“Let this one courtesy witness all the rest,
When their whole navy they together pressed,
Not Christian captives to redeem from bands,
Or intercept the western golden sands,
No, but all ancient rights and leagues must fail,
Rather than to the English strike their sail;
To whom their weather-beaten province owes
Itself.”
Two spirited lines describe the discomfiture of Van Tromp:—
“And the torn navy staggered with him home
While the sea laughed itself into a foam.”
This first Dutch War came to an end in 1654, when Holland was compelled to acknowledge the supremacy of the English flag in the home waters, and to acquiesce in the Navigation Act. It is a curious commentary upon the black darkness that conceals the future, that Cromwell, dreading as he did the House of Orange and the youthful grandson of Charles the First, who at the appointed hour was destined to deal the House of Stuart a far deadlier stroke than Cromwell had been able to do, either on the field of battle or in front of Whitehall, refused to ratify the Treaty of Peace with the Dutch until John De Witt had obtained an Act excluding the Prince of Orange from ever filling the office of Stadtholder of the Province of Holland.
The contrast between the glory of Oliver’s Dutch War and the shame of Charles the Second’s sank deep into Marvell’s heart, and lent bitterness to many of his later satirical lines.
Marvell’s famous Horatian Ode upon Cromwell’s Return from Ireland in 1650 has a curious bibliographical interest. So far as we can tell, it was first published in 1776. When it was composed we do not know. At Nunappleton House Oliver was not a persona grata in 1650, for he had no sooner come back from Ireland than he had stepped into the shoes of the Lord-General Fairfax; and there were those, Lady Fairfax, I doubt not, among the number, who believed that the new Lord-General thought it was high time he should be where Fairfax’s “scruple” at last put him. We may be sure Cromwell’s character was dissected even more than it was extolled at Nunappleton. The famous Ode is by no means a panegyric, and its true hero is the “Royal actor,” whom Cromwell, so the poem suggests, lured to his doom. It is not likely that the Ode was composed after Marvell had left Nunappleton, though it may have been so before he went there. There is an old untraceable tradition that Marvell was among the crowd that saw the king die. What deaths have been witnessed, and with what strange apparent apathy, by the London crowd! But for this tradition one’s imagination would trace to Lady Fairfax the most famous of the stanzas.
But to return to the history of the Ode. In 1776 Captain Edward Thompson, a connection of the Marvell family and a versatile sailor with a passion for print, which had taken some odd forms of expression, produced by subscription in three quarto volumes the first collected edition of Andrew Marvell’s works, both verse and prose. Such an edition had been long premeditated by Thomas Hollis, one of the best friends literature had in the eighteenth century. It was Hollis who gave to Sidney Sussex College the finest portrait in existence of Oliver Cromwell. Hollis collected material for an edition of Marvell with the aid of Richard Barron, an early editor of Milton’s prose works, and of Algernon Sidney’s Discourse concerning Government. Barron, however, lost zeal as the task proceeded, and complained justly enough “of a want of anecdotes,” and as the printer, the well-known and accomplished Bowyer, doubted the wisdom of the undertaking, it was allowed to drop. Barron died in 1766, and Hollis in 1774, but the collections made by the latter passed into the hands of Captain Thompson, who, with the assistance of Mr. Robert Nettleton, a grandson of one of Marvell’s sisters, at once began to get his edition ready. On Nettleton’s death his “Marvell” papers came into Thompson’s hands, and among them was, to quote the captain’s own words, “a volume of Mr. Marvell’s poems, some written with his own hand and the rest copied by his order.”
The Horatian Ode was in this volume, and was printed from it in Thompson’s edition of 1776.
What has become of this manuscript book? It has disappeared—destroyed, so we are led to believe, in a fit of temper by the angry and uncritical sea-captain.
This precious volume undoubtedly contained some poems by Marvell, and as his handwriting was both well known from many examples, and is highly characteristic, we may also be certain that the captain was not mistaken in his assertion that some of these poems were in Marvell’s own handwriting. But, as ill-luck would have it, the volume also contained poems written at a later period and in quite another hand. Among these latter pieces were Addison’s verses, The Spacious Firmament on High and When all thy Mercies, O my God; Dr. Watts’ paraphrase When Israel freed from Pharaoh’s Hand; and Mallet’s ballad William and Margaret. The two Addison pieces and the Watts paraphrase appeared for the first time in the Spectator, Nos. 453, 465, and 461, in 1712, and Mallet’s ballad was first printed in 1724.