. . . me silva cavusque
Tutus ab insidiis tenui solabitur ervo!
Cowper, in fact, was the first writer to introduce that intimate union of the home affections with the love of country which, in the works of Miss Austen and a host of others, was to become one of the unique charms and consolations of English literature. And the element of austere gloom in his character, rarely exposed, but always, we know, in the background, is what most of all relieves his letters from insipidity. Lamb strove deliberately by a kind of crackling mirth to drown the sound of the grave inner voice; Cowper listened reverently to its admonitions, even to its threatenings; he spoke little of what he heard, but it tempered his wit and the snug comfort of his life with that profounder consciousness of what, disguise it as we will, lies at the bottom of the world's experience. We call him mad because he believed himself abandoned of God, and shuddered with remorseless conviction. Put aside for a moment the language of the market place, and be honest with ourselves: is there not a little of our fate, of the fate of mankind, in Cowper's desolation? After all, was his melancholy radically different from the state of that great Frenchman, a lover of his letters withal, Sainte-Beuve, who dared not for a day rest from benumbing labour lest the questionings of his own heart should make themselves heard, and who wrote to a friend that no consolation could reach that settled sadness which was rooted in la grande absence de Dieu?
It is not strange that the society from which Cowper fled should have seemed to him whimsical and a little mad. "A line of Bourne's," he says, "is very expressive of the spectacle which this world exhibits, tragi-comical as the incidents of it are, absurd in themselves, but terrible in their consequences:
Sunt res humanæ flebile ludibrium."
Nor is it strange that he wondered sometimes at the gayety of his own letters: "It is as if Harlequin should intrude himself into the gloomy chamber, where a corpse is deposited in state. His antic gesticulations would be unseasonable, at any rate, but more especially so if they should distort the features of the mournful attendants into laughter." But it is not the humour of the letters that attracts us so much as their picture of quiet home delights in the midst of a stormy world. We linger most over the account of those still evenings by the fireside, while Mrs. Unwin, and perhaps their friend Lady Austen, was busy with her needles—
Thy needles, once a shining store,
For my sake restless heretofore,
Now rust disused, and shine no more,
My Mary!—
and while Cowper read aloud from some book of travels and mingled his comments with the story of the wanderer:
My imagination is so captivated upon these occasions that I seem to partake with the navigators in all the dangers they encountered. I lose my anchor; my mainsail is rent into shreds; I kill a shark, and by signs converse with a Patagonian, and all this without moving from the fireside.
And here I cannot but regret again that we have not an edition of these letters interspersed with the passages of The Task, which describe the same scenes. I confess that two-thirds at least of that poem is indeed a task to-day. The long tirades against vice, and the equally long preaching of virtue, all in blank verse, lack, to my ear, the vivacity and the sustaining power of the earlier rhymed poems, such as Hope (that superb moralising on the poet's own life) and Retirement, to name the best of the series. But the fourth book of The Task, and, indeed, all the exquisite genre pictures of the poem: