Rules and Cautelis for the fashioning of the same, he has no time to observe that his mother is being led to death. But what is a mother’s life to those imperishable works?
“How, best of poets, dost thou laurel wear!”
roars lusty Ben Jonson, brimful of sack and loyalty.
“Thou best of poets more than man dost prove,”
echoes the faithful Stirling. Yet, strange as it may seem, we can never read these superhuman productions with any comfort. The Divine Sonnets fade, and instead we see the gloomy stage at Fotheringay, the hapless but heroic victim, the frowning earls, the gleaming axe, the fair head dabbled with gore. Let us turn to merely human geniuses.
In this time of inspiration, with all England, from prince to peasant, bursting into song and three-fourths Catholic, we find from Spenser to Cowley a scant dozen, or, counting Shakspere, at most a baker’s dozen, of Catholic poets worth naming. And Shakspere, in spite of Charles Butler’s ingenious theory and its spirited revival by Mr. George Wilkes, we can scarcely claim. That great poet’s religious creed, like other important features of his life, must no doubt remain always matter of conjecture. If he was a Catholic, his creed was probably no more than a tradition, strong enough to keep his pages free from the pictures of dissolute monks and nuns in which most of his contemporary playwrights delighted, but far from the fervor which sent Southwell to the scaffold, or the sincerity which, in a milder age, made Sherburne welcome poverty and disgrace. Omitting Shakspere, then, our muster-roll is but short. For this there were many reasons. In
those days there was other work for Catholics than verse-making; the church needed martyrs, not minstrels, and the blood-stained record of the English mission tells how intrepidly the need was met. Southwell and Campian are only two of a brilliant band almost equally gifted, equally heroic. The life they led promised little for polite letters. Hunted like wild beasts, in hourly danger of the most cruel and ignominious death; sleeping, when they slept, in hayricks or the open fields; studying, when they caught a breathing-spell for study, in caves and thickets—many of these noble youths have left behind them proofs of a genius which, under happier auspices, would have borne abundant fruit. Southwell’s poems, composed in the intervals of thirteen rackings, reveal a spirit of uncommon force and beauty. Campian is known to have written at least one tragedy, Nectar and Ambrosia, performed at Vienna before the Emperor Rodolph. It must be remembered, too, that both of these dauntless missionaries were cut off in the very flower of their age, Southwell being thirty-two and Campian forty when executed. Francis Beaumont, cousin and namesake of the dramatist, was a Jesuit and a poet. So was Jasper Heywood, son of the epigrammatist. He translated several tragedies of Seneca, and is said by some to have been one of the one hundred and twenty-eight priests executed by the clement Elizabeth. He is one of Cibber’s Poets. Ellis Heywood, his brother, also a Jesuit, though he left behind him a prose work in Italian, is not known to have written in verse. Of Crashaw, whose fortune it was to live at a time when the storm of persecution had spent its fiercest fury,
when Catholics were subject no longer to be murdered, but only to be robbed—of Crashaw, whose “power and opulence of invention” Coleridge has remarked, another critic has said that, with more taste and judgment,” he would have outstripped most of his contemporaries, even Cowley.”
These were all priests. But outside of the priesthood Catholics found work in other directions which left little leisure for literary pursuits. Chidiock Titchbourne, whose talents and unhappy fate the elder Disraeli has feelingly commemorated, was one of “an association in London of young Catholic gentlemen of family who met at the house of Mr. Gilbert, in Fetter Lane, and took care of Jesuits.” Thomas Habington, an associate of Titchbourne in this enterprise, and who, if not a poet himself, was at least the father of a poet, narrowly escaped hanging for concealing in his house the Jesuits Garnett and Oldcome, accused of complicity in the Gunpowder Plot. Dymoke, the champion of England, apparently the same who translated Il Pastor Fido, won the title to a more glorious championship by dying (1610) in the Tower, where he had been imprisoned for his resolute refusal to conform. Dr. Lodge, a most charming poet as well as an eminent physician, we find in “the list of popish recusants indicted at the sessions holden for London and Middlesex, February 15, 1604.” It is of interest to note en passant that with Dr. Lodge was indicted for the same cause “Ambrose Rookwood, of the army.” Twenty months later Ambrose Rookwood, of the army, expressed his opinion of this treatment by engaging in the Gunpowder Treason. At a later period we have Sir Edward
Sherburne, a scholar and poet of no mean pretensions, resigning offices of large emolument rather than betray his faith. Certainly, under the last of the Tudors and the first of the Stuarts a Catholic poet may be said to have cultivated his art under difficulties.