Then come jests too much in the English style:
"Then if we write not by each post,
Think not we are unkind;...
Our tears we'll send a speedier way;
The tide shall bring them twice a day."
Such tears can hardly flow from sorrow; the lady regards them as the lover sheds them, good-naturedly. She is "at a play" (he thinks so, and tells her so):
"Whilst you, regardless of our woe,
Sit careless at a play,
Perhaps permit some happier man
To kiss your hand, or flirt your fan."[302]
Dorset hardly troubles himself about it, plays with poetry without excess or assiduity, just as it flows, writing to-day a verse against Dorinda, to-morrow a satire against Mr. Howard, always easily and without study, like a true gentleman. He is an earl, lord-chamberlain, and rich; he pensions and patronizes poets as he would flirts—to amuse himself, without binding himself. The Duke of Buckingham does the same, and also the contrary; caresses one poet, parodies another; is flattered, mocked, and ends by having his portrait taken by Dryden—a chef d'œuvre, but not flattering. We have seen such pastimes and such bickerings in France; we find here the same manners and the same literature, because we find here also the same society and the same spirit.
Among these poets, and in the front rank, is Edmund Waller, who lived and wrote in this manner to his eighty-second year: a man of wit and fashion, well-bred, familiar from his youth with great people, endued with tact and foresight, quick at repartee, not easy to put out of countenance, but selfish, with hardly any feelings, having changed sides more than once, and bearing very well the memory of his tergiversations; in short, a good model of the worldling and the courtier. It was he who, having once praised Cromwell, and afterwards Charles II, but the latter mote feebly than the former, said by way of excuse: "Poets, your Majesty, succeed better in fiction than in truth." In this kind of existence, three-quarters of the poetry is written for the occasion; it is the small change of conversation or flattery; it resembles the little events or the little sentiments from which it sprang. One piece is written "Of Tea," another on the queen's portrait; it is necessary to pay court; moreover "His Majesty has requested some verses." One lady makes him a present of a silver pen, straight he throws his gratitude into rhyme; another has the power of sleeping at will, straight a sportive stanza; a false report is spread of her being painted, straight a copy of verses on this grave affair. A little further on there are verses to the Countess of Carlisle on her chamber, condolences to my Lord of Northumberland on the death of his wife, a pretty thing on a lady "passing through a crowd of people," an answer, verse for verse, to some rhymes of Sir John Suckling. He seizes anything frivolous, new, or becoming on the wing; and his poetry is only a written conversation—I mean the conversation which goes on at a ball, when people speak for the sake of speaking, lifting a lock of one's wig, or twisting about a glove. Gallantry holds the chief place here, as it ought to do, and we may be pretty certain that the love is not over-sincere. In reality, Waller sighs on purpose (Sacharissa had a fine dowry), or at least for the sake of good manners: that which is most evident in his tender poems is, that he aims at a flowing style and good rhymes. He is affected, he exaggerates, he strains after wit, he is always an author. Not venturing to address Sacharissa herself, he addresses Mrs. Braughton, her attendant, "his fellow-servant":
"So, in those nations which the Sun adore,
Some modest Persian, or some weak-eyed Moor,
No higher dares advance his dazzled sight
Than to some gilded cloud, which near the light
Of their ascending god adorns the east,
And, graced with his beam, outshines the rest."[303]
A fine comparison! That is a well-made courtesy; I hope Sacharissa responds with one equally correct. His despairs bear the same flavor; he pierces the groves of Penshurst with his cries, "reports his flame to the beeches," and the well-bred beeches "bow their heads, as' if they felt the same."[304] It is probable that, in these mournful walks, his greatest care was lest he should wet the soles of his high-heeled shoes. These transports of love bring in the classical machinery, Apollo and the Muses. Apollo is annoyed that one of his servants is ill-treated, and bids him depart; and he departs, telling Sacharissa that she is harder than an oak, and that she was certainly produced from a rock.[305]
There is one genuine reality in all this—sensuality; not ardent, but light and gay. There is a certain piece, "The Fall," which an abbé of the court of Louis XV might have written:
"Then blush not, Fair! or on him frown,...
How could the youth, alas! but bend
When his whole Heav'n upon him lean'd?
If aught by him amiss were done,
'Twas that he let you rise so soon."[306]