“Ask me no more whither do stray
The golden atoms of the day;
For in pure love did Heaven prepare
These powders to enrich your hair.”
It would be affectation, Gifted, if you rhymed in that fashion for the lady of your love, and presented her, as it were, with cosmical cosmetics, and compliments drawn from the starry spaces and deserts, from skies, phoenixes, and angels. But it was a natural and pretty way of writing when Thomas Carew was young. I prefer Herrick the inexhaustible in dainties; Herrick, that parson-pagan, with the soul of a Greek of the Anthology, and a cure of souls (Heaven help them!) in Devonshire. His Julia is the least mortal of these “daughters of dreams and of stories,” whom poets celebrate; she has a certain opulence of flesh and blood, a cheek like a damask rose, and “rich eyes,” like Keats’s lady; no vaporous Beatrice, she; but a handsome English wench, with
“A cuff neglectful and thereby
Ribbons to flow confusedly;
A winning wave, deserving note
In the tempestuous petticoat.”
Then Suckling strikes up a reckless military air; a warrior he is who has seen many a siege of hearts—hearts that capitulated, or held out like Troy-town, and the impatient assailant whistles:
“Quit, quit, for shame: this will not move,
This cannot take her.
If of herself she will not love,
Nothing can make her—
The devil take her.”
So he rides away, curling his moustache, hiding his defeat in a big inimitable swagger. It is a pleasanter piece in which Suckling, after a long leaguer of a lady’s heart, finds that Captain honour is governor of the place, and surrender hopeless. So he departs with a salute:
“March, march (quoth I), the word straight give,
Let’s lose no time but leave her:
That giant upon air will live,
And hold it out for ever.”
Lovelace is even a better type in his rare good things of the military amorist and poet. What apology of Lauzun’s, or Bussy Rabutin’s for faithlessness could equal this?—
“Why dost thou say I am forsworn,
Since thine I vowed to be?
Lady, it is already morn;
It was last night I swore to thee
That fond impossibility.”
Has “In Memoriam” nobler numbers than the poem, from exile, to Lucasta?—