When God at first made man,
Having a glass of blessings standing by,
Let us, said he, pour on him all we can:
Let the world's riches, which dispersed lie,
Contract into a span.
So strength first made a way;
Then beauty flowed; then wisdom, honor, pleasure.
When almost all was out, God made a stay,
Perceiving that, alone of all his treasure,
Rest in the bottom lay.
For, if I should, said he,
Bestow this jewel also on my creature,
He would adore my gifts instead of me,
And rest in Nature, not the God of Nature:
So both should losers be.
Yet let him keep the rest,
But keep them with repining restlessness:
Let him be rich and weary, that at least,
If goodness lead him not, yet weariness
May toss him to my breast.
Among the poems which may be read as curiosities of versification, and which arouse the wrath of the critics against the whole metaphysical school, are those like "Easter Wings" and "The Altar," which suggest in the printed form of the poem the thing of which the poet sings. More ingenious is the poem in which rime is made by cutting off the first letter of a preceding word, as in the five stanzas of "Paradise ":
I bless thee, Lord, because I grow
Among thy trees, which in a row
To thee both fruit and order ow.
And more ingenious still are odd conceits like the poem "Heaven," in which Echo, by repeating the last syllable of each line, gives an answer to the poet's questions.
[The Cavalier Poets.] In the literature of any age there are generally found two distinct tendencies. The first expresses the dominant spirit of the times; the second, a secret or an open rebellion. So in this age, side by side with the serious and rational Puritan, lives the gallant and trivial Cavalier. The Puritan finds expression in the best poetry of the period, from Donne to Milton, and in the prose of Baxter and Bunyan; the Cavalier in a small group of poets,--Herrick, Lovelace, Suckling, and Carew,--who write songs generally in lighter vein, gay, trivial, often licentious, but who cannot altogether escape the tremendous seriousness of Puritanism.
[Thomas Carew] (1598?-1639?). Carew may be called the inventor of Cavalier love poetry, and to him, more than to any other, is due the peculiar combination of the sensual and the religious which marked most of the minor poets of the seventeenth century. His poetry is the Spenserian pastoral stripped of its refinement of feeling and made direct, coarse, vigorous. His poems, published in 1640, are generally, like his life, trivial or sensual; but here and there is found one, like the following, which indicates that with the Metaphysical and Cavalier poets a new and stimulating force had entered English literature:
Ask me no more where Jove bestows,
When June is past, the fading rose,
For in your beauty's orient deep
These flowers, as in their causes, sleep.
Ask me no more where those stars light
That downwards fall in dead of night,
For in your eyes they sit, and there
Fixèd become as in their sphere.
Ask me no more if east or west
The phoenix builds her spicy nest,
For unto you at last she flies,
And in your fragrant bosom dies.
[Robert Herrick] (1591-1674). Herrick is the true Cavalier, gay, devil-may-care in disposition, but by some freak of fate a clergyman of Dean Prior, in South Devon, a county made famous by him and Blackmore. Here, in a country parish, he lived discontentedly, longing for the joys of London and the Mermaid Tavern, his bachelor establishment consisting of an old housekeeper, a cat, a dog, a goose, a tame lamb, one hen,--for which he thanked God in poetry because she laid an egg every day,--and a pet pig that drank beer with Herrick out of a tankard. With admirable good nature, Herrick made the best of these uncongenial surroundings. He watched with sympathy the country life about him and caught its spirit in many lyrics, a few of which, like "Corinna's Maying," "Gather ye rosebuds while ye may," and "To Daffodils," are among the best known in our language. His poems cover a wide range, from trivial love songs, pagan in spirit, to hymns of deep religious feeling. Only the best of his poems should be read; and these are remarkable for their exquisite sentiment and their graceful, melodious expression. The rest, since they reflect something of the coarseness of his audience, may be passed over in silence.
Late in life Herrick published his one book, Hesperides and Noble Numbers (1648). The latter half contains his religious poems, and one has only to read there the remarkable "Litany" to see how the religious terror that finds expression in Bunyan's Grace Abounding could master even the most careless of Cavalier singers.
[Suckling and Lovelace.] Sir John Suckling (1609-1642) was one of the most brilliant wits of the court of Charles I, who wrote poetry as he exercised a horse or fought a duel, because it was considered a gentleman's accomplishment in those days. His poems, "struck from his wild life like sparks from his rapier," are utterly trivial, and, even in his best known "Ballad Upon a Wedding," rarely rise above mere doggerel. It is only the romance of his life--his rich, brilliant, careless youth, and his poverty and suicide in Paris, whither he fled because of his devotion to the Stuarts--that keeps his name alive in our literature.