However novel this phaenomenon may have been in Germany at the time of Gellert, it is by no means new, nor yet of recent existence in our language. Spite of the licentiousness with which Spenser occasionally compels the orthography of his words into a subservience to his rhymes, the whole FAIRY QUEEN is an almost continued instance of this beauty. Waller’s song GO, LOVELY ROSE, is doubtless familiar to most of my readers; but if I had happened to have had by me the Poems of Cotton, more but far less deservedly celebrated as the author of the VIRGIL TRAVESTIED, I should have indulged myself, and I think have gratified many, who are not acquainted with his serious works, by selecting some admirable specimens of this style. There are not a few poems in that volume, replete with every excellence of thought, image, and passion, which we expect or desire in the poetry of the milder muse; and yet so worded, that the reader sees no one reason either in the selection or the order of the words, why he might not have said the very same in an appropriate conversation, and cannot conceive how indeed he could have expressed such thoughts otherwise without loss or injury to his meaning.
But in truth our language is, and from the first dawn of poetry ever has been, particularly rich in compositions distinguished by this excellence. The final e, which is now mute, in Chaucer’s age was either sounded or dropt indifferently. We ourselves still use either “beloved” or “belov’d” according as the rhyme, or measure, or the purpose of more or less solemnity may require. Let the reader then only adopt the pronunciation of the poet and of the court, at which he lived, both with respect to the final e and to the accentuation of the last syllable; I would then venture to ask, what even in the colloquial language of elegant and unaffected women, (who are the peculiar mistresses of “pure English and undefiled,”) what could we hear more natural, or seemingly more unstudied, than the following stanzas from Chaucer’s TROILUS AND CRESEIDE.
“And after this forth to the gate he wente,
Ther as Creseide out rode a ful gode pass,
And up and doun there made he many’ a wente,
And to himselfe ful oft he said, Alas!
Fro hennis rode my blisse and my solas
As woulde blisful God now for his joie,
I might her sene agen come in to Troie!
And to the yondir hil I gan her Bide,
Alas! and there I toke of her my leve
And yond I saw her to her fathir ride;
For sorow of whiche mine hert shall to-cleve;
And hithir home I came whan it was eve,
And here I dwel, outcast from ally joie,
And steal, til I maie sene her efte in Troie.
“And of himselfe imaginid he ofte
To ben defaitid, pale and woxin lesse
Than he was wonte, and that men saidin softe,
What may it be? who can the sothe gesse,
Why Troilus hath al this hevinesse?
And al this n’ as but his melancolie,
That he had of himselfe suche fantasie.
Anothir time imaginin he would
That every wight, that past him by the wey,
Had of him routhe, and that thei saien should,
I am right sory, Troilus wol dey!
And thus he drove a daie yet forth or twey,
As ye have herde: suche life gan he to lede
As he that stode betwixin hope and drede:
For which him likid in his songis shewe
Th’ encheson of his wo as he best might,
And made a songe of words but a fewe,
Somwhat his woful herte for to light,
And whan he was from every mann’is sight
With softe voice he of his lady dere,
That absent was, gan sing as ye may here:
This song, when he thus songin had, ful Bone
He fil agen into his sighis olde
And every night, as was his wonte to done;
He stode the bright moone to beholde
And all his sorowe to the moone he tolde,
And said: I wis, whan thou art hornid newe,
I shall be glad, if al the world be trewe!”
Another exquisite master of this species of style, where the scholar and the poet supplies the material, but the perfect well-bred gentleman the expressions and the arrangement, is George Herbert. As from the nature of the subject, and the too frequent quaintness of the thoughts, his TEMPLE; or SACRED POEMS AND PRIVATE EJACULATIONS are Comparatively but little known, I shall extract two poems. The first is a sonnet, equally admirable for the weight, number, and expression of the thoughts, and for the simple dignity of the language. Unless, indeed, a fastidious taste should object to the latter half of the sixth line. The second is a poem of greater length, which I have chosen not only for the present purpose, but likewise as a striking example and illustration of an assertion hazarded in a former page of these sketches namely, that the characteristic fault of our elder poets is the reverse of that, which distinguishes too many of our more recent versifiers; the one conveying the most fantastic thoughts in the most correct and natural language; the other in the most fantastic language conveying