out the sun, and carpeting the floor. Here now most of his time was spent, with myrtles in the window, and birds and rustling foliage making melody all around, and the letter describing it is perhaps the most beautiful of all his beautiful letters.* This summerhouse is now classic ground, and the care of each successive owner has preserved it to this day in its original state.

Cowper says, in one of his letters written at this period, that he has only read one English poet for the last twenty years; a statement sufficient to justify me in not comparing him with other writers of the time. He had nothing to do with them. He may have read Percy's Reliques (published the same year that he removed to Huntingdon), but it is not very likely. The author whose style he imitated most was Churchill. But his position was a new one in literature. His foremost idea when he began "The Progress of Error" was to be, not merely a Poet, but a teacher,- -a Vates. The title which Hayley gives him, "The Bard of Christianity," expresses what he sought after for himself. "Table Talk" was not the first written of the long poems, but he placed it first, as explaining his aims. As its name implies, it is a somewhat desultory production. A. and B. begin to converse about true and false Glory, then pass on to the duties, difficulties, and shortcomings of kings. A. hints that B. might turf his verse to useful account by propounding therein some plan for paying the national debt, but is told that even the engineering skill of Brindley could not turn Helicon to such a purpose. "Let us, at all events," says A. "have something practical. Why does a Briton love liberty?" This leads to a discussion of the English character, and of the use and abuse of liberty. B. takes a gloomy view of the present position of England, but A. reminds him that a like view was widely prevalent just when Lord Chatham's wonderful successes began. "Yet that view was correct," replies B., "and if Sin get the mastery of the nation the gloomy prognostications will yet come true." The growing passion of the verses excites A.'s notice, and this leads to a descant upon the functions of the Poet, and this again to the present condition of English Poetry. The bard holds that there is one new field into which the Poet may enter, namely, Religion.

"All other themes are sped,

Hackneyed and worn to the last flimsy thread."

It were indeed, he exclaims, a noble aim for one to entrance his hearers by singing the love of Christ. Better even doggrel verse on high topics than flowing numbers on base ones. This is the author's preface, in fact, to the rest. What was the character of the religion which he thus set himself to expound we need hardly say. It was "Evangelicalism," the form which all earnestness took at that period in the history of the Church of England, the reaction against the "Evidential" and "Moral" Theology of the years preceding. Its defects as well as

* "o Newton, Aug. 16, 1781.

excellences are faithfully reflected in the poems of Cowper. "Experimental" was one of Newton's favourite words, and the religion taught by him was too much based upon experiences and thoughts and feelings, and thus often fell short of the fulness and breadth of the Gospel. The morbid self-consciousness which is often so painful in Cowper is certainly owing, in some degree, to the same cause. The two quiet recluses at Olney, spending half their time in reading Evangelical sermons, and discussing them afterwards,* never brought into contact with active men of the world, became unable to make allowance, or to view charitably opinions which did not coincide with their own. But, on the other hand, Cowper's natural kindliness and generosity caused his narrowness of view to vanish directly he came into contact with good people who thought differently. The indignation which flashes along his lines is directed against an abstract "Mr. Legality;" had he met with him in the flesh, he would have shown more consideration for him. The only personalities in these poems are the attacks upon "Occiduus" and Madan, both in "The Progress of Error." Had he known a live bishop, he might even have shown some mercy to his order. Certainly no man ever disliked bishops more cordially; and as one looks over the list of that period there seems little reason why he should have held them in veneration. Thomas Newton and Lowth are the only names which have any claim to be remembered. A curious instance of what we have been saying is furnished by the fact that in his poem of "Expostulation" Cowper spoke severely of the Roman Catholics, but, after it was printed off, cancelled the leaf. It has been commonly asserted and denied that he did so out of respect to the Throckmortons, who were Roman Catholics, and whose acquaintance he had made in the interval. § It is not unlikely that there is some truth in this statement. They came into his neighbourhood just at the time when the poem was being printed, and though there was no intimacy till two years after, there were civilities between them. But it was probably simple good taste which led him to make the cancel. One thing we never lose sight of in reading Cowper-he is a gentleman, well-bred, scholarly, pure-minded, sincere, and without offence. When

he exchanged a harsh view for a more charitable one, it was not through policy, but because experience had modified his opinion.

He had no books of his own,

His political views also smack of his retirement. and was dependent upon loans from his friends. His knowledge of history was very slight. For example, he thought that the Latin element in our language was owing to the Roman conquest. He sat at home and read Mrs. Macaulay and the St. James's Chronicle, and prophesied without a misgiving of error that the

See page xxxiv.

+I do not know whether the following expression of opinion has ever appeared in print. I copied it from his MS.: "Bishops are κaka Unpia, yaøtepes apɣo." Dated Sept. 24, 1786. It is characteristic of him that on renewing acquaintance, years afterwards, with his old friend Walter Bagot, he went somewhat out of his way to speak a civil word of his brother, who had been made Bishop of Norwich (Tirocinium, p. 290, 1. 435). 1 See note on Expostulation, l. 390.

§ See hereafter, page lv.

moment the Americans gained their independence England would fall to utter destruction.

The titles of his poems are somewhat misleading. "The Progress of Error," for example, leads us to expect a philosophical disquisition, whereas we find that the sum of this poem is that operas, card-playing, intemperance, gluttony, reading of bad novels, are the causes of Error; that they who hate truth shall be the dupe of lies. Quite true, of course; but who supposes that this is an adequate account of the progress of Error? In like manner "Truth" is not an essay upon Truth in the abstract, but an assertion of the sinfulness of man, the perfection of God, and hence the need of the propitiation of Christ.

The author improves in his style by practice. The versification of the "Progress of Error" is harsh, but that of “Expostulation” is highly finished. The latter is throughout a beautiful poem. It is an impassioned address to England to avoid the sin, and the consequent ruin, of the Jews, and is said to have been suggested by a fast-sermon of Newton's. Cowper himself liked it better than those which preceded it.* So, too, although "Hope" is based on the same idea as that which forms the subject of " Truth," and contains nothing that has not been said before, it is much more pleasing and kindly in expression. "Charity" really concludes this series of Poems ; "Conversation" and "Retirement" are quite distinct from it. "Conversation" is the lightest in tone of all; its versification, too, is delightful, while the whole piece is full of wisdom and goodness. "Retirement" has been called the most poetical piece, being rich in illustration, as well as graceful and picturesque. There is less satire in it than in the other pieces. But taken as a whole, the stinging satire is the most telling feature of the whole series of Poems. The sketches of the fox-hunting clergyman and of the travelling youth in the "Progress of Error," of "the ancient prude" in "Truth," of the proser in 'Conversation," and, best of all, of Sir Smug in "Hope" are wonderfully pointed and vigorous. The force and severity, joined to good humour and freedom from coarseness and offensiveness, have never been excelled unless by the lamented author of the "Book of Snobs." His language is always well chosen, always the handmaid of the sense. Sometimes he bursts out into impassioned earnestness, as in "Expostulation," and at the end of “Hope.” But he falls back into placid smoothness. To use his own simile, he always rides Pegasus with a curb. His rhymes are very frequently indeed inexact, more so than those of any English poet.+ It would be hard to find a page without a false rhyme or a prosaic line. He intended to produce variety, but when we find him expressing his belief that he has removed all inaccuracies, we can only say that his ear was at fault.

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* "I have written it with tolerable ease to myself, and in my own opinion (for an opinion I am bound to have about what I write whether I will or no), with more emphasis and energy than in either of the others.

+ See note on page 3.

Such was his first volume. It appeared in March 1782; its price was 35. He sent copies to a few only of his friends. Among them were the Chancellor and Colman, now manager of the Haymarket theatre. The copy to Thurlow was accompanied by the following letter :

"Olney, Bucks, Feb. 25, 1782.

"MY LORD, I make no apology for what I account a duty; I should offend against the cordiality of our former friendship should I send a volume into the world, and forget how much I am bound to pay my particular respects to your Lordship upon that occasion. When we parted you little thought of hearing from me again; and I as little that I should live to write to you, still less that I should wait on you in the capacity of an author.

"Among the pieces I have the honour to send, there is one for which I must entreat your pardon. I mean that of which your Lordship is the subject. The best excuse I can make is, that it flowed almost spontaneously from the affectionate remembrance of a connexion that did me so much honour.

"As to the rest, their merits, if they have any, and their defects, which are probably more than I am aware of, will neither of them escape your notice. But where there is much discernment, there is generally much candour; and I commit myself into your Lordship's hands, with the less anxiety, being well acquainted with yours.

"If my first visit, after so long an interval should prove neither a troublesome nor a dull one, but especially if not altogether an unprofitable one, omne tuli punctum.

"I have the honour to be, though with very different impressions of some subjects, yet with the same sentiments of affection and esteem as ever, your Lordship's faithful and most obedient, humble servant, "W. C."

Neither Thurlow nor Colman acknowledged the gift; and Hill, who of course was much with Thurlow, and had mentioned Cowper's name to him, never heard a word from him on this subject. Colman, too, on publishing his translation of the Ars Poetica soon after, hurt Cowper's feelings by not sending him a copy. Some months after, the poor Poet, who had hitherto hoped against hope, gave vent to his wounded feelings in his indignant "Valediction."*

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Striving to be unconcerned, he now watched to see his volume running the gauntlet of the critics. The Critical Review immediately fell foul of the volume. Southey has disinterred and gibbeted the article, which is evidently the work of some pert and ignorant youth-"nothing more nor less than a pompous noodle," as Thackeray said of one of his critics. A few excerpts will suffice :-"Not possessed of any abilities or power of genius ;" "weak and languid verses ;" "neither novelty, spirit, or animation;" "flat and tedious;" no better than a dull sermon ; 'very indifferent verse ; coarse, vulgar, and unpoetical. Other magazines, the Gentleman's and the London, spoke in approbation; and Dr. Benjamin Franklin delighted the Poet by writing to Mr. Thornton, who sent him the volume, a discriminating and highly favourable opinion. The Monthly, the chief of the reviews, delayed a long time, but at length spoke in praise. But though the critics admitted him as a poet, they could not make him a popular one. People apparently made up their minds that he was a very good sort of a man, who wrote nice verses on the Evangelical side, and troubled themselves no more about him. The volume did not sell. Another lady became the means of making him popular.

Lady Austen was the widow of a baronet, and sister-in-law of a clergyman named Jones, residing at Clifton, near Olney, with whom Cowper had a slight acquaintance. In the summer of 1781, whilst he was preparing his first volume for press, Cowper saw the two sisters shopping in the street at Olney. He was so struck with Lady Austen's appearance that he persuaded Mrs. Unwin to invite them to tea. They came; then he was so shy that Mrs. Unwin had difficulty in bringing him to meet them. But as soon as they met all reserve vanished, and they were "like old friends together." Lady Austen and he soon came to address each other as "William" and "Sister Ann." For a while all went delightfully. She was lively and full of anecdote, and sang and played well; and she was pleased with him, the well-bred, interesting, thoughtful man. The party dined, walked, pic-nicked together constantly, and Lady Austen announced her intention of taking a house at Olney, as the lease of her town house was nearly out. When she returned to town in October, both Cowper and Mrs. Unwin felt the blank. The "Poetical Epistle" at p. 337 was addressed to her during this absence, and may be read with interest here. It will be seen that he anticipated great results from the new acquaintance, though what they are to be does not exactly appear. It was written in December 1781, yet in the following February a fracas had taken place which nearly brought the acquaintance to an end. The circumstances are unknown, the only account being contained in a letter from Cowper to Unwin. "The lady, in her correspondence," he says, "expressed a sort of romantic idea of our merits, and built such expectations of felicity upon our friendship, as we were sure that nothing human can possibly answer, and I wrote to her not to think more lightly of us than the subject would warrant; and intimating that when we embellish a creature with colours taken from our own fancy, and so adorned, admire and praise it beyond its real merits, we make it an idol, and have nothing to expect in the end but that it will deceive our hopes, and that we shall derive nothing from it but a painful conviction of our error. Your mother heard me read the letter; she read it herself, and honoured it with her warm approbation. But it gave mortal offence. It received, indeed, an answer, but such a one as I could by no means reply to." What are we to make of all this? Had Lady Austen fallen in love with him, and been repelled in this letter of his at Mrs. Unwin's instigation? Or was Mrs. Unwin jealous without cause? If so, no wonder that Lady Austen was angry. Probability, considering events which followed, inclines to the former view. That it was a quarrel between the ladies especially, appears from an expression of Hayley, who had seen the correspondence. He calls it a trifling feminine discord."

.

Meanwhile Cowper might with advantage have learned from this, that two persons who are not brother and sister had better not call themselves so. However, the breath was soon healed. She sent him some worked ruffles as a present, got