These mighty peers placed in the gilded barge,
Proud with the burden of so brave a charge,
With painted oars the youths begin to sweep
Neptune's smooth face, and cleave the yielding deep;
Which soon becomes the seat of sudden war
Between the wind and tide that fiercely jar.
As when a sort of lusty shepherds try
Their force at football, care of victory
Makes them salute so rudely breast to breast,
That their encounters seem too rough for jest;
They ply their feet, and still the restless ball,
Tossed to and fro, is urged by them all:
So fares the doubtful barge 'twixt tide and winds,
And like effect of their contention finds.
(Waller: Of the Danger his Majesty [being Prince] escaped in the Road at St. Andrews. 1623?)
Such is the mould that the blest tenant feeds
On precious fruits, and pays his rent in weeds;
With candied plantains, and the juicy pine,
On choicest melons and sweet grapes they dine,
And with potatoes fat their wanton swine;
Nature these cates with such a lavish hand
Pours out among them, that our coarser land
Tastes of that bounty, and does cloth return,
Which not for warmth but ornament is worn;
For the kind spring, which but salutes us here,
Inhabits there and courts them all the year;
Ripe fruits and blossoms on the same trees live,
At once they promise what at once they give;
So sweet the air, so moderate the clime,
None sickly lives, or dies before his time....
O how I long my careless limbs to lay
Under the plantain's shade, and all the day
With amorous airs my fancy entertain,
Invoke the Muses, and improve my vein!
(Waller: The Battle of the Summer Islands, canto i. 1638.)
Edmund Waller is the chief representative of the early classical poetry of the seventeenth century, and of the polishing and regulating of the couplet which prepared the way for the verse of Dryden and Pope. The dominant characteristic of this verse is its avoidance of enjambement, or run-on lines, still more of run-on couplets. The growing precision of French verse at the same time was perhaps influential in England. Malherbe, who was at the French court after 1605, set rules for more regular verse, and forbade, among other things, the use of run-on lines—a precept which held good in French poetry until the nineteenth century. The influence of Waller in England was, for a considerable period, hardly less than that of Malherbe in France. Dryden said that "the excellence and dignity" of rime "were never known till Mr. Waller taught it; he first made writing easily an art; first showed us to conclude the sense most commonly in distichs, which, in the verse of those before him, runs on for so many lines together that the reader is out of breath to overtake it. This sweetness of Mr. Waller's lyric poesy was afterward followed, in the epic, by Sir John Denham, in his Cooper's Hill." (Epistle Dedicatory of The Rival Ladies.) In another place Dryden observed that only Waller, in English, had surpassed Spenser in the harmony of his verse. Dryden's view was later echoed by Pope, who exhorted his readers to
"praise the easy vigor of a line
Where Denham's strength and Waller's sweetness join."
(Essay on Criticism, l. 360.)
But the most remarkable praise of Waller is found in the Preface to his posthumous poems, 1690, generally attributed to Bishop Atterbury. "He was indeed the parent of English verse, and the first that shewed us our tongue had beauty and numbers in it.... The tongue came into his hands like a rough diamond; he polished it first, and to that degree that all artists since him have admired the workmanship, without pretending to mend it.... He undoubtedly stands first in the list of refiners, and for aught I know, last, too; for I question whether in Charles the Second's reign English did not come to its full perfection; and whether it has not had its Augustan Age, as well as the Latin.... We are no less beholding to him for the new turn of verse, which he brought in, and the improvement he made in our numbers. Before his time men rhymed, indeed, and that was all: as for the harmony of measure, and that dance of words which good ears are so much pleased with, they knew nothing of it. Their poetry then was made up almost entirely of monosyllables, which, when they come together in any cluster, are certainly the most harsh, untunable things in the world. If any man doubts of this, let him read ten lines in Donne, and he'll quickly be convinced. Besides, their verses ran all into one another, and hung together, throughout a whole copy, like the hook't atoms that compose a body in Des Cartes. There was no distinction of parts, no regular stops, nothing for the ear to rest upon. But as soon as the copy began, down it went like a larum, incessantly; and the reader was sure to be out of breath before he got to the end of it. So that really verse in those days was but downright prose, tagged with rhymes. Mr. Waller removed all these faults, brought in more polysyllables and smoother measures, bound up his thoughts better and in a cadence more agreeable to the nature of the verse he wrote in: so that wherever the natural stops of that were, he contrived the little breakings of his sense so as to fall in with 'em. And for that reason, since the stress of our verse lies commonly upon the last syllable, you'll hardly ever find him using a word of no force there."[21] Waller's editor thus clearly discerns the very characteristics of his verse which are avoided by the master-poets—the coincidence of phrase-pauses and verse-pauses, and regularity in the placing of stress.
The most important discussion of the influence of Waller on English poetry, and on the heroic couplet in particular, is found in Mr. Gosse's book, From Shakespeare to Pope. Mr. Gosse regards Waller as inventing for himself the couplet of the classical school; "master," in 1623, of such verse as "was not imitated by a single poet for nearly twenty years" (p. [50]). This view is criticised in an interesting article by Dr. Henry Wood, in the American Journal of Philology, vol. xi. p. 55. While Mr. Gosse places Waller's earliest couplets in 1621 and 1623, Dr. Wood would date them as late as 1626, and shows that Waller wrote nothing else until 1635. Meantime had appeared (the first volume at least as early as 1623) the translation of Ovid's Metamorphoses, by George Sandys, in which, says Wood, all the characteristics of Waller's verse appear. "At all events," is his conclusion, "it was Sandys, and not Waller, who at the beginning of the third decade of the century, first of all Englishmen, made a uniform practice of writing in heroic couplets, which are, on the whole, in accord with the French rule, and which, for exactness of construction, and for harmonious sification, go far towards satisfying the demands of the later 'classical' school in England." Dr. Wood emphasizes the probable influence of the French poets on these early heroic couplets, calling attention to the fact that Sandys was in France in 1610. There is no evidence, however, that he was there for more than a few days, en route to more eastern countries. Waller was not in France till 1643. The whole question of the influence of French poetry in England before the Restoration still remains to be carefully investigated. Meantime, the cautious student will hesitate to put too much stress on any single point of departure for the new style of versification. Many influences must have combined to make it popular. We have seen Professor Schelling emphasizing the influence of Jonson; he also very justly points out "that it is a mistake to consider that the Elizabethans often practised the couplet with the freedom, not to say license, that characterizes its nineteenth century use in the hands of such poets as Keats." Compare the couplets of even so romantic a poet as Marlowe, in the specimen given above from Hero and Leander. And even Mr. Gosse, in partial divergence from the doctrines of From Shakespeare to Pope, says of the satiric verse of the Elizabethan Rowlands: "There are lines in this passage which Pope would not have disdained to use. It might, indeed, be employed as against that old heresy, not even yet entirely discarded, that smoothness of heroic verse was the invention of Waller. As a matter of fact, this, as well as all other branches of the universal art of poetry, was understood by the great Elizabethan masters; and if they did not frequently employ it, it was because they left to such humbler writers as Rowlands an instrument incapable of those noble and audacious harmonies on which they chiefly prided themselves." (Introduction to the Works of Rowlands, Hunterian Club ed., p. 16.)
A tribute to the incoming influence of the couplet is cited by Dr. Wood from the poems of Sir John Beaumont (1582-1627). In his verses To His Late Majesty, concerning the True Forme of English Poetry, Beaumont said: