The Age of Dryden. Richard Garnett

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СКАЧАТЬ Marvell can display with a congenial theme; and that he possesses nothing of Dryden’s power of exalting unpromising subjects into poetry. But he infinitely surpasses Marvell when they meet on the common ground of satire; and though he cannot be said to surpass Dryden, their methods are so different that no proper comparison can be drawn. When writing in Dryden’s manner Butler is respectable, but he has the field of burlesque epic entirely to himself. Supremacy in a low style of composition is a surer passport to fame than moderate merit in a high one. With all the defects of Restoration literature, it had a faculty for producing masterpieces, and it must be admitted that Butler’s Hudibras stands as decidedly at the head of its class as Paradise Lost, or Absalom and Achitophel, or Pilgrim’s Progress, or Pepys’s Diary at the head of theirs.

      Samuel Butler (1612-1680).

      Samuel Butler was born near Worcester in 1612. His father, a small farmer, procured him a good education at the Worcester Grammar School. His first employment was that of clerk to a country justice named Jefferys. He afterwards entered the household of Elizabeth, Countess of Kent, at Wrest, in Bedfordshire, and subsequently acted as clerk to various justices of the peace, one of whom, Sir Samuel Luke, of Cople Hoo, near Bedford, served as the original of Hudibras. It is curious to reflect that John Bunyan was at the same time going through his spiritual conflicts in the same county. He seems to have also travelled in France and Holland. He published nothing until 1659, when an anonymous tract in favour of the restoration of the monarchy, entitled Mola Asinaria, appeared from his pen. The service was recompensed by the appointment of secretary to the Earl of Carbury, Lord President of Wales, who made him steward of Ludlow Castle, where Comus had been performed nearly thirty years before. He resigned this charge upon contracting what seemed a wealthy marriage, but the lady’s money was lost, and, notwithstanding the great literary success Hudibras, the remainder of the author’s life was spent in poverty. The first part of Hudibras, stated in the title to have been written during the Civil War, and if so at least fifteen years old, was published in 1663. Its success was instantaneous, though neither the Puritans nor Mr. Pepys could quite see the joke. The merit of the performance, however, was fully apparent to a better and more influential judge, the king, who encouraged the author by giving numerous copies away, though history does not say at whose expense. But this was all he gave, and the poet who had rendered such essential service to the royalist cause by his writings was as completely neglected by the Court as if he had been John Milton. It is indeed said that he was in receipt of a pension of £100 at his death; but this seems contradicted by the letter, already quoted, of Dryden to the Lord High Treasurer within two years after Butler’s death, where he says: ‘’Tis enough for one age to have neglected Mr. Cowley and starved Mr. Butler.’5 Oldham’s lines, written at the same time, are still more emphatic:

      ‘On Butler who can think without just rage,

      The glory and the scandal of the age?

      Fair stood his hopes when first he came to town,

      Met everywhere with welcomes of renown,

      Courted and loved by all, with wonder read,

      And promises of princely favour fed;

      But what reward for all had he at last,

      After a life of dull expectance passed?

      The wretch at summing up his misspent days

      Found nothing left but poverty and praise;

      Of all his gains by verse he could not save

      Enough to purchase flannel and a grave;

      Reduced to want, he in due time fell sick,

      Was fain to die, and be interred on tick;

      And well might bless the fever that was sent

      To rid him hence, and his worse fate prevent.’

      These spirited verses are certainly exaggerated. Butler, though, as his biographer says, ‘personally known to few,’ partook on the same authority of the munificence of Dorset, and dying on September 25th, 1680, was buried on September 27th in the churchyard of St. Paul’s, Covent Garden, at the expense of another friend, William Longueville, bencher of the Inner Temple, who had previously endeavoured to obtain his interment in Westminster Abbey, where, Atterbury being dean, a tardy monument was erected to him in 1721 by Alderman Barber. Very little is known of the latter years of his life, except that he lived in Rose Street, Covent Garden, and that he suffered much from the gout. He had published a second part of Hudibras in 1664, and a third in 1678, containing many allusions to events much later than the Civil War. He bequeathed his posthumous papers to Longueville, by whom they were carefully preserved, and a large portion eventually came to be published in 1759. They will be treated of in another place. Not much is known of Butler’s personal character and habits. He must evidently have been a man of extensive reading, and versed in several languages and literatures. It seems natural to attribute the neglect of so popular an author to some infirmity in his own temper, but the little testimony we have makes the other way. Wood describes him as ‘a boon and witty companion;’ and Aubrey says, ‘A severe and sound judgment, a good fellow.’ It must be remembered that he was forty-eight at the Restoration, and had spent almost all his life in the country; we shall also find reason to believe that he was neither enough of a churchman nor enough of a loyalist to be entirely agreeable to his own party.

      The defect in Hudibras pointed out by Dr. Johnson, the want of logical sequence in the action, undoubtedly exists, but is almost inherent in the conception of such a performance. A more serious drawback, the disproportion between the hero’s deeds and his words, probably arises from the poem having been written at different periods of the author’s life. When he began to write his invention was lively and vigorous, but it naturally flagged after middle age, although his wit remained unimpaired. In the first and part of the second canto disquisition and adventure are so evenly blended that each supports the other; in the latter part of the poem the burden falls almost entirely upon the former. Hence the picturesque and cleverly varied incident of the bear-baiting, with the varied characters it brings upon the scene, will always be the favourite passage of the poem, unless an exception be made for the portraits of Hudibras and Ralpho. There is, however, considerable inconsistency in the character of Hudibras. He is represented as a fool, yet half the good things of the book are, from sheer necessity, put into his mouth. We are to suppose him a coward, yet he takes and deals cuffs and bangs in the spirit of a pugilist; and his attack upon the seven champions of bear-baiting, one of them an Amazon, is so far from cowardice, that it more resembles temerity. The more odious traits of his character hardly seem properly to belong to it; and in fact Butler probably commenced his poem without too curiously considering how he was to conduct it, or rather where it was to conduct him, and scribbled away in the spirit of his own maxim —

      ‘One for sense, and one for rhyme,

      Is quite sufficient at one time’ —

      trusting to the humour ever springing up under his pen to redeem his verse from the imputation of doggrel. This it certainly did; for although Hudibras as a whole is rambling, ill-compacted, and wordy, the terseness of many individual passages is as remarkable as their humour:

      ‘A tool

      That knaves do work with, called a fool.’

      ‘Cerberus himself pronounce

      A leash of languages at once.’

      ‘Hudibras wore but one spur,

      As wisely knowing, could he stir

      To active trot one side of ’s horse

      The other would not hang.’

      ‘For as on land there is no beast,

      But in some fish at sea’s exprest;

      So in the wicked there’s no vice

      Of which the saints have not a spice.’

      ‘Quoth she, СКАЧАТЬ