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est change from rich to naked, from cieled roofs to arched coffins, from living like Gods to die like men. There is enough to cool the flames of lust, to abate the heights of pride, to appease the itch of covetous desires, to sully and dash out the dissembling colours of a lustful, artificial, and imaginary beauty. There the warlike and the peaceful, the fortunate and the miserable, the beloved and the despised princes mingle their dust, and pay down their symbol of mortality, and tell all the world that when we die, our ashes shall be equal to kings, and our accounts easier, and our pains for our crimes shall be less*. To my apprehension, it is a sad
* The above passage is an inimitably fine paraphrase of some lines on the tombs in Westminster Abbey by F. Beaumont. It shows how near Jeremy Taylor's style was to poetry, and how well it weaves in with it.
“ Mortality, behold, and fear,
What a charge of flesh is here!"
record which is left by Athenæus concerning Ninus the great Assyrian monarch, whose life and death is summed up in these words : " Ninus the Assyrian had an ocean of gold, and other riches more than the sand in the Caspian sea; he never saw the stars, and perhaps he never desired it; he never stirred up the holy fire among the Magi; nor touched bis God with the sacred rod according to the laws: he never offered sacrifice, nor worshipped the deity, nor administered justice, nor spake to the people; nor numbered them: but he was most valiant to eat and drink, and having mingled his wines, he threw the rest upon the stones.
This man is dead: behold his sepulchre, and now hear where Ninus is. Sometime I was Ninus, and drew the breath of a living man, but now am nothing but clay. I have nothing but what I did eat, and what I served to myself in lust is all my portion: the wealth with which I was blessed, my enemies meeting together shall carry away, as the mad Thyades carry a raw goat. I am gone to hell: and when I went thither, I neither carried gold nor horse, nor silver chariot. I that wore a mitre, ain now a little heap of dust."
He who wrote in this manner also wore a mitre, and is now a heap of dust; but when the name of Jeremy Taylor is no longer remembered with reverence, genius will have become a mockery, and virtue an empty shade!
THE SPIRIT OF ANCIENT AND MODERN LITERA
TURE-ON THE GERMAN DRAMA, CONTRASTED WITH THAT OF THE AGE OF ELIZABETH.
Before I proceed to the more immediate subject of the present Lecture, I wish to say a few words of one or two writers in our own time, who have imbibed the spirit and imitated the language of our elder dramatists. Among these I may reckon the ingenious author of the Apostate and Evadne, who in the last-mentioned play, in particular, has availed himself with much judgment and spirit of the tragedy of the Traitor by old Shirley. It would be curious to hear the opinion of a professed admirer of the Ancients, and captious despiser of the Moderns, with respect to this production, before he knew it was a copy of an old play. Shirley himself lived in the time of Charles I. and died in the beginning of Charles II.*; but he had formed his style on that of the preceding age, and had written the greatest number of his plays in conjunction with Jonson, Deckar, and Massinger. He was “ the last of those fair clouds that on the bosom of bright honour sailed in long procession, calm and beautiful.” The name of Mr. Tobin is familiar to every lover of the drama. His Honey-Moon is evidently founded on The Taming of a Shrew, and Duke Aranza has been pronounced by a polite critic to be “ an elegant Petruchio.” The plot is taken from Shakespear; but the language and sentiments, both of this play and of the Curfew, bear a more direct resemblance to the flowery tenderness of Beaumont and Fletcher, who were, I believe, the favourite study of our author. Mr. Lamb's John Woodvil may be considered as a dramatic fragment, intended for the closet rather than the stage. It would sound oddly in the lobbies of either theatre, amidst the noise and glare and bustle of resort; but “there where we have treasured up our hearts,” in silence and in solitude, it may claim and find a place for itself. It might be read with advantage in the still retreats of Sherwood Forest, where it would throw a new-born light on the green, sunny glades; the tenderest flower might seem to drink of the poet's spirit, and “the tall deer that paints a dancing shadow of his horns in the swift brook,” might seem to do so ip mockery of the poet's thought. Mr. Lamb, with a modesty often attendant on fine feeling, has loitered too long in the humbler avenues leading to the temple of ancient genius, instead of marching boldly up to the sanctuary, as many with half his pretensions would have done: “ but fools rush in, where angels fear to tread.” The defective or objectionable parts of this production are imitations of the defects of the old writers : its beauties are his own, though in their manner. The touches of thought and passion are often as pure and delicate as they are profound; and the character of his heroine Margaret is perhaps the finest and most genuine female character out of Shakespear. This tragedy was not critic-proof: it had its cracks and flaws and breaches, through which the enemy marched in triumphant. The station which he had chosen was not indeed a walled town, but a straggling village, which the experienced engineers proceeded to lay waste; and he is pinned down in more than one Review of the day, as an exemplary warning to indiscreet writers, who venture beyond the pale of periodical taste and conventional criticism. Mr. Lamb was thus hindered by the taste of the polite vulgar from writing as he wished; his own taste would not allow him to write like them: and he (perhaps wisely) turned critic and prose-writer in his own defence. To say that he has written better about
* He and his wife both died from fright, occasioned by the great fire of London in 1665, and lie buried in St. Giles's church-yard.