[4] Vide MRS. PILKINGTON'S MEMOIRS, Vol. I.
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MRS. CATHERINE COCKBURN.
The Revd. Dr. Birch, who has prefixed a life of Mrs. Cockburn before the collection he has made of her works, with great truth observes, that it is a justice due to the public, as well as to the memory of Mrs. Cockburn, to premise some account of so extraordinary a person. "Posterity, at least, adds he, will be so sollicitous to know, to whom they will owe the most demonstrative and perspicuous reasonings, upon subjects of eternal importance; and her own sex is entitled to the fullest information about one, who has done such honour to them, and raised our ideas of their intellectual powers, by an example of the greatest extent of understanding and correctness of judgment, united to all the vivacity of imagination. Antiquity, indeed, boasted of its Female Philosophers, whose merits have been drawn forth in an elaborate treatise of Menage[1]. But our own age and country may without injustice or vanity oppose to those illustrious ladies the defender of Lock and Clark; who, with a genius equal to the most eminent of them, had the superior advantage of cultivating it in the only effectual method of improvement, the study of a real philosophy, and a theology worthy human nature, and its all-perfect author. [Transcriber's note: closing quotes missing from original.]
She was the daughter of captain David Trotter, a Scots gentleman, and commander of the royal navy in the reign of Charles II. He was highly in favour with that prince, who employed him as commodore in the demolition of Tangier, in the year 1683. Soon after he was sent to convoy the fleet of the Turkey company; when being seized by the plague, then raging at Scanderoon, he died there. His death was an irreparable loss to his family, who were defrauded of all his effects on board his ship, which were very considerable, and of all the money which he had advanced to the seamen, during a long voyage: And to add to this misfortune, the goldsmith, in whose hands the greatest part of his money was lodged, became soon after a bankrupt. These accumulated circumstances of distress exciting the companion of king Charles, the captain's widow was allowed a pension, which ended with that king's life; nor had she any consideration for her losses in the two succeeding reigns. But queen Anne, upon her accession to the throne, granted her an annual pension of twenty pounds.
Captain Trotter at his death, left only two daughters, the youngest of whom, Catherine, our celebrated author, was born in London, August 16, 1679. She gave early marks of her genius, and was not passed her childhood when she surprized a company of her relations and friends with extemporary verses, on an accident which had fallen under her observation in the street. She both learned to write, and made herself mistress of the French language, by her own application and diligence, without any instructor. But she had some assistance in the study of the Latin Grammar and Logic, of which latter she drew up an abstract for her own use. The most serious and important subjects, and especially [Transcriber's note: 'espepecially' in original] those of religion, soon engaged her attention. But not withstanding her education, her intimacy with several families of distinction of the Romish persuasion exposed her, while very young, to impressions in favour of that church, which not being removed by her conferences with some eminent and learned members of the church of England, she followed the dictates of a misguided conscience, and embraced the Romish communion, in which she continued till the year 1707.
She was but 14 years of age, when she wrote a copy of verses upon Mr. Bevil Higgons's sickness and recovery from the small pox, which are printed in our author's second volume. Her next production was a Tragedy called Agnes de Castro, which was acted at the Theatre-royal, in 1695, when she was only in her seventeenth year, and printed in 1696. The reputation of this performance, and the verses which she addressed to Mr. Congreve upon his Mourning Bride, in 1697, were probably the foundation of her acquaintance with that admirable writer.
Her second Tragedy, intitled Fatal Friendship, was acted in 1698, at the new Theatre in Lincoln's-Inn-Fields. This Tragedy met with great applause, and is still thought the most perfect of her dramatic performances. Among other copies of verses sent to her upon occasion of it, and prefixed to it, was one from an unknown hand, which afterwards appeared to be from the elegant pen of Mr. Hughs, author of the Siege of Damascus [2].
The death of Mr. Dryden engaged her to join with several other ladies in paying a just tribute to the memory of that great improver of the strength, fulness, and harmony of English verse; and their performances were published together, under the title of the Nine Muses; or Poems written by so many Ladies, upon the Death of the late famous John Dryden, Esq;
Her dramatic talents not being confined to Tragedy, she brought upon the stage, in 1701, a Comedy called Love at a Loss; or most Votes carry it, published in May that year. In the same year she gave the public her third Tragedy, intitled, The Unhappy Penitent, acted at the Theatre-Royal in Drury-Lane. In the dedication to Charles lord Hallifax, she draws the characters of several of the most eminent of her predecessors in tragic poetry, with great judgment and precision. She observes, that Shakespear had all the images of nature present to him, studied her thoroughly, and boldly copied all her various features: and that though he chiefly exerted himself on the more masculine passions, it was the choice of his judgment, not the restraint of his genius; and he seems to have designed those few tender moving scenes, which he has given us, as a proof that he could be every way equally admirable. She allows Dryden to have been the most universal genius which this nation ever bred; but thinks that he did not excel in every part; for though he is distinguished in most of his writings, by greatness and elevation of thought, yet at the same time that he commands our admiration of himself, he little moves our concern for those whom he represents, not being formed for touching the softer passions. On the other hand, Otway, besides his judicious choice of the fable, had a peculiar art to move compassion, which, as it is one of the chief ends of Tragedy, he found most adapted to his genius; and never venturing where that did not lead him, excelled in the pathetic. And had Lee, as she remarks, consulted his strength as well, he might have given us more perfect pieces; but aiming at the sublime, instead of being great, he is extravagant; his stile too swelling; and if we pursue him in his flight, he often carries us out of nature. Had he restrained that vain ambition, and intirely applied himself to describe the softest of the passions (for love, of all the passions, he seems best to have understood, if that be allowed a proper subject for Tragedy) he had certainly had fewer defects.