
and was so worn away by a long illness, that life went out without a
struggle.
Lord Rochester was eminent for the vigour of his colloquial wit, and
remarkable for many wild pranks and sallies of extravagance. The glare of
his general character diffused itself upon his writings; the compositions
of a man whose name was heard so often, were certain of attention, and
from many readers certain of applause. This blaze of reputation is not
yet quite extinguished; and his poetry still retains some splendour
beyond that which genius has bestowed.
Wood and Burnet give us reason to believe, that much was imputed to him
which he did not write. I know not by whom the original collection was
made, or by what authority its genuineness was ascertained. The
first edition was published in the year of his death, with an air of
concealment, professing, in the titlepage, to be printed at Antwerp.
Of some of the pieces, however, there is no doubt: the Imitation of
Horace's Satire, the Verses to lord Mulgrave, Satire against Man, the
Verses upon Nothing, and, perhaps, some others, are, I believe, genuine;
and, perhaps, most of those which the late collection exhibits[67].
As he cannot be supposed to have found leisure for any course of
continued study, his pieces are commonly short, such as one fit of
resolution would produce.
His songs have no particular character; they tell, like other songs,
in smooth and easy language, of scorn and kindness, dismission and
desertion, absence and inconstancy, with the commonplaces of artificial
courtship. They are commonly smooth and easy; but have little nature, and
little sentiment.
His Imitation of Horace on Lucilius is not inelegant or unhappy. In the
reign of Charles the second began that adaptation, which has since been
very frequent, of ancient poetry to present times; and, perhaps, few will
be found where the parallelism is better preserved than in this. The
versification is, indeed, sometimes careless, but it is sometimes
vigorous and weighty.
The strongest effort of his muse is his poem upon Nothing. He is not the
first who has chosen this barren topick for the boast of his fertility.
There is a poem called Nihil in Latin, by Passerat, a poet and critick of
the sixteenth century, in France; who, in his own epitaph, expresses his
zeal for good poetry thus:
Molliter ossa quiescent
Sint modo carminibus non onerata malis.
His works are not common, and, therefore, I shall subjoin his verses.
In examining this performance, Nothing must be considered as having not
only a negative, but a kind of positive signification; as I need not fear
thieves, I have _nothing_, and _nothing_ is a very powerful protector. In
the first part of the sentence it is taken negatively; in the second it
is taken positively, as an agent. In one of Boileau's lines it was a
question, whether he should use "a rien faire," or "a ne rien faire;"
and the first was preferred, because it gave "rien" a sense in some sort
positive. _Nothing_ can be a subject only in its positive sense, and such
a sense is given it in the first line:
_Nothing_, thou elder brother ev'n to shade.
In this line, I know not whether he does not allude to a curious book, De
Umbra, by Wowerus, which, having told the qualities of _shade_, concludes
with a poem, in which are these lines:
Jam primum terram validis circumspice claustris
Suspensam totam, decus admirabile mundi,
Terrasque, tractusque maris, camposque liquentes
Aeris, et vasti laqueata palatia coeli----
Omnibus UMBRA prior.
The positive sense is generally preserved, with great skill, through
the whole poem; though, sometimes, in a subordinate sense, the negative
_nothing_ is injudiciously mingled. Passerat confounds the two senses.
Another of his most vigorous pieces is his lampoon on sir Car Scroop,
who, in a poem called the Praise of Satire, had some lines like
these[68]:
He who can push into a midnight fray
His brave companion, and then run away,
Leaving him to be murder'd in the street,
Then put it off with some buffoon conceit;
Him, thus dishonour'd, for a wit you own,
And court him as top fiddler of the town.
This was meant of Rochester, whose "buffoon conceit" was, I suppose, a
saying often mentioned, that "every man would be a coward, if he durst;"
and drew from him those furious verses; to which Scroop made, in reply,
an epigram, ending with these lines:
Thou canst hurt no man's fame with thy ill word;
Thy pen is full as harmless as thy sword.
Of the Satire against Man, Rochester can only claim what remains, when
all Boileau's part is taken away.
In all his works there is sprightliness and vigour, and every where may
be found tokens of a mind, which study might have carried to excellence.
What more can be expected from a life spent in ostentatious contempt of
regularity, and ended, before the abilities of many other men began to be
displayed[69]?
Poema Cl. V. JOANNIS PASSERATII,
Regii in Academia Parisiensi Professoris.
Ad ornatissimum virum ERRICUM MEMMIUM.
Janus adest, festae poscunt sua dona kalendae,
Munus abest festis quod possim offerre kalendis:
Siccine Castalius nobis exaruit humor?
Usque adeo ingenii nostri est exhausta facultas,
Immunem ut videat redeuntis janitor anni?
Quod nusquam est, potius nova per vestigia quaeram.
Ecce autem, partes dum sese versat in omnes,
Invenit mea musa NIHIL; ne despice munus:
Nam NIHIL est gemmis, NIHIL est pretiosius auro.
Hue animum, hue, igitur, vultus adverte benignos:
Res nova narratur quae nulli audita priorum;
Ausonii et Graii dixerunt caetera vates,
Ausoniae indictum NIHIL est, graecaeque, Camoenae,
E coelo quacunque Ceres sua prospicit arva,
Aut genitor liquidis orbem complectitur ulnis
Oceanus, NIHIL interitus et originis expers.
Immortale NIHIL, NIHIL omni parte beatum.
Quod si hinc majestas et vis divina probatur,
Num quid honore deum, num quid dignabimur aris?
Conspectu lucis NIHIL est jucundius almae,
Vere NIHIL, NIHIL irriguo formosius horto,
Floridius pratis, Zephyri clementius aura;
In bello sanctum NIHIL est, Martisque tumultu:
Justum in pace NIHIL, NIHIL est in foedere tutum.
Felix cui NIHIL est, (fuerant haec vota Tibullo)
Non timet insidias; fures, incendia temnit;
Sollicitas sequitur nullo sub judice lites.
Ille ipse invictis qui subjicit omnia fatis,
Zenonis sapiens, NIHIL admiratur et optat.
Socraticique gregis fuit ista scientia quondam,
Scire NIHIL, studio cui nunc incumbitur uni.
Nec quicquam in ludo mavult didicisse juventus,
Ad magnas quia ducit opes, et culmen honorum.
Nosce NIHIL, nosces fertur quod Pythagoreae
Grano haerere fabae, cui vox adjuncta negantis.
Multi, Mercurio freti duce, viscera terrae
Pura liquefaciunt simul, et patrimonia miscent,
Arcano instantes operi, et carbonibus atris,
Qui tandem exhausti damnis, fractique labore,
Inveniunt, atque inventum NIHIL usque requirunt.
Hoc dimetiri non ulla decempeda possit:
Nec numeret Libycae numerum qui callet arenae.
Et Phoebo ignotum NIHIL est, NIHIL altius astris:
Tuque, tibi licet eximium sit mentis acumen,
Omnem in naturam penetrans, et in abdita rerum,
Pace tua, Memmi, NIHIL ignorare videris.
Sole tamen NIHIL est, et puro clarius igne.
Tange NIHIL, dicesque NIHIL sine corpore tangi.
Cerne NIHIL, cerni dices NIHIL absque colore.
Surdum audit loquiturque NIHIL sine voce, volatque
Absque ope pennarum, et graditur sine cruribus ullis.
Absque loco motuque NIHIL per inane vagatur.
Humano generi utilius NIHIL arte medendi;
Ne rhombos igitur, neu Thessala murmura tentet
Idalia vacuum trajectus arundine pectus,
Neu legat Idaeo Dictaeum in vertice gramen.
Vulneribus saevi NIHIL auxiliatur amoris.
Vexerit et quemvis trans moestas portitor undas,
Ad superos imo NIHIL hunc revocabit ab orco.
Inferni NIHIL inflectit praecordia regis,
Parcarumque colos, et inexorabile pensum.
Obruta Phlegraeis campis Titania pubes
Fulmineo sensit NIHIL esse potentius ictu.
Porrigitur magni NIHIL extra moenia mundi.
Diique NIHIL metuunt. Quid longo carmine plura
Commemorem? Virtute NIHIL praestantius ipsa,
Splendidius NIHIL est. NIHIL est Jove denique majus.
Sed tempus finem argutis imponere nugis:
Ne tibi si multa laudem mea carmina charta,
De NIHILO NIHILI pariant fastidia versus.
[Footnote 67: Dr. Johnson has made no mention of Valentinian, altered
from Beaumont and Fletcher, which was published after his death by a
friend, who describes him in the preface, not only as being one of the
greatest geniuses, but one of the most virtuous men that ever existed.
J. B. ]
[Footnote 68: I quote from memory. Dr. J. ] [Footnote 69: The late George
Steevens, esq. made the selection of Rochester's poems which appears in
Dr. Johnson's edition; but Mr. Malone observes, that the same task had
been performed, in the early part of the last century, by Jacob Tonson.
C. ]
ROSCOMMON
Wentworth Dillon, earl of Roscommon, was the son of James Dillon and
Elizabeth Wentworth, sister to the earl of Strafford. He was born in
Ireland[70], during the lieutenancy of Strafford, who, being both his
uncle and his godfather, gave him his own surname. His father, the
third earl of Roscommon, had been converted by Usher to the protestant
religion[71]; and when the popish rebellion broke out, Strafford,
thinking the family in great danger from the fury of the Irish, sent for
his godson, and placed him at his own seat in Yorkshire, where he was
instructed in Latin; which he learned so as to write it with purity and
elegance, though he was never able to retain the rules of grammar.
Such is the account given by Mr. Fenton, from whose notes on Waller most
of this account must be borrowed, though I know not whether all that he
relates is certain. The instructer whom he assigns to Roscommon is one
Dr. Hall, by whom he cannot mean the famous Hall, then an old man and a
bishop.
When the storm broke out upon Strafford, his house was a shelter no
longer; and Dillon, by the advice of Usher, was sent to Caen, where the
protestants had then an university, and continued his studies under
Bochart.
Young Dillon, who was sent to study under Bochart, and who is represented
as having already made great proficiency in literature, could not be more
than nine years old. Strafford went to govern Ireland in 1633, and
was put to death eight years afterwards. That he was sent to Caen, is
certain: that he was a great scholar, may be doubted. At Caen he is said
to have had some preternatural intelligence of his father's death.
"The lord Roscommon, being a boy of ten years of age, at Caen in
Normandy, one day was, as it were, madly extravagant in playing, leaping,
getting over the tables, boards, &c. He was wont to be sober enough;
they said, God grant this bodes no ill luck to him! In the heat of this
extravagant fit, he cries out, 'My father is dead. ' A fortnight after,
news came from Ireland that his father was dead. This account I had from
Mr. Knolles, who was his governour, and then with him,--since secretary
to the earl of Strafford; and I have heard his lordship's relations
confirm the same. " Aubrey's Miscellany.
The present age is very little inclined to favour any accounts of this
kind, nor will the name of Aubrey much recommend it to credit: it ought
not, however, to be omitted, because better evidence of a fact cannot
easily be found, than is here offered; and it must be by preserving such
relations that we may, at last, judge how much they are to be regarded.
If we stay to examine this account, we shall see difficulties on both
sides: here is the relation of a fact given by a man who had no interest
to deceive, and who could not be deceived himself; and here is, on the
other hand, a miracle which produces no effect; the order of nature is
interrupted to discover not a future, but only a distant event, the
knowledge of which is of no use to him to whom it is revealed. Between
these difficulties, what way shall be found? Is reason or testimony to be
rejected? I believe, what Osborne says of an appearance of sanctity may
be applied to such impulses or anticipations as this: "Do not wholly
slight them, because they may be true; but do not easily trust them,
because they may be false. "
The state both of England and Ireland was, at this time, such, that he
who was absent from either country had very little temptation to return;
and, therefore, Roscommon, when he left Caen, travelled into Italy, and
amused himself with its antiquities, and, particularly, with medals, in
which he acquired uncommon skill. At the restoration, with the other
friends of monarchy, he came to England, was made captain of the band of
pensioners, and learned so much of the dissoluteness of the court, that
he addicted himself immoderately to gaming, by which he was engaged in
frequent quarrels, and which, undoubtedly, brought upon him its usual
concomitants, extravagance and distress.
After some time, a dispute about part of his estate forced him into
Ireland, where he was made, by the duke of Ormond, captain of the guards,
and met with an adventure thus related by Fenton:
"He was at Dublin, as much as ever, distempered with the same fatal
affection for play, which engaged him in one adventure, that well
deserves to be related. As he returned to his lodgings from a
gaming-table, he was attacked, in the dark, by three ruffians, who were
employed to assassinate him. The earl defended himself with so much
resolution, that he despatched one of the aggressors; whilst a gentleman,
accidentally passing that way, interposed, and disarmed another; the
third secured himself by flight. This generous assistant was a disbanded
officer, of a good family and fair reputation; who, by what we call the
partiality of fortune, to avoid censuring the iniquities of the times,
wanted even a plain suit of clothes to make a decent appearance at the
castle. But his lordship, on this occasion, presenting him to the duke of
Ormond, with great importunity prevailed with his grace, that he might
resign his post of captain of the guards to his friend; which, for
about three years, the gentleman enjoyed, and, upon his death, the duke
returned the commission to his generous benefactor. "
When he had finished his business, he returned to London; was made master
of the horse to the dutchess of York; and married the lady Frances,
daughter of the earl of Burlington, and widow of colonel Courteney[72].
He now busied his mind with literary projects, and formed the plan of a
society for refining our language and fixing its standard;
"in imitation," says Fenton, "of those learned and polite societies with
which he had been acquainted abroad. " In this design his friend Dryden is
said to have assisted him.
The same design, it is well known, was revived by Dr. Swift, in the
ministry of Oxford; but it has never since been publickly mentioned,
though, at that time, great expectations were formed, by some, of its
establishment and its effects. Such a society might, perhaps, without
much difficulty, be collected; but that it would produce what is expected
from it, may be doubted.
The Italian academy seems to have obtained its end. The language was
refined, and so fixed that it has changed but little. The French academy
thought they had refined their language, and, doubtless, thought rightly;
but the event has not shown that they fixed it; for the French of the
present time is very different from that of the last century.
In this country an academy could be expected to do but little. If an
academician's place were profitable, it would be given by interest; if
attendance were gratuitous, it would be rarely paid, and no man would
endure the least disgust. Unanimity is impossible, and debate would
separate the assembly.
But suppose the philological decree made and promulgated, what would be
its authority? In absolute governments, there is, sometimes, a general
reverence paid to all that has the sanction of power, and the countenance
of greatness. How little this is the state of our country needs not to be
told. We live in an age in which it is a kind of publick sport to refuse
all respect that cannot be enforced. The edicts of an English academy
would, probably, be read by many, only that they might be sure to disobey
them.
That our language is in perpetual danger of corruption cannot be denied;
but what prevention can be found? The present manners of the nation would
deride authority; and, therefore, nothing is left but that every writer
should criticise himself. All hopes of new literary institutions were
quickly suppressed by the contentious turbulence of king James's reign;
and Roscommon, foreseeing that some violent concussion of the state was
at hand, purposed to retire to Rome, alleging, that "it was best to sit
near the chimney when the chamber smoked;" a sentence, of which the
application seems not very clear.
His departure was delayed by the gout; and he was so impatient either of
hinderance or of pain, that he submitted himself to a French empirick,
who is said to have repelled the disease into his bowels.
At the moment in which he expired, he uttered, with an energy of voice,
that expressed the most fervent devotion, two lines of his own version of
Dies Irae:
My God, my father, and my friend,
Do not forsake me in my end.
He died in 1684; and was buried, with great pomp, in Westminster Abbey.
His poetical character is given by Mr. Fenton:
"In his writings," says Fenton, "we view the image of a mind which was
naturally serious and solid; richly furnished and adorned with all the
ornaments of learning, unaffectedly disposed in the most regular and
elegant order. His imagination might have probably been more fruitful
and sprightly, if his judgment had been less severe. But that severity,
delivered in a masculine, clear, succinct style, contributed to make
him so eminent in the didactical manner, that no man, with justice, can
affirm, he was ever equalled by any of our nation, without confessing,
at the same time, that he is inferiour to none. In some other kinds of
writing his genius seems to have wanted fire to attain the point of
perfection; but who can attain it? "
From this account of the riches of his mind, who would not imagine that
they had been displayed in large volumes and numerous performances? Who
would not, after the perusal of this character, be surprised to find
that all the proofs of this genius, and knowledge, and judgment, are
not sufficient to form a single book, or to appear otherwise than in
conjunction with the works of some other writer of the same petty
size[73]? But thus it is that characters are written: we know somewhat,
and we imagine the rest. The observation, that his imagination would,
probably, have been more fruitful and sprightly, if his judgment had been
less severe, may be answered, by a remarker somewhat inclined to cavil,
by a contrary supposition, that his judgment would, probably, have been
less severe, if his imagination had been more fruitful. It is ridiculous
to oppose judgment to imagination; for it does not appear that men have
necessarily less of one, as they have more of the other.
We must allow of Roscommon, what Fenton has not mentioned so distinctly
as he ought, and what is yet very much to his honour, that he is,
perhaps, the only correct writer in verse, before Addison; and that, if
there are not so many or so great beauties in his compositions as in
those of some contemporaries, there are, at least, fewer faults. Nor is
this his highest praise; for Mr. Pope has celebrated him, as the only
moral writer of king Charles's reign:
Unhappy Dryden! in all Charles's days,
Roscommon only boasts unspotted lays.
His great work is his Essay on Translated Verse; of which Dryden writes
thus, in the preface to his Miscellanies:
"It was my lord Roscommon's Essay on Translated Verse," says Dryden,
"which made me uneasy, till I tried whether or no I was capable of
following his rules, and of reducing the speculation into practice. For
many a fair precept in poetry is like a seeming demonstration in
mathematicks, very specious in the diagram, but failing in the mechanick
operation. I think I have generally observed his instructions: I am sure
my reason is sufficiently convinced both of their truth and usefulness;
which, in other words, is to confess no less a vanity than to pretend
that I have, at least, in some places, made examples to his rules. "
This declaration of Dryden will, I am afraid, be found little more than
one of those cursory civilities which one author pays to another; for
when the sum of lord Roscommon's precepts is collected, it will not
be easy to discover how they can qualify their reader for a better
performance of translation than might have been attained by his own
reflections.
He that can abstract his mind from the elegance of the poetry, and
confine it to the sense of the precepts, will find no other direction
than that the author should be suitable to the translator's genius; that
he should be such as may deserve a translation; that he who intends to
translate him should endeavour to understand him; that perspicuity should
be studied, and unusual and uncouth names sparingly inserted; and
that the style of the original should be copied in its elevation and
depression. These are the rules that are celebrated as so definite and
important; and for the delivery of which to mankind so much honour has
been paid. Roscommon has, indeed, deserved his praises, had they been
given with discernment, and bestowed not on the rules themselves, but the
art with which they are introduced, and the decorations with which they
are adorned.
The essay, though generally excellent, is not without its faults. The
story of the quack, borrowed from Boileau, was not worth the importation;
he has confounded the British and Saxon mythology:
I grant that from some mossy idol oak,
In double rhymes, our Thor and Woden spoke.
The oak, as, I think, Gildon has observed, belonged to the British
druids, and Thor and Woden were Saxon deities. Of the "double rhymes,"
which he so liberally supposes, he certainly had no knowledge.
His interposition of a long paragraph of blank verses is unwarrantably
licentious. Latin poets might as well have introduced a series of
iambicks among their heroicks.
His next work is the translation of the Art of Poetry; which has
received, in my opinion, not less praise than it deserves. Blank verse,
left merely to its numbers, has little operation either on the ear or
mind: it can hardly support itself without bold figures and striking
images. A poem, frigidly didactick, without rhyme, is so near to prose,
that the reader only scorns it for pretending to be verse.
Having disentangled himself from the difficulties of rhyme, he may justly
be expected to give the sense of Horace with great exactness, and to
suppress no subtilty of sentiment, for the difficulty of expressing it.
This demand, however, his translation will not satisfy; what he found
obscure, I do not know that he has ever cleared.
Among his smaller works, the eclogue of Virgil and the Dies Irae are
well translated; though the best line in the Dies Irae is borrowed from
Dryden. In return, succeeding poets have borrowed from Roscommon.
In the verses on the Lap-dog, the pronouns _thou_ and _you_ are
offensively confounded; and the turn at the end is from Waller.
His versions of the two odes of Horace are made with great liberty, which
is not recompensed by much elegance or vigour.
His political verses are sprightly, and, when they were written, must
have been very popular.
Of the scene of Guarini, and the prologue to Pompey, Mrs. Phillips, in
her letters to sir Charles Cotterel, has given the history.
"Lord Roscommon," says she, "is certainly one of the most promising young
noblemen in Ireland. He has paraphrased a psalm admirably; and a scene
of Pastor Fido, very finely, in some places much better than sir Richard
Fanshaw. This was undertaken merely in compliment to me, who happened to
say, that it was the best scene in Italian, and the worst in English. He
was only two hours about it. " It begins thus:
Dear happy groves, and you, the dark retreat
Of silent horrour, Rest's eternal seat.
From these lines, which are since somewhat mended, it appears that he did
not think a work of two hours fit to endure the eye of criticism, without
revisal.
When Mrs. Phillips was in Ireland, some ladies that had seen her
translation of Pompey, resolved to bring it on the stage at Dublin; and,
to promote their design, lord Roscommon gave them a prologue, and
sir Edward Deering, an epilogue; "which," says she, "are the best
performances of those kinds I ever saw. " If this is not criticism, it
is, at least, gratitude. The thought of bringing Caesar and Pompey into
Ireland, the only country over which Caesar never had any power, is
lucky.
Of Roscommon's works, the judgment of the publick seems to be right. He
is elegant, but not great; he never labours after exquisite beauties,
and he seldom falls into gross faults. His versification is smooth, but
rarely vigorous; and his rhymes are remarkably exact. He improved
taste, if he did not enlarge knowledge, and may be numbered among the
benefactors to English literature[74].
[Footnote 70: The Biographia Britannica says, probably about the year
1632; but this is inconsistent with the date of Stratford's viceroyalty
in the following page. C. ]
[Footnote 71: It was his grandfather, sir Robert Dillon, second earl of
Roscommon, who was converted from popery; and his conversion is recited
in the patent of sir James, the first earl of Roscommon, as one of the
grounds of his creation. M. ]
[Footnote 72: He was married to lady Frances Boyle in April, 1662. By
this lady he had no issue. He married secondly, 10th November, 1674,
Isabella, daughter of Matthew Boynton, of Barmston, in Yorkshire. M. ]
[Footnote 73: They were published, together with those of Duke, in an
octavo volume, in 1717. The editor, whoever he was, professes to have
taken great care to procure and insert all of his lordship's poems that
are truly genuine. The truth of this assertion is flatly denied by the
author of an account of Mr. John Pomfret, prefixed to his Remains; who
asserts, that the Prospect of Death was written by that person, many
years after lord Roscommon's decease; as also, that the paraphrase of the
Prayer of Jeremy was written by a gentleman of the name of Southcourt,
living in the year 1724. H.
]
[Footnote 74: This life was originally written by Dr. Johnson, in the
Gentleman's Magazine for May, 1748. It then had notes, which are now
incorporated with the text. C. ]
OTWAY.
Of Thomas Otway, one of the first names in the English drama, little is
known; nor is there any part of that little which his biographer can take
pleasure in relating.
He was born at Trottin, in Sussex, March 3, 1651, the son of Mr. Humphry
Otway, rector of Woolbeding. From Winchester school, where he was
educated, he was entered, in 1669, a commoner of Christ church; but left
the university without a degree, whether for want of money, or from
impatience of academical restraint, or mere eagerness to mingle with the
world, is not known.
It seems likely that he was in hope of being busy and conspicuous; for he
went to London, and commenced player; but found himself unable to gain
any reputation on the stage[75].
This kind of inability he shared with Shakespeare and Jonson, as he
shared likewise some of their excellencies. It seems reasonable to expect
that a great dramatick poet should, without difficulty, become a great
actor; that he who can feel, should express; that he who can excite
passion, should exhibit, with great readiness, its external modes: but
since experience has fully proved, that of those powers, whatever be
their affinity, one may be possessed in a great degree by him who has
very little of the other; it must be allowed that they depend upon
different faculties, or on different use of the same faculty; that the
actor must have a pliancy of mien, a flexibility of countenance, and a
variety of tones, which the poet may be easily supposed to want; or that
the attention of the poet and the player has been differently employed;
the one has been considering thought, and the other action; one has
watched the heart, and the other contemplated the face.
Though he could not gain much notice as a player, he felt in himself
such powers as might qualify for a dramatick author; and, in 1675, his
twenty-fifth year, produced Alcibiades, a tragedy; whether from the
Alcibiade of Palaprat, I have not means to inquire. Langbaine, the great
detecter of plagiarism, is silent.
In 1677, he published Titus and Berenice, translated from Rapin, with the
Cheats of Scapin, from Moliere; and, in 1678, Friendship in Fashion,
a comedy, which, whatever might be its first reception, was, upon its
revival at Drury lane, in 1749, hissed off the stage for immorality and
obscenity.
Want of morals, or of decency, did not, in those days, exclude any man
from the company of the wealthy and the gay, if he brought with him any
powers of entertainment; and Otway is said to have been, at this time,
a favourite companion of the dissolute wits. But, as he who desires no
virtue in his companion, has no virtue in himself, those whom Otway
frequented had no purpose of doing more for him than to pay his
reckoning. They desired only to drink and laugh: their fondness was
without benevolence, and their familiarity without friendship. "Men of
wit," says one of Otway's biographers, "received, at that time, no favour
from the great, but to share their riots; from which they were dismissed
again to their own narrow circumstances. Thus they languished in poverty,
without the support of eminence. "
Some exception, however, must be made. The earl of Plymouth, one of king
Charles's natural sons, procured for him a cornet's commission in some
troops then sent into Flanders. But Otway did not prosper in his military
character; for he soon left his commission behind him, whatever was the
reason, and came back to London in extreme indigence, which Rochester
mentions with merciless insolence, in the Session of the Poets:
Tom Otway came next, Tom Shadwell's dear zany,
And swears for heroicks he writes best of any;
Don Carlos his pockets so amply had fill'd,
That his mange was quite cur'd, and his lice were all kill'd:
But Apollo had seen his face on the stage,
And prudently did not think fit to engage
The scum of a playhouse, for the prop of an age.
Don Carlos, from which he is represented as having received so much
benefit, was played in 1675. It appears, by the lampoon, to have had
great success, and is said to have been played thirty nights together.
This, however, it is reasonable to doubt[76], as so long a continuance
of one play upon the stage is a very wide deviation from the practice
of that time; when the ardour for theatrical entertainments was not yet
diffused through the whole people, and the audience, consisting nearly of
the same persons, could be drawn together only by variety.
The Orphan was exhibited in 1680. This is one of the few plays that keep
possession of the stage, and has pleased for almost a century, through
all the vicissitudes of dramatick fashion. Of this play nothing new can
easily be said. It is a domestick tragedy drawn from middle life. Its
whole power is upon the affections; for it is not written with much
comprehension of thought, or elegance of expression. But if the heart is
interested, many other beauties may be wanting, yet not be missed.
The same year produced the History and Fall of Caius Marius; much of
which is borrowed from the Romeo and Juliet of Shakespeare.
In 1683[77] was published the first, and next year[78] the second, parts
of the Soldier's Fortune, two comedies now forgotten; and, in 1685[79]
his last and greatest dramatick work, Venice Preserved, a tragedy,
which still continues to be one of the favourites of the publick,
notwithstanding the want of morality in the original design, and the
despicable scenes of vile comedy with which he has diversified his
tragick action[80]. By comparing this with his Orphan, it will appear
that his images were by time become stronger, and his language more
energetick. The striking passages are in every mouth; and the publick
seems to judge rightly of the faults and excellencies of this play, that
it is the work of a man not attentive to decency, nor zealous for virtue;
but of one who conceived forcibly, and drew originally, by consulting
nature in his own breast.
Together with those plays he wrote the poems which are in the present
collection, and translated from the French the History of the
Triumvirate.
All this was performed before he was thirty-four years old; for he died
April 14, 1685, in a manner which I am unwilling to mention. Having
been compelled by his necessities to contract debts, and hunted, as is
supposed, by the terriers of the law, he retired to a publick house on
Tower hill, where he is said to have died of want; or, as it is related
by one of his biographers, by swallowing, after a long fast, a piece of
bread which charity had supplied. He went out, as is reported, almost
naked, in the rage of hunger, and, finding a gentleman in a neighbouring
coffee-house, asked him for a shilling. The gentleman gave him a guinea;
and Otway, going away, bought a roll, and was choked with the first
mouthful. All this, I hope, is not true; and there is this ground of
better hope, that Pope, who lived near enough to be well informed,
relates in Spence's Memorials, that he died of a fever, caught by
violent pursuit of a thief that had robbed one of his friends. But that
indigence, and its concomitants, sorrow and despondency, pressed hard
upon him, has never been denied, whatever immediate cause might bring him
to the grave.
Of the poems which the present collection admits, the longest is the
Poet's Complaint of his Muse, part of which I do not understand; and in
that which is less obscure, I find little to commend. The language is
often gross, and the numbers are harsh. Otway had not much cultivated
versification, nor much replenished his mind with general knowledge. His
principal power was in moving the passions, to which Dryden[81], in his
latter years, left an illustrious testimony. He appears, by some of his
verses, to have been a zealous royalist, and had what was in those times
the common reward of loyalty; he lived and died neglected.
[Footnote 75: In Roscius Anglicanus, by Downes, the prompter, p. 34,
we learn, that it was the character of the king in Mrs. Behn's Forced
Marriage, or the Jealous Bridegroom, which Mr. Otway attempted to
perform, and failed in. This event appears to have happened in the year
1672. R. ]
[Footnote 76: This doubt is, indeed, very reasonable. I know not where it
is said that Don Carlos was acted thirty nights together. Wherever it is
said, it is untrue. Downes, who is perfectly good authority on this point,
informs us, that it was performed ten days successively. M. ]
[Footnote 77: 1681. ]
[Footnote 78: 1684. ]
[Footnote 79: 1682. ]
[Footnote 80: The "despicable scenes of vile comedy" can be no bar
to its being a favourite of the publick, as they are always omitted in
the representation. J. B. ]
[Footnote 81: In his preface to Fresnoy's Art of Painting. Dr. J. ]
WALLER
Edmund Waller was born on the third of March, 1605, at Coleshill in
Hertfordshire. His father was Robert Waller, esq. of Agmondesham, in
Buckinghamshire, whose family was originally a branch of the Kentish
Wallers; and his mother was the daughter of John Hampden, of Hampden in
the same county, and sister to Hampden, the zealot of rebellion.
His father died while he was yet an infant, but left him a yearly income
of three thousand five hundred pounds; which, rating together the value
of money and the customs of life, we may reckon more than equivalent to
ten thousand at the present time.
He was educated, by the care of his mother, at Eton; and removed
afterwards to King's college, in Cambridge. He was sent to parliament in
his eighteenth, if not in his sixteenth year, and frequented the court of
James the first, where he heard a very remarkable conversation, which the
writer of the life prefixed to his works, who seems to have been well
informed of facts, though he may sometimes err in chronology, has
delivered as indubitably certain:
"He found Dr. Andrews, bishop of Winchester, and Dr. Neale, bishop of
Durham, standing behind his majesty's chair; and there happened something
extraordinary," continues this writer, "in the conversation those
prelates had with the king, on which Mr. Waller did often reflect. His
majesty asked the bishops: 'My lords, cannot I take my subjects' money,
when I want it, without all this formality of parliament? ' The bishop of
Durham readily answered, 'God forbid, sir, but you should: you are the
breath of our nostrils. ' Whereupon the king turned and said to the bishop
of Winchester, 'Well, my lord, what say you? ' 'Sir,' replied the bishop,
'I have no skill to judge of parliamentary cases. ' The king answered, 'No
put-offs, my lord; answer me presently. ' 'Then, sir,' said he, 'think it
is lawful for you to take my brother Neale's money; for he offers it. '
Mr. Waller said, the company was pleased with this answer, and the wit of
it seemed to affect the king; for, a certain lord coming in soon after,
his majesty cried out, 'Oh, my lord, they say you lig with my lady. ' 'No,
sir,' says his lordship, in confusion;' but I like her company, because
she has so much wit. ' 'Why then,' says the king, 'do you not lig with my
lord of Winchester there? '"
Waller's political and poetical life began nearly together. In his
eighteenth year he wrote the poem that appears first in his works, on the
Prince's Escape at St. Andero; a piece which justifies the observation,
made by one of his editors, that he attained, by a felicity like
instinct, a style which, perhaps, will never be obsolete; and that, "were
we to judge only by the wording, we could not know what was wrote at
twenty, and what at fourscore. " His versification was, in his first
essay, such as it appears in his last performance. By the perusal of
Fairfax's translation of Tasso, to which, as Dryden relates[82], he
confessed himself indebted for the smoothness of his numbers, and by
his own nicety of observation, he had already formed such a system
of metrical harmony, as he never afterwards much needed, or much
endeavoured, to improve. Denham corrected his numbers by experience, and
gained ground gradually upon the ruggedness of his age; but what was
acquired by Denham was inherited by Waller.
The next poem, of which the subject seems to fix the time, is supposed,
by Mr. Fenton, to be the Address to the Queen, which he considers as
congratulating her arrival, in Waller's twentieth year. He is apparently
mistaken; for the mention of the nation's obligations to her frequent
pregnancy, proves that it was written, when she had brought many
children. We have, therefore, no date of any other poetical production
before that which the murder of the duke of Buckingham occasioned: the
steadiness with which the king received the news in the chapel, deserved,
indeed, to be rescued from oblivion.
Neither of these pieces, that seem to carry their own dates, could have
been the sudden effusion of fancy. In the verses on the prince's escape,
the prediction of his marriage with the princess of France must have
been written after the event; in the other, the promises of the king's
kindness to the descendants of Buckingham, which could not be properly
praised, till it had appeared by its effects, show that time was taken
for revision and improvement. It is not known that they were published
till they appeared, long afterwards, with other poems.
Waller was not one of those idolaters of praise who cultivate their minds
at the expense of their fortunes. Rich as he was by inheritance, he took
care early to grow richer, by marrying Mrs. Banks, a great heiress in
the city, whom the interest of the court was employed to obtain for Mr.
Crofts. Having brought him a son, who died young, and a daughter, who was
afterwards married to Mr. Dormer, of Oxfordshire, she died in childbed,
and left him a widower of about five-and-twenty, gay and wealthy, to
please himself with another marriage.
Being too young to resist beauty, and probably too vain to think himself
resistible, he fixed his heart, perhaps half fondly and half ambitiously,
upon the lady Dorothea Sidney, eldest daughter of the earl of Leicester,
whom he courted by all the poetry in which Sacharissa is celebrated; the
name is derived from the Latin appellation of sugar, and implies, if it
means any thing, a spiritless mildness, and dull good-nature, such as
excites rather tenderness than esteem, and such as, though always treated
with kindness, is never honoured or admired.
Yet he describes Sacharissa as a sublime predominating beauty, of lofty
charms, and imperious influence, on whom he looks with amazement rather
than fondness, whose chains he wishes, though in vain, to break, and
whose presence is "wine that inflames to madness. " His acquaintance with
this high-born dame gave wit no opportunity of boasting its influence;
she was not to be subdued by the powers of verse, but rejected his
addresses, it is said, with disdain, and drove him away to solace his
disappointment with Amoret or Phillis. She married, in 1639, the earl of
Sunderland, who died at Newbury, in the king's cause; and, in her old
age, meeting somewhere with Waller, asked him, when he would again write
such verses upon her; "when you are as young, madam," said he, "and as
handsome, as you were then. "
In this part of his life it was that he was known to Clarendon, among the
rest of the men who were eminent in that age for genius and literature;
but known so little to his advantage, that they who read his character
will not much condemn Sacharissa, that she did not descend from her rank
to his embraces, nor think every excellence comprised in wit.
The lady was, indeed, inexorable; but his uncommon qualifications,
though they had no power upon her, recommended him to the scholars and
statesmen; and, undoubtedly, many beauties of that time, however they
might receive his love, were proud of his praises. Who they were, whom he
dignifies with poetical names, cannot now be known. Amoret, according to
Mr. Fenton, was the lady Sophia Murray. Perhaps, by traditions, preserved
in families, more may be discovered.
From the verses written at Penshurst, it has been collected that he
diverted his disappointment by a voyage; and his biographers, from his
poem on the Whales, think it not improbable that he visited the Bermudas;
but it seems much more likely, that he should amuse himself with forming
an imaginary scene, than that so important an incident, as a visit to
America, should have been left floating in conjectural probability.
From his twenty-eighth to his thirty-fifth year, he wrote his pieces on
the reduction of Sallee; on the reparation of St. Paul's; to the King on
his Navy; the panegyrick on the Queen Mother; the two poems to the earl
of Northumberland; and perhaps others, of which the time cannot be
discovered.
When he had lost all hopes of Sacharissa, he looked round him for an
easier conquest, and gained a lady of the family of Bresse, or Breaux.
The time of his marriage is not exactly known. It has not been discovered
that this wife was won by his poetry; nor is any thing told of her, but
that she brought him many children. He, doubtless, praised some whom he
would have been afraid to marry, and, perhaps, married one whom he would
have been ashamed to praise. Many qualities contribute to domestick
happiness, upon which poetry has no colours to bestow; and many airs and
sallies may delight imagination, which he who flatters them never can
approve. There are charms made only for distant admiration. No spectacle
is nobler than a blaze.
Of this wife, his biographers have recorded that she gave him five sons
and eight daughters.
During the long interval of parliament, he is represented as living among
those with whom it was most honourable to converse, and enjoying an
exuberant fortune with that independence and liberty of speech and
conduct which wealth ought always to produce. He was, however, considered
as the kinsman of Hampden, and was, therefore, supposed by the courtiers
not to favour them.
When the parliament was called in 1640, it appeared that Waller's
political character had not been mistaken. The king's demand of a supply
produced one of those noisy speeches which disaffection and discontent
regularly dictate; a speech filled with hyperbolical complaints of
imaginary grievances: "They," says he, "who think themselves already
undone, can never apprehend themselves in danger; and they who have
nothing left can never give freely. " Political truth is equally in danger
from the praises of courtiers, and the exclamations of patriots.
He then proceeds to rail at the clergy, being sure, at that time, of a
favourable audience. His topick is such as will always serve its purpose;
an accusation of acting and preaching only for preferment; and he exhorts
the commons "carefully to provide _for their_ protection against pulpit
law. "
It always gratifies curiosity to trace a sentiment. Waller has, in this
speech, quoted Hooker in one passage; and in another has copied him,
without quoting. "Religion," says Waller, "ought to be the first thing in
our purpose and desires; but that which is first in dignity is not always
to precede in order of time; for well-being supposes a being; and the
first impediment which men naturally endeavour to remove, is the want of
those things without which they cannot subsist. God first assigned
unto Adam maintenance of life, and gave him a title to the rest of the
creatures, before he appointed a law to observe. "
"God first assigned Adam," says Hooker, "maintenance of life, and then
appointed him a law to observe. True it is, that the kingdom of God
must be the first thing in our purpose and desires; but, inasmuch as a
righteous life presupposeth life, inasmuch as to live virtuously it
is impossible, except we live; therefore the first impediment which
naturally we endeavour to remove is penury, and want of things without
which we cannot live. " Book i. Sect. 9.
The speech is vehement; but the great position, that grievances ought to
be redressed, before supplies are granted, is agreeable enough to law and
reason: nor was Waller, if his biographer may be credited, such an enemy
to the king, as not to wish his distresses lightened; for he relates,
"that the king sent particularly to Waller, to second his demand of some
subsidies to pay off the army; and sir Henry Vane objecting against first
voting a supply, because the king would not accept, unless it came up
to his proportion, Mr. Waller spoke earnestly to sir Thomas Jermyn,
comptroller of the household, to save his master from the effects of so
bold a falsity; 'for' he said, 'I am but a country gentleman, and cannot
pretend to know the king's mind:' but sir Thomas durst not contradict
the secretary; and his son, the earl of St. Alban's, afterwards told Mr.
Waller, that his father's cowardice ruined the king. "
In the long parliament, which, unhappily for the nation, met Nov. 3,
1640, Waller represented Agmondesham the third time; and was considered,
by the discontented party, as a man sufficiently trusty and acrimonious
to be employed in managing the prosecution of judge Crawley, for his
opinion in favour of ship-money; and his speech shows that he did not
disappoint their expectations. He was, probably, the more ardent, as his
uncle Hampden had been particularly engaged in the dispute, and, by
a sentence, which seems generally to be thought unconstitutional,
particularly injured.
He was not, however, a bigot to his party, nor adopted all their
opinions. When the great question, whether episcopacy ought to be
abolished, was debated, he spoke against the innovation so coolly, so
reasonably, and so firmly, that it is not without great injury to his
name that his speech, which was as follows, has been hitherto omitted in
his works[83]:
"There is no doubt but the sense of what this nation hath suffered from
the present bishops hath produced these complaints; and the apprehensions
men have of suffering the like, in time to come, make so many desire the
taking away of episcopacy: but I conceive it is possible that we may not,
now, take a right measure of the minds of the people by their petitions;
for, when they subscribed them, the bishops were armed with a dangerous
commission of making new canons, imposing new oaths, and the like; but
now we have disarmed them of that power. These petitioners lately did
look upon episcopacy, as a beast armed with horns and claws; but now that
we have cut and pared them (and may, if we see cause, yet reduce it into
narrower bounds,) it may, perhaps, be more agreeable. Howsoever, if they
be still in passion, it becomes us soberly to consider the right use and
antiquity thereof; and not to comply further with a general desire, than
may stand with a general good.
"We have already showed, that episcopacy, and the evils thereof, are
mingled like water and oil; we have also, in part, severed them; but, I
believe, you will find, that our laws and the present government of
the church are mingled like wine and water; so inseparable, that the
abrogation of, at least, a hundred of our laws is desired in these
petitions. I have often heard a noble answer of the lords, commended in
this house, to a proposition of like nature, but of less consequence;
they gave no other reason of their refusal but this, 'Nolumus mutare
leges Angliae:' it was the bishops who so answered then; and it would
become the dignity and wisdom of this house to answer the people now with
a 'Nolumus mutare. '
"I see some are moved with a number of hands against the bishops;
which, I confess, rather inclines me to their defence; for I look upon
episcopacy as a counterscarp, or outwork; which, if it be taken by this
assault of the people, and, withal, this mystery once revealed, 'That we
must deny them nothing, when they ask it thus in troops,' we may, in the
next place, have as hard a task to defend our property, as we have lately
had to recover it from the prerogative. If, by multiplying hands and
petitions, they prevail for an equality in things ecclesiastical, the
next demand, perhaps, may be 'Lex Agraria,' the like equality in things
temporal.
"The Roman story tells us, that when the people began to flock about the
senate, and were more curious to direct and know what was done, than to
obey, that commonwealth soon came to ruin; their 'Legem rogare' grew
quickly to be a 'Legem ferre;' and after, when their legions had found
that they could make a dictator, they never suffered the senate to have a
voice any more in such election.
"If these great innovations proceed, I shall expect a flat and level in
learning too, as well as in church-preferments: 'Honos alit artes. ' And
though it be true, that grave and pious men do study for learning-sake,
and embrace virtue for itself; yet it is as true that youth, which is the
season when learning is gotten, is not without ambition, nor will
ever take pains to excel in any thing, when there is not some hope of
excelling others in reward and dignity.
"There are two reasons chiefly alleged against our church-government.
"First, Scripture, which, as some men think, points out another form.
"Second, The abuses of the present superiours.
"For scripture, I will not dispute it in this place; but I am confident
that, whenever an equal division of lands and goods shall be desired,
there will be as many places in scripture found out, which seem to favour
that, as there are now alleged against the prelacy or preferment in the
church. And, as for abuses, where you are now in the remonstrance told
what this and that poor man hath suffered by the bishops, you may be
presented with a thousand instances of poor men that have received hard
measure from their landlords; and of worldly goods abused, to the injury
of others, and disadvantage of the owners.
"And, therefore, Mr. Speaker, my humble motion is, that we may settle
men's minds herein; and, by a question, declare our resolution, 'to
reform,' that is, 'not to abolish, episcopacy. '"
It cannot but be wished that he, who could speak in this manner, had been
able to act with spirit and uniformity.
When the commons began to set the royal authority at open defiance,
Waller is said to have withdrawn from the house, and to have returned
with the king's permission; and, when the king set up his standard, he
sent him a thousand broad-pieces. He continued, however, to sit in
the rebellious conventicle; but "spoke," says Clarendon, "with great
sharpness and freedom, which, now there was no danger of being outvoted,
was not restrained; and, therefore, used as an argument against those who
were gone, upon pretence that they were not suffered to deliver their
opinion freely in the house, which could not be believed, when all men
knew what liberty Mr. Waller took, and spoke every day with impunity
against the sense and proceedings of the house. "
Waller, as he continued to sit, was one of the commissioners nominated
by the parliament to treat with the king at Oxford; and, when they were
presented, the king said to him, "Though you are the last, you are not
the lowest, nor the least in my favour. " Whitlock, who, being another of
the commissioners, was witness of this kindness, imputes it to the king's
knowledge of the plot, in which Waller appeared afterwards to have been
engaged against the parliament. Fenton, with equal probability, believes
that his attempt to promote the royal cause arose from his sensibility of
the king's tenderness. Whitlock says nothing of his behaviour at Oxford:
he was sent with several others to add pomp to the commission, but was
not one of those to whom the trust of treating was imparted.
The engagement, known by the name of Waller's plot, was soon afterwards
discovered. Waller had a brother-in-law, Tomkyns, who was clerk of the
queen's council, and, at the same time, had a very numerous acquaintance,
and great influence, in the city. Waller and he, conversing with great
confidence, told both their own secrets and those of their friends; and,
surveying the wide extent of their conversation, imagined that they
found, in the majority of all ranks, great disapprobation of the violence
of the commons, and unwillingness to continue the war. They knew that
many favoured the king, whose fear concealed their loyalty; and many
desired peace, though they durst not oppose the clamour for war; and they
imagined that, if those who had these good intentions could be informed
of their own strength, and enabled by intelligence to act together, they
might overpower the fury of sedition, by refusing to comply with the
ordinance for the twentieth part, and the other taxes levied for the
support of the rebel army, and by uniting great numbers in a petition for
peace. They proceeded with great caution. Three only met in one place,
and no man was allowed to impart the plot to more than two others; so
that, if any should be suspected or seized, more than three could not be
endangered.
Lord Conway joined in the design, and, Clarendon imagines, incidentally
mingled, as he was a soldier, some martial hopes or projects, which,
however, were only mentioned, the main design being to bring the loyal
inhabitants to the knowledge of each other; for which purpose there was
to be appointed one in every district, to distinguish the friends of the
king, the adherents to the parliament, and the neutrals. How far
they proceeded does not appear; the result of their inquiry, as Pym
declared[84], was, that within the walls, for one that was for the
royalists, there were three against them; but that without the walls, for
one that was against them, there were five for them. Whether this was
said from knowledge or guess, was, perhaps, never inquired.
It is the opinion of Clarendon, that in Waller's plan no violence or
sanguinary resistance was comprised; that he intended only to abate the
confidence of the rebels by publick declarations, and to weaken their
powers by an opposition to new supplies. This, in calmer times, and
more than this, is done without fear; but such was the acrimony of the
commons, that no method of obstructing them was safe.
About this time, another design was formed by sir Nicholas Crispe, a man
of loyalty that deserves perpetual remembrance: when he was a merchant
in the city, he gave and procured the king, in his exigencies, a hundred
thousand pounds; and, when he was driven from the exchange, raised a
regiment, and commanded it.
Sir Nicholas flattered himself with an opinion, that some provocation
would so much exasperate, or some opportunity so much encourage, the
king's friends in the city, that they would break out in open resistance,
and then would want only a lawful standard, and an authorized commander;
and extorted from the king, whose judgment too frequently yielded to
importunity, a commission of array, directed to such as he thought proper
to nominate, which was sent to London by the lady Aubigney. She knew not
what she carried, but was to deliver it on the communication of a certain
token, which sir Nicholas imparted.
This commission could be only intended to lie ready, till the time should
require it. To have attempted to raise any forces, would have been
certain destruction; it could be of use only when the forces should
appear. This was, however, an act preparatory to martial hostility.
Crispe would, undoubtedly, have put an end to the session of parliament,
had his strength been equal to his zeal: and out of the design of Crispe,
which involved very little danger, and that of Waller, which was an act
purely civil, they compounded a horrid and dreadful plot.
The discovery of Waller's design is variously related. In Clarendon's
History, it is told, that a servant of Tomkyns, lurking behind the
hangings, when his master was in conference with Waller, heard enough
to qualify him for an informer, and carried his intelligence to Pym. A
manuscript, quoted in the Life of Waller, relates, that "he was betrayed
by his sister Price, and her presbyterian chaplain, Mr. Goode, who stole
some of his papers; and, if he had not strangely dreamed the night
before, that his sister had betrayed him, and, thereupon, burnt the rest
of his papers, by the fire that was in his chimney, he had certainly lost
his life by it. " The question cannot be decided. It is not unreasonable
to believe, that the men in power, receiving intelligence from the
sister, would employ the servant of Tomkyns to listen at the conference,
that they might avoid an act so offensive as that of destroying the
brother by the sister's testimony.
The plot was published in the most terrifick manner.
salutary conferences is given by Burnet in a book entitled, Some Passages
of the Life and Death of John, Earl of Rochester, which the critick ought
to read for its elegance, the philosopher for its arguments, and the
saint for its piety. It were an injury to the reader to offer him an
abridgment.
He died July 26, 1680, before he had completed his thirty-fourth year;
and was so worn away by a long illness, that life went out without a
struggle.
Lord Rochester was eminent for the vigour of his colloquial wit, and
remarkable for many wild pranks and sallies of extravagance. The glare of
his general character diffused itself upon his writings; the compositions
of a man whose name was heard so often, were certain of attention, and
from many readers certain of applause. This blaze of reputation is not
yet quite extinguished; and his poetry still retains some splendour
beyond that which genius has bestowed.
Wood and Burnet give us reason to believe, that much was imputed to him
which he did not write. I know not by whom the original collection was
made, or by what authority its genuineness was ascertained. The
first edition was published in the year of his death, with an air of
concealment, professing, in the titlepage, to be printed at Antwerp.
Of some of the pieces, however, there is no doubt: the Imitation of
Horace's Satire, the Verses to lord Mulgrave, Satire against Man, the
Verses upon Nothing, and, perhaps, some others, are, I believe, genuine;
and, perhaps, most of those which the late collection exhibits[67].
As he cannot be supposed to have found leisure for any course of
continued study, his pieces are commonly short, such as one fit of
resolution would produce.
His songs have no particular character; they tell, like other songs,
in smooth and easy language, of scorn and kindness, dismission and
desertion, absence and inconstancy, with the commonplaces of artificial
courtship. They are commonly smooth and easy; but have little nature, and
little sentiment.
His Imitation of Horace on Lucilius is not inelegant or unhappy. In the
reign of Charles the second began that adaptation, which has since been
very frequent, of ancient poetry to present times; and, perhaps, few will
be found where the parallelism is better preserved than in this. The
versification is, indeed, sometimes careless, but it is sometimes
vigorous and weighty.
The strongest effort of his muse is his poem upon Nothing. He is not the
first who has chosen this barren topick for the boast of his fertility.
There is a poem called Nihil in Latin, by Passerat, a poet and critick of
the sixteenth century, in France; who, in his own epitaph, expresses his
zeal for good poetry thus:
Molliter ossa quiescent
Sint modo carminibus non onerata malis.
His works are not common, and, therefore, I shall subjoin his verses.
In examining this performance, Nothing must be considered as having not
only a negative, but a kind of positive signification; as I need not fear
thieves, I have _nothing_, and _nothing_ is a very powerful protector. In
the first part of the sentence it is taken negatively; in the second it
is taken positively, as an agent. In one of Boileau's lines it was a
question, whether he should use "a rien faire," or "a ne rien faire;"
and the first was preferred, because it gave "rien" a sense in some sort
positive. _Nothing_ can be a subject only in its positive sense, and such
a sense is given it in the first line:
_Nothing_, thou elder brother ev'n to shade.
In this line, I know not whether he does not allude to a curious book, De
Umbra, by Wowerus, which, having told the qualities of _shade_, concludes
with a poem, in which are these lines:
Jam primum terram validis circumspice claustris
Suspensam totam, decus admirabile mundi,
Terrasque, tractusque maris, camposque liquentes
Aeris, et vasti laqueata palatia coeli----
Omnibus UMBRA prior.
The positive sense is generally preserved, with great skill, through
the whole poem; though, sometimes, in a subordinate sense, the negative
_nothing_ is injudiciously mingled. Passerat confounds the two senses.
Another of his most vigorous pieces is his lampoon on sir Car Scroop,
who, in a poem called the Praise of Satire, had some lines like
these[68]:
He who can push into a midnight fray
His brave companion, and then run away,
Leaving him to be murder'd in the street,
Then put it off with some buffoon conceit;
Him, thus dishonour'd, for a wit you own,
And court him as top fiddler of the town.
This was meant of Rochester, whose "buffoon conceit" was, I suppose, a
saying often mentioned, that "every man would be a coward, if he durst;"
and drew from him those furious verses; to which Scroop made, in reply,
an epigram, ending with these lines:
Thou canst hurt no man's fame with thy ill word;
Thy pen is full as harmless as thy sword.
Of the Satire against Man, Rochester can only claim what remains, when
all Boileau's part is taken away.
In all his works there is sprightliness and vigour, and every where may
be found tokens of a mind, which study might have carried to excellence.
What more can be expected from a life spent in ostentatious contempt of
regularity, and ended, before the abilities of many other men began to be
displayed[69]?
Poema Cl. V. JOANNIS PASSERATII,
Regii in Academia Parisiensi Professoris.
Ad ornatissimum virum ERRICUM MEMMIUM.
Janus adest, festae poscunt sua dona kalendae,
Munus abest festis quod possim offerre kalendis:
Siccine Castalius nobis exaruit humor?
Usque adeo ingenii nostri est exhausta facultas,
Immunem ut videat redeuntis janitor anni?
Quod nusquam est, potius nova per vestigia quaeram.
Ecce autem, partes dum sese versat in omnes,
Invenit mea musa NIHIL; ne despice munus:
Nam NIHIL est gemmis, NIHIL est pretiosius auro.
Hue animum, hue, igitur, vultus adverte benignos:
Res nova narratur quae nulli audita priorum;
Ausonii et Graii dixerunt caetera vates,
Ausoniae indictum NIHIL est, graecaeque, Camoenae,
E coelo quacunque Ceres sua prospicit arva,
Aut genitor liquidis orbem complectitur ulnis
Oceanus, NIHIL interitus et originis expers.
Immortale NIHIL, NIHIL omni parte beatum.
Quod si hinc majestas et vis divina probatur,
Num quid honore deum, num quid dignabimur aris?
Conspectu lucis NIHIL est jucundius almae,
Vere NIHIL, NIHIL irriguo formosius horto,
Floridius pratis, Zephyri clementius aura;
In bello sanctum NIHIL est, Martisque tumultu:
Justum in pace NIHIL, NIHIL est in foedere tutum.
Felix cui NIHIL est, (fuerant haec vota Tibullo)
Non timet insidias; fures, incendia temnit;
Sollicitas sequitur nullo sub judice lites.
Ille ipse invictis qui subjicit omnia fatis,
Zenonis sapiens, NIHIL admiratur et optat.
Socraticique gregis fuit ista scientia quondam,
Scire NIHIL, studio cui nunc incumbitur uni.
Nec quicquam in ludo mavult didicisse juventus,
Ad magnas quia ducit opes, et culmen honorum.
Nosce NIHIL, nosces fertur quod Pythagoreae
Grano haerere fabae, cui vox adjuncta negantis.
Multi, Mercurio freti duce, viscera terrae
Pura liquefaciunt simul, et patrimonia miscent,
Arcano instantes operi, et carbonibus atris,
Qui tandem exhausti damnis, fractique labore,
Inveniunt, atque inventum NIHIL usque requirunt.
Hoc dimetiri non ulla decempeda possit:
Nec numeret Libycae numerum qui callet arenae.
Et Phoebo ignotum NIHIL est, NIHIL altius astris:
Tuque, tibi licet eximium sit mentis acumen,
Omnem in naturam penetrans, et in abdita rerum,
Pace tua, Memmi, NIHIL ignorare videris.
Sole tamen NIHIL est, et puro clarius igne.
Tange NIHIL, dicesque NIHIL sine corpore tangi.
Cerne NIHIL, cerni dices NIHIL absque colore.
Surdum audit loquiturque NIHIL sine voce, volatque
Absque ope pennarum, et graditur sine cruribus ullis.
Absque loco motuque NIHIL per inane vagatur.
Humano generi utilius NIHIL arte medendi;
Ne rhombos igitur, neu Thessala murmura tentet
Idalia vacuum trajectus arundine pectus,
Neu legat Idaeo Dictaeum in vertice gramen.
Vulneribus saevi NIHIL auxiliatur amoris.
Vexerit et quemvis trans moestas portitor undas,
Ad superos imo NIHIL hunc revocabit ab orco.
Inferni NIHIL inflectit praecordia regis,
Parcarumque colos, et inexorabile pensum.
Obruta Phlegraeis campis Titania pubes
Fulmineo sensit NIHIL esse potentius ictu.
Porrigitur magni NIHIL extra moenia mundi.
Diique NIHIL metuunt. Quid longo carmine plura
Commemorem? Virtute NIHIL praestantius ipsa,
Splendidius NIHIL est. NIHIL est Jove denique majus.
Sed tempus finem argutis imponere nugis:
Ne tibi si multa laudem mea carmina charta,
De NIHILO NIHILI pariant fastidia versus.
[Footnote 67: Dr. Johnson has made no mention of Valentinian, altered
from Beaumont and Fletcher, which was published after his death by a
friend, who describes him in the preface, not only as being one of the
greatest geniuses, but one of the most virtuous men that ever existed.
J. B. ]
[Footnote 68: I quote from memory. Dr. J. ] [Footnote 69: The late George
Steevens, esq. made the selection of Rochester's poems which appears in
Dr. Johnson's edition; but Mr. Malone observes, that the same task had
been performed, in the early part of the last century, by Jacob Tonson.
C. ]
ROSCOMMON
Wentworth Dillon, earl of Roscommon, was the son of James Dillon and
Elizabeth Wentworth, sister to the earl of Strafford. He was born in
Ireland[70], during the lieutenancy of Strafford, who, being both his
uncle and his godfather, gave him his own surname. His father, the
third earl of Roscommon, had been converted by Usher to the protestant
religion[71]; and when the popish rebellion broke out, Strafford,
thinking the family in great danger from the fury of the Irish, sent for
his godson, and placed him at his own seat in Yorkshire, where he was
instructed in Latin; which he learned so as to write it with purity and
elegance, though he was never able to retain the rules of grammar.
Such is the account given by Mr. Fenton, from whose notes on Waller most
of this account must be borrowed, though I know not whether all that he
relates is certain. The instructer whom he assigns to Roscommon is one
Dr. Hall, by whom he cannot mean the famous Hall, then an old man and a
bishop.
When the storm broke out upon Strafford, his house was a shelter no
longer; and Dillon, by the advice of Usher, was sent to Caen, where the
protestants had then an university, and continued his studies under
Bochart.
Young Dillon, who was sent to study under Bochart, and who is represented
as having already made great proficiency in literature, could not be more
than nine years old. Strafford went to govern Ireland in 1633, and
was put to death eight years afterwards. That he was sent to Caen, is
certain: that he was a great scholar, may be doubted. At Caen he is said
to have had some preternatural intelligence of his father's death.
"The lord Roscommon, being a boy of ten years of age, at Caen in
Normandy, one day was, as it were, madly extravagant in playing, leaping,
getting over the tables, boards, &c. He was wont to be sober enough;
they said, God grant this bodes no ill luck to him! In the heat of this
extravagant fit, he cries out, 'My father is dead. ' A fortnight after,
news came from Ireland that his father was dead. This account I had from
Mr. Knolles, who was his governour, and then with him,--since secretary
to the earl of Strafford; and I have heard his lordship's relations
confirm the same. " Aubrey's Miscellany.
The present age is very little inclined to favour any accounts of this
kind, nor will the name of Aubrey much recommend it to credit: it ought
not, however, to be omitted, because better evidence of a fact cannot
easily be found, than is here offered; and it must be by preserving such
relations that we may, at last, judge how much they are to be regarded.
If we stay to examine this account, we shall see difficulties on both
sides: here is the relation of a fact given by a man who had no interest
to deceive, and who could not be deceived himself; and here is, on the
other hand, a miracle which produces no effect; the order of nature is
interrupted to discover not a future, but only a distant event, the
knowledge of which is of no use to him to whom it is revealed. Between
these difficulties, what way shall be found? Is reason or testimony to be
rejected? I believe, what Osborne says of an appearance of sanctity may
be applied to such impulses or anticipations as this: "Do not wholly
slight them, because they may be true; but do not easily trust them,
because they may be false. "
The state both of England and Ireland was, at this time, such, that he
who was absent from either country had very little temptation to return;
and, therefore, Roscommon, when he left Caen, travelled into Italy, and
amused himself with its antiquities, and, particularly, with medals, in
which he acquired uncommon skill. At the restoration, with the other
friends of monarchy, he came to England, was made captain of the band of
pensioners, and learned so much of the dissoluteness of the court, that
he addicted himself immoderately to gaming, by which he was engaged in
frequent quarrels, and which, undoubtedly, brought upon him its usual
concomitants, extravagance and distress.
After some time, a dispute about part of his estate forced him into
Ireland, where he was made, by the duke of Ormond, captain of the guards,
and met with an adventure thus related by Fenton:
"He was at Dublin, as much as ever, distempered with the same fatal
affection for play, which engaged him in one adventure, that well
deserves to be related. As he returned to his lodgings from a
gaming-table, he was attacked, in the dark, by three ruffians, who were
employed to assassinate him. The earl defended himself with so much
resolution, that he despatched one of the aggressors; whilst a gentleman,
accidentally passing that way, interposed, and disarmed another; the
third secured himself by flight. This generous assistant was a disbanded
officer, of a good family and fair reputation; who, by what we call the
partiality of fortune, to avoid censuring the iniquities of the times,
wanted even a plain suit of clothes to make a decent appearance at the
castle. But his lordship, on this occasion, presenting him to the duke of
Ormond, with great importunity prevailed with his grace, that he might
resign his post of captain of the guards to his friend; which, for
about three years, the gentleman enjoyed, and, upon his death, the duke
returned the commission to his generous benefactor. "
When he had finished his business, he returned to London; was made master
of the horse to the dutchess of York; and married the lady Frances,
daughter of the earl of Burlington, and widow of colonel Courteney[72].
He now busied his mind with literary projects, and formed the plan of a
society for refining our language and fixing its standard;
"in imitation," says Fenton, "of those learned and polite societies with
which he had been acquainted abroad. " In this design his friend Dryden is
said to have assisted him.
The same design, it is well known, was revived by Dr. Swift, in the
ministry of Oxford; but it has never since been publickly mentioned,
though, at that time, great expectations were formed, by some, of its
establishment and its effects. Such a society might, perhaps, without
much difficulty, be collected; but that it would produce what is expected
from it, may be doubted.
The Italian academy seems to have obtained its end. The language was
refined, and so fixed that it has changed but little. The French academy
thought they had refined their language, and, doubtless, thought rightly;
but the event has not shown that they fixed it; for the French of the
present time is very different from that of the last century.
In this country an academy could be expected to do but little. If an
academician's place were profitable, it would be given by interest; if
attendance were gratuitous, it would be rarely paid, and no man would
endure the least disgust. Unanimity is impossible, and debate would
separate the assembly.
But suppose the philological decree made and promulgated, what would be
its authority? In absolute governments, there is, sometimes, a general
reverence paid to all that has the sanction of power, and the countenance
of greatness. How little this is the state of our country needs not to be
told. We live in an age in which it is a kind of publick sport to refuse
all respect that cannot be enforced. The edicts of an English academy
would, probably, be read by many, only that they might be sure to disobey
them.
That our language is in perpetual danger of corruption cannot be denied;
but what prevention can be found? The present manners of the nation would
deride authority; and, therefore, nothing is left but that every writer
should criticise himself. All hopes of new literary institutions were
quickly suppressed by the contentious turbulence of king James's reign;
and Roscommon, foreseeing that some violent concussion of the state was
at hand, purposed to retire to Rome, alleging, that "it was best to sit
near the chimney when the chamber smoked;" a sentence, of which the
application seems not very clear.
His departure was delayed by the gout; and he was so impatient either of
hinderance or of pain, that he submitted himself to a French empirick,
who is said to have repelled the disease into his bowels.
At the moment in which he expired, he uttered, with an energy of voice,
that expressed the most fervent devotion, two lines of his own version of
Dies Irae:
My God, my father, and my friend,
Do not forsake me in my end.
He died in 1684; and was buried, with great pomp, in Westminster Abbey.
His poetical character is given by Mr. Fenton:
"In his writings," says Fenton, "we view the image of a mind which was
naturally serious and solid; richly furnished and adorned with all the
ornaments of learning, unaffectedly disposed in the most regular and
elegant order. His imagination might have probably been more fruitful
and sprightly, if his judgment had been less severe. But that severity,
delivered in a masculine, clear, succinct style, contributed to make
him so eminent in the didactical manner, that no man, with justice, can
affirm, he was ever equalled by any of our nation, without confessing,
at the same time, that he is inferiour to none. In some other kinds of
writing his genius seems to have wanted fire to attain the point of
perfection; but who can attain it? "
From this account of the riches of his mind, who would not imagine that
they had been displayed in large volumes and numerous performances? Who
would not, after the perusal of this character, be surprised to find
that all the proofs of this genius, and knowledge, and judgment, are
not sufficient to form a single book, or to appear otherwise than in
conjunction with the works of some other writer of the same petty
size[73]? But thus it is that characters are written: we know somewhat,
and we imagine the rest. The observation, that his imagination would,
probably, have been more fruitful and sprightly, if his judgment had been
less severe, may be answered, by a remarker somewhat inclined to cavil,
by a contrary supposition, that his judgment would, probably, have been
less severe, if his imagination had been more fruitful. It is ridiculous
to oppose judgment to imagination; for it does not appear that men have
necessarily less of one, as they have more of the other.
We must allow of Roscommon, what Fenton has not mentioned so distinctly
as he ought, and what is yet very much to his honour, that he is,
perhaps, the only correct writer in verse, before Addison; and that, if
there are not so many or so great beauties in his compositions as in
those of some contemporaries, there are, at least, fewer faults. Nor is
this his highest praise; for Mr. Pope has celebrated him, as the only
moral writer of king Charles's reign:
Unhappy Dryden! in all Charles's days,
Roscommon only boasts unspotted lays.
His great work is his Essay on Translated Verse; of which Dryden writes
thus, in the preface to his Miscellanies:
"It was my lord Roscommon's Essay on Translated Verse," says Dryden,
"which made me uneasy, till I tried whether or no I was capable of
following his rules, and of reducing the speculation into practice. For
many a fair precept in poetry is like a seeming demonstration in
mathematicks, very specious in the diagram, but failing in the mechanick
operation. I think I have generally observed his instructions: I am sure
my reason is sufficiently convinced both of their truth and usefulness;
which, in other words, is to confess no less a vanity than to pretend
that I have, at least, in some places, made examples to his rules. "
This declaration of Dryden will, I am afraid, be found little more than
one of those cursory civilities which one author pays to another; for
when the sum of lord Roscommon's precepts is collected, it will not
be easy to discover how they can qualify their reader for a better
performance of translation than might have been attained by his own
reflections.
He that can abstract his mind from the elegance of the poetry, and
confine it to the sense of the precepts, will find no other direction
than that the author should be suitable to the translator's genius; that
he should be such as may deserve a translation; that he who intends to
translate him should endeavour to understand him; that perspicuity should
be studied, and unusual and uncouth names sparingly inserted; and
that the style of the original should be copied in its elevation and
depression. These are the rules that are celebrated as so definite and
important; and for the delivery of which to mankind so much honour has
been paid. Roscommon has, indeed, deserved his praises, had they been
given with discernment, and bestowed not on the rules themselves, but the
art with which they are introduced, and the decorations with which they
are adorned.
The essay, though generally excellent, is not without its faults. The
story of the quack, borrowed from Boileau, was not worth the importation;
he has confounded the British and Saxon mythology:
I grant that from some mossy idol oak,
In double rhymes, our Thor and Woden spoke.
The oak, as, I think, Gildon has observed, belonged to the British
druids, and Thor and Woden were Saxon deities. Of the "double rhymes,"
which he so liberally supposes, he certainly had no knowledge.
His interposition of a long paragraph of blank verses is unwarrantably
licentious. Latin poets might as well have introduced a series of
iambicks among their heroicks.
His next work is the translation of the Art of Poetry; which has
received, in my opinion, not less praise than it deserves. Blank verse,
left merely to its numbers, has little operation either on the ear or
mind: it can hardly support itself without bold figures and striking
images. A poem, frigidly didactick, without rhyme, is so near to prose,
that the reader only scorns it for pretending to be verse.
Having disentangled himself from the difficulties of rhyme, he may justly
be expected to give the sense of Horace with great exactness, and to
suppress no subtilty of sentiment, for the difficulty of expressing it.
This demand, however, his translation will not satisfy; what he found
obscure, I do not know that he has ever cleared.
Among his smaller works, the eclogue of Virgil and the Dies Irae are
well translated; though the best line in the Dies Irae is borrowed from
Dryden. In return, succeeding poets have borrowed from Roscommon.
In the verses on the Lap-dog, the pronouns _thou_ and _you_ are
offensively confounded; and the turn at the end is from Waller.
His versions of the two odes of Horace are made with great liberty, which
is not recompensed by much elegance or vigour.
His political verses are sprightly, and, when they were written, must
have been very popular.
Of the scene of Guarini, and the prologue to Pompey, Mrs. Phillips, in
her letters to sir Charles Cotterel, has given the history.
"Lord Roscommon," says she, "is certainly one of the most promising young
noblemen in Ireland. He has paraphrased a psalm admirably; and a scene
of Pastor Fido, very finely, in some places much better than sir Richard
Fanshaw. This was undertaken merely in compliment to me, who happened to
say, that it was the best scene in Italian, and the worst in English. He
was only two hours about it. " It begins thus:
Dear happy groves, and you, the dark retreat
Of silent horrour, Rest's eternal seat.
From these lines, which are since somewhat mended, it appears that he did
not think a work of two hours fit to endure the eye of criticism, without
revisal.
When Mrs. Phillips was in Ireland, some ladies that had seen her
translation of Pompey, resolved to bring it on the stage at Dublin; and,
to promote their design, lord Roscommon gave them a prologue, and
sir Edward Deering, an epilogue; "which," says she, "are the best
performances of those kinds I ever saw. " If this is not criticism, it
is, at least, gratitude. The thought of bringing Caesar and Pompey into
Ireland, the only country over which Caesar never had any power, is
lucky.
Of Roscommon's works, the judgment of the publick seems to be right. He
is elegant, but not great; he never labours after exquisite beauties,
and he seldom falls into gross faults. His versification is smooth, but
rarely vigorous; and his rhymes are remarkably exact. He improved
taste, if he did not enlarge knowledge, and may be numbered among the
benefactors to English literature[74].
[Footnote 70: The Biographia Britannica says, probably about the year
1632; but this is inconsistent with the date of Stratford's viceroyalty
in the following page. C. ]
[Footnote 71: It was his grandfather, sir Robert Dillon, second earl of
Roscommon, who was converted from popery; and his conversion is recited
in the patent of sir James, the first earl of Roscommon, as one of the
grounds of his creation. M. ]
[Footnote 72: He was married to lady Frances Boyle in April, 1662. By
this lady he had no issue. He married secondly, 10th November, 1674,
Isabella, daughter of Matthew Boynton, of Barmston, in Yorkshire. M. ]
[Footnote 73: They were published, together with those of Duke, in an
octavo volume, in 1717. The editor, whoever he was, professes to have
taken great care to procure and insert all of his lordship's poems that
are truly genuine. The truth of this assertion is flatly denied by the
author of an account of Mr. John Pomfret, prefixed to his Remains; who
asserts, that the Prospect of Death was written by that person, many
years after lord Roscommon's decease; as also, that the paraphrase of the
Prayer of Jeremy was written by a gentleman of the name of Southcourt,
living in the year 1724. H.
]
[Footnote 74: This life was originally written by Dr. Johnson, in the
Gentleman's Magazine for May, 1748. It then had notes, which are now
incorporated with the text. C. ]
OTWAY.
Of Thomas Otway, one of the first names in the English drama, little is
known; nor is there any part of that little which his biographer can take
pleasure in relating.
He was born at Trottin, in Sussex, March 3, 1651, the son of Mr. Humphry
Otway, rector of Woolbeding. From Winchester school, where he was
educated, he was entered, in 1669, a commoner of Christ church; but left
the university without a degree, whether for want of money, or from
impatience of academical restraint, or mere eagerness to mingle with the
world, is not known.
It seems likely that he was in hope of being busy and conspicuous; for he
went to London, and commenced player; but found himself unable to gain
any reputation on the stage[75].
This kind of inability he shared with Shakespeare and Jonson, as he
shared likewise some of their excellencies. It seems reasonable to expect
that a great dramatick poet should, without difficulty, become a great
actor; that he who can feel, should express; that he who can excite
passion, should exhibit, with great readiness, its external modes: but
since experience has fully proved, that of those powers, whatever be
their affinity, one may be possessed in a great degree by him who has
very little of the other; it must be allowed that they depend upon
different faculties, or on different use of the same faculty; that the
actor must have a pliancy of mien, a flexibility of countenance, and a
variety of tones, which the poet may be easily supposed to want; or that
the attention of the poet and the player has been differently employed;
the one has been considering thought, and the other action; one has
watched the heart, and the other contemplated the face.
Though he could not gain much notice as a player, he felt in himself
such powers as might qualify for a dramatick author; and, in 1675, his
twenty-fifth year, produced Alcibiades, a tragedy; whether from the
Alcibiade of Palaprat, I have not means to inquire. Langbaine, the great
detecter of plagiarism, is silent.
In 1677, he published Titus and Berenice, translated from Rapin, with the
Cheats of Scapin, from Moliere; and, in 1678, Friendship in Fashion,
a comedy, which, whatever might be its first reception, was, upon its
revival at Drury lane, in 1749, hissed off the stage for immorality and
obscenity.
Want of morals, or of decency, did not, in those days, exclude any man
from the company of the wealthy and the gay, if he brought with him any
powers of entertainment; and Otway is said to have been, at this time,
a favourite companion of the dissolute wits. But, as he who desires no
virtue in his companion, has no virtue in himself, those whom Otway
frequented had no purpose of doing more for him than to pay his
reckoning. They desired only to drink and laugh: their fondness was
without benevolence, and their familiarity without friendship. "Men of
wit," says one of Otway's biographers, "received, at that time, no favour
from the great, but to share their riots; from which they were dismissed
again to their own narrow circumstances. Thus they languished in poverty,
without the support of eminence. "
Some exception, however, must be made. The earl of Plymouth, one of king
Charles's natural sons, procured for him a cornet's commission in some
troops then sent into Flanders. But Otway did not prosper in his military
character; for he soon left his commission behind him, whatever was the
reason, and came back to London in extreme indigence, which Rochester
mentions with merciless insolence, in the Session of the Poets:
Tom Otway came next, Tom Shadwell's dear zany,
And swears for heroicks he writes best of any;
Don Carlos his pockets so amply had fill'd,
That his mange was quite cur'd, and his lice were all kill'd:
But Apollo had seen his face on the stage,
And prudently did not think fit to engage
The scum of a playhouse, for the prop of an age.
Don Carlos, from which he is represented as having received so much
benefit, was played in 1675. It appears, by the lampoon, to have had
great success, and is said to have been played thirty nights together.
This, however, it is reasonable to doubt[76], as so long a continuance
of one play upon the stage is a very wide deviation from the practice
of that time; when the ardour for theatrical entertainments was not yet
diffused through the whole people, and the audience, consisting nearly of
the same persons, could be drawn together only by variety.
The Orphan was exhibited in 1680. This is one of the few plays that keep
possession of the stage, and has pleased for almost a century, through
all the vicissitudes of dramatick fashion. Of this play nothing new can
easily be said. It is a domestick tragedy drawn from middle life. Its
whole power is upon the affections; for it is not written with much
comprehension of thought, or elegance of expression. But if the heart is
interested, many other beauties may be wanting, yet not be missed.
The same year produced the History and Fall of Caius Marius; much of
which is borrowed from the Romeo and Juliet of Shakespeare.
In 1683[77] was published the first, and next year[78] the second, parts
of the Soldier's Fortune, two comedies now forgotten; and, in 1685[79]
his last and greatest dramatick work, Venice Preserved, a tragedy,
which still continues to be one of the favourites of the publick,
notwithstanding the want of morality in the original design, and the
despicable scenes of vile comedy with which he has diversified his
tragick action[80]. By comparing this with his Orphan, it will appear
that his images were by time become stronger, and his language more
energetick. The striking passages are in every mouth; and the publick
seems to judge rightly of the faults and excellencies of this play, that
it is the work of a man not attentive to decency, nor zealous for virtue;
but of one who conceived forcibly, and drew originally, by consulting
nature in his own breast.
Together with those plays he wrote the poems which are in the present
collection, and translated from the French the History of the
Triumvirate.
All this was performed before he was thirty-four years old; for he died
April 14, 1685, in a manner which I am unwilling to mention. Having
been compelled by his necessities to contract debts, and hunted, as is
supposed, by the terriers of the law, he retired to a publick house on
Tower hill, where he is said to have died of want; or, as it is related
by one of his biographers, by swallowing, after a long fast, a piece of
bread which charity had supplied. He went out, as is reported, almost
naked, in the rage of hunger, and, finding a gentleman in a neighbouring
coffee-house, asked him for a shilling. The gentleman gave him a guinea;
and Otway, going away, bought a roll, and was choked with the first
mouthful. All this, I hope, is not true; and there is this ground of
better hope, that Pope, who lived near enough to be well informed,
relates in Spence's Memorials, that he died of a fever, caught by
violent pursuit of a thief that had robbed one of his friends. But that
indigence, and its concomitants, sorrow and despondency, pressed hard
upon him, has never been denied, whatever immediate cause might bring him
to the grave.
Of the poems which the present collection admits, the longest is the
Poet's Complaint of his Muse, part of which I do not understand; and in
that which is less obscure, I find little to commend. The language is
often gross, and the numbers are harsh. Otway had not much cultivated
versification, nor much replenished his mind with general knowledge. His
principal power was in moving the passions, to which Dryden[81], in his
latter years, left an illustrious testimony. He appears, by some of his
verses, to have been a zealous royalist, and had what was in those times
the common reward of loyalty; he lived and died neglected.
[Footnote 75: In Roscius Anglicanus, by Downes, the prompter, p. 34,
we learn, that it was the character of the king in Mrs. Behn's Forced
Marriage, or the Jealous Bridegroom, which Mr. Otway attempted to
perform, and failed in. This event appears to have happened in the year
1672. R. ]
[Footnote 76: This doubt is, indeed, very reasonable. I know not where it
is said that Don Carlos was acted thirty nights together. Wherever it is
said, it is untrue. Downes, who is perfectly good authority on this point,
informs us, that it was performed ten days successively. M. ]
[Footnote 77: 1681. ]
[Footnote 78: 1684. ]
[Footnote 79: 1682. ]
[Footnote 80: The "despicable scenes of vile comedy" can be no bar
to its being a favourite of the publick, as they are always omitted in
the representation. J. B. ]
[Footnote 81: In his preface to Fresnoy's Art of Painting. Dr. J. ]
WALLER
Edmund Waller was born on the third of March, 1605, at Coleshill in
Hertfordshire. His father was Robert Waller, esq. of Agmondesham, in
Buckinghamshire, whose family was originally a branch of the Kentish
Wallers; and his mother was the daughter of John Hampden, of Hampden in
the same county, and sister to Hampden, the zealot of rebellion.
His father died while he was yet an infant, but left him a yearly income
of three thousand five hundred pounds; which, rating together the value
of money and the customs of life, we may reckon more than equivalent to
ten thousand at the present time.
He was educated, by the care of his mother, at Eton; and removed
afterwards to King's college, in Cambridge. He was sent to parliament in
his eighteenth, if not in his sixteenth year, and frequented the court of
James the first, where he heard a very remarkable conversation, which the
writer of the life prefixed to his works, who seems to have been well
informed of facts, though he may sometimes err in chronology, has
delivered as indubitably certain:
"He found Dr. Andrews, bishop of Winchester, and Dr. Neale, bishop of
Durham, standing behind his majesty's chair; and there happened something
extraordinary," continues this writer, "in the conversation those
prelates had with the king, on which Mr. Waller did often reflect. His
majesty asked the bishops: 'My lords, cannot I take my subjects' money,
when I want it, without all this formality of parliament? ' The bishop of
Durham readily answered, 'God forbid, sir, but you should: you are the
breath of our nostrils. ' Whereupon the king turned and said to the bishop
of Winchester, 'Well, my lord, what say you? ' 'Sir,' replied the bishop,
'I have no skill to judge of parliamentary cases. ' The king answered, 'No
put-offs, my lord; answer me presently. ' 'Then, sir,' said he, 'think it
is lawful for you to take my brother Neale's money; for he offers it. '
Mr. Waller said, the company was pleased with this answer, and the wit of
it seemed to affect the king; for, a certain lord coming in soon after,
his majesty cried out, 'Oh, my lord, they say you lig with my lady. ' 'No,
sir,' says his lordship, in confusion;' but I like her company, because
she has so much wit. ' 'Why then,' says the king, 'do you not lig with my
lord of Winchester there? '"
Waller's political and poetical life began nearly together. In his
eighteenth year he wrote the poem that appears first in his works, on the
Prince's Escape at St. Andero; a piece which justifies the observation,
made by one of his editors, that he attained, by a felicity like
instinct, a style which, perhaps, will never be obsolete; and that, "were
we to judge only by the wording, we could not know what was wrote at
twenty, and what at fourscore. " His versification was, in his first
essay, such as it appears in his last performance. By the perusal of
Fairfax's translation of Tasso, to which, as Dryden relates[82], he
confessed himself indebted for the smoothness of his numbers, and by
his own nicety of observation, he had already formed such a system
of metrical harmony, as he never afterwards much needed, or much
endeavoured, to improve. Denham corrected his numbers by experience, and
gained ground gradually upon the ruggedness of his age; but what was
acquired by Denham was inherited by Waller.
The next poem, of which the subject seems to fix the time, is supposed,
by Mr. Fenton, to be the Address to the Queen, which he considers as
congratulating her arrival, in Waller's twentieth year. He is apparently
mistaken; for the mention of the nation's obligations to her frequent
pregnancy, proves that it was written, when she had brought many
children. We have, therefore, no date of any other poetical production
before that which the murder of the duke of Buckingham occasioned: the
steadiness with which the king received the news in the chapel, deserved,
indeed, to be rescued from oblivion.
Neither of these pieces, that seem to carry their own dates, could have
been the sudden effusion of fancy. In the verses on the prince's escape,
the prediction of his marriage with the princess of France must have
been written after the event; in the other, the promises of the king's
kindness to the descendants of Buckingham, which could not be properly
praised, till it had appeared by its effects, show that time was taken
for revision and improvement. It is not known that they were published
till they appeared, long afterwards, with other poems.
Waller was not one of those idolaters of praise who cultivate their minds
at the expense of their fortunes. Rich as he was by inheritance, he took
care early to grow richer, by marrying Mrs. Banks, a great heiress in
the city, whom the interest of the court was employed to obtain for Mr.
Crofts. Having brought him a son, who died young, and a daughter, who was
afterwards married to Mr. Dormer, of Oxfordshire, she died in childbed,
and left him a widower of about five-and-twenty, gay and wealthy, to
please himself with another marriage.
Being too young to resist beauty, and probably too vain to think himself
resistible, he fixed his heart, perhaps half fondly and half ambitiously,
upon the lady Dorothea Sidney, eldest daughter of the earl of Leicester,
whom he courted by all the poetry in which Sacharissa is celebrated; the
name is derived from the Latin appellation of sugar, and implies, if it
means any thing, a spiritless mildness, and dull good-nature, such as
excites rather tenderness than esteem, and such as, though always treated
with kindness, is never honoured or admired.
Yet he describes Sacharissa as a sublime predominating beauty, of lofty
charms, and imperious influence, on whom he looks with amazement rather
than fondness, whose chains he wishes, though in vain, to break, and
whose presence is "wine that inflames to madness. " His acquaintance with
this high-born dame gave wit no opportunity of boasting its influence;
she was not to be subdued by the powers of verse, but rejected his
addresses, it is said, with disdain, and drove him away to solace his
disappointment with Amoret or Phillis. She married, in 1639, the earl of
Sunderland, who died at Newbury, in the king's cause; and, in her old
age, meeting somewhere with Waller, asked him, when he would again write
such verses upon her; "when you are as young, madam," said he, "and as
handsome, as you were then. "
In this part of his life it was that he was known to Clarendon, among the
rest of the men who were eminent in that age for genius and literature;
but known so little to his advantage, that they who read his character
will not much condemn Sacharissa, that she did not descend from her rank
to his embraces, nor think every excellence comprised in wit.
The lady was, indeed, inexorable; but his uncommon qualifications,
though they had no power upon her, recommended him to the scholars and
statesmen; and, undoubtedly, many beauties of that time, however they
might receive his love, were proud of his praises. Who they were, whom he
dignifies with poetical names, cannot now be known. Amoret, according to
Mr. Fenton, was the lady Sophia Murray. Perhaps, by traditions, preserved
in families, more may be discovered.
From the verses written at Penshurst, it has been collected that he
diverted his disappointment by a voyage; and his biographers, from his
poem on the Whales, think it not improbable that he visited the Bermudas;
but it seems much more likely, that he should amuse himself with forming
an imaginary scene, than that so important an incident, as a visit to
America, should have been left floating in conjectural probability.
From his twenty-eighth to his thirty-fifth year, he wrote his pieces on
the reduction of Sallee; on the reparation of St. Paul's; to the King on
his Navy; the panegyrick on the Queen Mother; the two poems to the earl
of Northumberland; and perhaps others, of which the time cannot be
discovered.
When he had lost all hopes of Sacharissa, he looked round him for an
easier conquest, and gained a lady of the family of Bresse, or Breaux.
The time of his marriage is not exactly known. It has not been discovered
that this wife was won by his poetry; nor is any thing told of her, but
that she brought him many children. He, doubtless, praised some whom he
would have been afraid to marry, and, perhaps, married one whom he would
have been ashamed to praise. Many qualities contribute to domestick
happiness, upon which poetry has no colours to bestow; and many airs and
sallies may delight imagination, which he who flatters them never can
approve. There are charms made only for distant admiration. No spectacle
is nobler than a blaze.
Of this wife, his biographers have recorded that she gave him five sons
and eight daughters.
During the long interval of parliament, he is represented as living among
those with whom it was most honourable to converse, and enjoying an
exuberant fortune with that independence and liberty of speech and
conduct which wealth ought always to produce. He was, however, considered
as the kinsman of Hampden, and was, therefore, supposed by the courtiers
not to favour them.
When the parliament was called in 1640, it appeared that Waller's
political character had not been mistaken. The king's demand of a supply
produced one of those noisy speeches which disaffection and discontent
regularly dictate; a speech filled with hyperbolical complaints of
imaginary grievances: "They," says he, "who think themselves already
undone, can never apprehend themselves in danger; and they who have
nothing left can never give freely. " Political truth is equally in danger
from the praises of courtiers, and the exclamations of patriots.
He then proceeds to rail at the clergy, being sure, at that time, of a
favourable audience. His topick is such as will always serve its purpose;
an accusation of acting and preaching only for preferment; and he exhorts
the commons "carefully to provide _for their_ protection against pulpit
law. "
It always gratifies curiosity to trace a sentiment. Waller has, in this
speech, quoted Hooker in one passage; and in another has copied him,
without quoting. "Religion," says Waller, "ought to be the first thing in
our purpose and desires; but that which is first in dignity is not always
to precede in order of time; for well-being supposes a being; and the
first impediment which men naturally endeavour to remove, is the want of
those things without which they cannot subsist. God first assigned
unto Adam maintenance of life, and gave him a title to the rest of the
creatures, before he appointed a law to observe. "
"God first assigned Adam," says Hooker, "maintenance of life, and then
appointed him a law to observe. True it is, that the kingdom of God
must be the first thing in our purpose and desires; but, inasmuch as a
righteous life presupposeth life, inasmuch as to live virtuously it
is impossible, except we live; therefore the first impediment which
naturally we endeavour to remove is penury, and want of things without
which we cannot live. " Book i. Sect. 9.
The speech is vehement; but the great position, that grievances ought to
be redressed, before supplies are granted, is agreeable enough to law and
reason: nor was Waller, if his biographer may be credited, such an enemy
to the king, as not to wish his distresses lightened; for he relates,
"that the king sent particularly to Waller, to second his demand of some
subsidies to pay off the army; and sir Henry Vane objecting against first
voting a supply, because the king would not accept, unless it came up
to his proportion, Mr. Waller spoke earnestly to sir Thomas Jermyn,
comptroller of the household, to save his master from the effects of so
bold a falsity; 'for' he said, 'I am but a country gentleman, and cannot
pretend to know the king's mind:' but sir Thomas durst not contradict
the secretary; and his son, the earl of St. Alban's, afterwards told Mr.
Waller, that his father's cowardice ruined the king. "
In the long parliament, which, unhappily for the nation, met Nov. 3,
1640, Waller represented Agmondesham the third time; and was considered,
by the discontented party, as a man sufficiently trusty and acrimonious
to be employed in managing the prosecution of judge Crawley, for his
opinion in favour of ship-money; and his speech shows that he did not
disappoint their expectations. He was, probably, the more ardent, as his
uncle Hampden had been particularly engaged in the dispute, and, by
a sentence, which seems generally to be thought unconstitutional,
particularly injured.
He was not, however, a bigot to his party, nor adopted all their
opinions. When the great question, whether episcopacy ought to be
abolished, was debated, he spoke against the innovation so coolly, so
reasonably, and so firmly, that it is not without great injury to his
name that his speech, which was as follows, has been hitherto omitted in
his works[83]:
"There is no doubt but the sense of what this nation hath suffered from
the present bishops hath produced these complaints; and the apprehensions
men have of suffering the like, in time to come, make so many desire the
taking away of episcopacy: but I conceive it is possible that we may not,
now, take a right measure of the minds of the people by their petitions;
for, when they subscribed them, the bishops were armed with a dangerous
commission of making new canons, imposing new oaths, and the like; but
now we have disarmed them of that power. These petitioners lately did
look upon episcopacy, as a beast armed with horns and claws; but now that
we have cut and pared them (and may, if we see cause, yet reduce it into
narrower bounds,) it may, perhaps, be more agreeable. Howsoever, if they
be still in passion, it becomes us soberly to consider the right use and
antiquity thereof; and not to comply further with a general desire, than
may stand with a general good.
"We have already showed, that episcopacy, and the evils thereof, are
mingled like water and oil; we have also, in part, severed them; but, I
believe, you will find, that our laws and the present government of
the church are mingled like wine and water; so inseparable, that the
abrogation of, at least, a hundred of our laws is desired in these
petitions. I have often heard a noble answer of the lords, commended in
this house, to a proposition of like nature, but of less consequence;
they gave no other reason of their refusal but this, 'Nolumus mutare
leges Angliae:' it was the bishops who so answered then; and it would
become the dignity and wisdom of this house to answer the people now with
a 'Nolumus mutare. '
"I see some are moved with a number of hands against the bishops;
which, I confess, rather inclines me to their defence; for I look upon
episcopacy as a counterscarp, or outwork; which, if it be taken by this
assault of the people, and, withal, this mystery once revealed, 'That we
must deny them nothing, when they ask it thus in troops,' we may, in the
next place, have as hard a task to defend our property, as we have lately
had to recover it from the prerogative. If, by multiplying hands and
petitions, they prevail for an equality in things ecclesiastical, the
next demand, perhaps, may be 'Lex Agraria,' the like equality in things
temporal.
"The Roman story tells us, that when the people began to flock about the
senate, and were more curious to direct and know what was done, than to
obey, that commonwealth soon came to ruin; their 'Legem rogare' grew
quickly to be a 'Legem ferre;' and after, when their legions had found
that they could make a dictator, they never suffered the senate to have a
voice any more in such election.
"If these great innovations proceed, I shall expect a flat and level in
learning too, as well as in church-preferments: 'Honos alit artes. ' And
though it be true, that grave and pious men do study for learning-sake,
and embrace virtue for itself; yet it is as true that youth, which is the
season when learning is gotten, is not without ambition, nor will
ever take pains to excel in any thing, when there is not some hope of
excelling others in reward and dignity.
"There are two reasons chiefly alleged against our church-government.
"First, Scripture, which, as some men think, points out another form.
"Second, The abuses of the present superiours.
"For scripture, I will not dispute it in this place; but I am confident
that, whenever an equal division of lands and goods shall be desired,
there will be as many places in scripture found out, which seem to favour
that, as there are now alleged against the prelacy or preferment in the
church. And, as for abuses, where you are now in the remonstrance told
what this and that poor man hath suffered by the bishops, you may be
presented with a thousand instances of poor men that have received hard
measure from their landlords; and of worldly goods abused, to the injury
of others, and disadvantage of the owners.
"And, therefore, Mr. Speaker, my humble motion is, that we may settle
men's minds herein; and, by a question, declare our resolution, 'to
reform,' that is, 'not to abolish, episcopacy. '"
It cannot but be wished that he, who could speak in this manner, had been
able to act with spirit and uniformity.
When the commons began to set the royal authority at open defiance,
Waller is said to have withdrawn from the house, and to have returned
with the king's permission; and, when the king set up his standard, he
sent him a thousand broad-pieces. He continued, however, to sit in
the rebellious conventicle; but "spoke," says Clarendon, "with great
sharpness and freedom, which, now there was no danger of being outvoted,
was not restrained; and, therefore, used as an argument against those who
were gone, upon pretence that they were not suffered to deliver their
opinion freely in the house, which could not be believed, when all men
knew what liberty Mr. Waller took, and spoke every day with impunity
against the sense and proceedings of the house. "
Waller, as he continued to sit, was one of the commissioners nominated
by the parliament to treat with the king at Oxford; and, when they were
presented, the king said to him, "Though you are the last, you are not
the lowest, nor the least in my favour. " Whitlock, who, being another of
the commissioners, was witness of this kindness, imputes it to the king's
knowledge of the plot, in which Waller appeared afterwards to have been
engaged against the parliament. Fenton, with equal probability, believes
that his attempt to promote the royal cause arose from his sensibility of
the king's tenderness. Whitlock says nothing of his behaviour at Oxford:
he was sent with several others to add pomp to the commission, but was
not one of those to whom the trust of treating was imparted.
The engagement, known by the name of Waller's plot, was soon afterwards
discovered. Waller had a brother-in-law, Tomkyns, who was clerk of the
queen's council, and, at the same time, had a very numerous acquaintance,
and great influence, in the city. Waller and he, conversing with great
confidence, told both their own secrets and those of their friends; and,
surveying the wide extent of their conversation, imagined that they
found, in the majority of all ranks, great disapprobation of the violence
of the commons, and unwillingness to continue the war. They knew that
many favoured the king, whose fear concealed their loyalty; and many
desired peace, though they durst not oppose the clamour for war; and they
imagined that, if those who had these good intentions could be informed
of their own strength, and enabled by intelligence to act together, they
might overpower the fury of sedition, by refusing to comply with the
ordinance for the twentieth part, and the other taxes levied for the
support of the rebel army, and by uniting great numbers in a petition for
peace. They proceeded with great caution. Three only met in one place,
and no man was allowed to impart the plot to more than two others; so
that, if any should be suspected or seized, more than three could not be
endangered.
Lord Conway joined in the design, and, Clarendon imagines, incidentally
mingled, as he was a soldier, some martial hopes or projects, which,
however, were only mentioned, the main design being to bring the loyal
inhabitants to the knowledge of each other; for which purpose there was
to be appointed one in every district, to distinguish the friends of the
king, the adherents to the parliament, and the neutrals. How far
they proceeded does not appear; the result of their inquiry, as Pym
declared[84], was, that within the walls, for one that was for the
royalists, there were three against them; but that without the walls, for
one that was against them, there were five for them. Whether this was
said from knowledge or guess, was, perhaps, never inquired.
It is the opinion of Clarendon, that in Waller's plan no violence or
sanguinary resistance was comprised; that he intended only to abate the
confidence of the rebels by publick declarations, and to weaken their
powers by an opposition to new supplies. This, in calmer times, and
more than this, is done without fear; but such was the acrimony of the
commons, that no method of obstructing them was safe.
About this time, another design was formed by sir Nicholas Crispe, a man
of loyalty that deserves perpetual remembrance: when he was a merchant
in the city, he gave and procured the king, in his exigencies, a hundred
thousand pounds; and, when he was driven from the exchange, raised a
regiment, and commanded it.
Sir Nicholas flattered himself with an opinion, that some provocation
would so much exasperate, or some opportunity so much encourage, the
king's friends in the city, that they would break out in open resistance,
and then would want only a lawful standard, and an authorized commander;
and extorted from the king, whose judgment too frequently yielded to
importunity, a commission of array, directed to such as he thought proper
to nominate, which was sent to London by the lady Aubigney. She knew not
what she carried, but was to deliver it on the communication of a certain
token, which sir Nicholas imparted.
This commission could be only intended to lie ready, till the time should
require it. To have attempted to raise any forces, would have been
certain destruction; it could be of use only when the forces should
appear. This was, however, an act preparatory to martial hostility.
Crispe would, undoubtedly, have put an end to the session of parliament,
had his strength been equal to his zeal: and out of the design of Crispe,
which involved very little danger, and that of Waller, which was an act
purely civil, they compounded a horrid and dreadful plot.
The discovery of Waller's design is variously related. In Clarendon's
History, it is told, that a servant of Tomkyns, lurking behind the
hangings, when his master was in conference with Waller, heard enough
to qualify him for an informer, and carried his intelligence to Pym. A
manuscript, quoted in the Life of Waller, relates, that "he was betrayed
by his sister Price, and her presbyterian chaplain, Mr. Goode, who stole
some of his papers; and, if he had not strangely dreamed the night
before, that his sister had betrayed him, and, thereupon, burnt the rest
of his papers, by the fire that was in his chimney, he had certainly lost
his life by it. " The question cannot be decided. It is not unreasonable
to believe, that the men in power, receiving intelligence from the
sister, would employ the servant of Tomkyns to listen at the conference,
that they might avoid an act so offensive as that of destroying the
brother by the sister's testimony.
The plot was published in the most terrifick manner.
