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of the sewder. For no sooner shall that divine hand touch thee, but that thy baseness shall be turned to most high preferment. Therefore mourn boldly my ink: for while she looks upon you, your blackness will shine : cry out boldly my lamentation, for while she reads you, your cries will be music. Say then (0 happy messenger of a most unhappy message) that the too soon born and too late dying creature, which dares not speak, no, not look, no, not scarcely think (as from bis miserable self unto her heavenly highness), only presumes to desire thee (in the time that her eyes and voice do exalt thee) to say, and in this manner to say, not from him, oh no, that were not fit, but of him, thus much unto her sacred judgment. O you, the only honour to women, to men the only admiration, you that being armed by love, defy him that armed you, in this high estate wherein you have placed me" [i.e. the letter] “ yet let me remember him to whom I am bound for bringing me to your presence : and let me remember him, who (since he is yours, how mean soever he be) it is reason you

have an account of him. The wretch (yet your wretch) though with languishing steps runs fast to his grave; and will you suffer a temple (how poorly built soever, but yet a temple of your deity) to be rased ? But he dyeth : it is most true, he dyeth : and he in whom you live, to obey you, dyeth. Whereof though he plain, he doth not complain : for it is a harm, but no wrong, which he hath received. He dies, because in woeful language all bis senses tell him, that such is your pleasure: for if you will not that he live, alas, alas, what followeth, what followeth of the most ruined Dorus, but his end ? End, then, evil-destined Dorus, end; and end thou woeful letter, end : for it sufficeth her wisdom to know, that her heavenly will shall be accomplished.”

Lib. ii. p. 117.

This style relishes neither of the lover nor the

poet. Nine-tenths of the work are written in this manner.

It is in the very manner of those books of gallantry and chivalry, which, with the labyrinths of their style, and “the reason of their unreasonableness,” turned, the fine intellects of the Knight of La Mancha. In a word (and not to speak it profanely), the Arcadia is a riddle, a rebus, an acrostic in folio: it contains about 4000 far-fetched similes, and 6000 impracticable dilemmas, about 10,000 reasons for doing nothing at all, and as many more against it; numberless alliterations, puns, questions and commands, and other figures of rhetoric; about a score good passages, that one may turn to with pleasure, and the most involved, irksome, improgressive, and heteroclite subject that ever was chosen to exercise the pen or patience of

It no longer adorns the toilette or lies upon the pillow of Maids of Honour and Peeresses in their own right (the Pamelas and Philocleas of a later age), but remains upon the shelves of the libraries of the curious in long works and great names, a monument to shew that the author was one of the ablest men and worst writers of the age of Elizabeth.

.

man.

His Sonnets, inlaid in the Arcadia, are jejune, far-fetched and frigid. I shall select only one that has been much commended. It is to the High Way where his mistress had passed, a strange subject, but not unsuitable to the author's genius.

High-way, since you my chief Parnassus be,
And that my Muse (to some ears not unsweet)
Tempers her words to trampling horses' feet
More oft than to a chamber melody;
Now blessed

you

bear onward blessed me
To her, where I my heart safe left shall meet;
My Muse, and I must you of duty greet
With thanks and wishes, wishing thankfully.
Be you still fair, honour'd by public heed,
By no encroachment wrong'd, nor time forgot;
Nor blamed for blood, nor shamed for sinful deed;
And that you know, I envy you no lot
Of highest wish, I wish you so much bliss,
Hundreds of
years you Stella's feet

may

kiss."

The answer of the High-way has not been preserved, but the sincerity of this appeal must no doubt have moved the stocks and stones to rise and sympathise. His Defence of Poetry is his most readable performance; there he is quite at home, in a sort of special pleader's office, where his ingenuity, scholastic subtlety, and tenaciousness in argument stand him in good stead; and he brings off poetry with flying colours; for he was a man of wit, of sense, and learning, though not a poet of true taste or unsophisticated genius.

LECTURE VII.

CHARACTER OF LORD BACON'S WORKS -COMPARED AS TO STYLE WITH SIR THOMAS BROWN

AND JEREMY TAYLOR.

Lord Bacon has been called (and justly) one of the wisest of mankind. The word wisdom characterises him more than any other. It was not that he did so much himself to advance the knowledge of man or nature, as that he saw what others had done to advance it, and what was still wanting to its full accomplishment. He stood upon the high 'vantage ground of genius and learning; and traced, “ as in a map the

voyager his course," the long devious march of human intellect, its elevations and depressions, its windings and its errors. He had a “ large discourse of reason, looking before and after." He had made an exact and extensive survey of human acquirements: he took the gauge and meter, the depths and soundings of the human capacity. He was master of the comparative anatomy of the mind of man, of the balance of power among the different faculties.

He had thoroughly investigated and carefully registered the steps and processes of his own thoughts, with their irregularities and failures, their liabilities to wrong conclusions, either from the difficulties of the subject, or from moral causes, from prejudice, indolence, vanity, from conscious strength or weakness; and he applied this self-knowledge on a mighty scale to the general advances or retrograde movements of the aggregate intellect of the world. He knew well what the goal and crown of moral and intellectual power was, how far men had fallen short of it, and how they came to miss it. He had an instantaneous perception of the quantity of truth or good in any given system ; and of the analogy of any given result or principle to others of the same kind scattered through nature or history. His observations take in a larger range, have more profundity from the fineness of his tact, and more comprehension from the extent of his knowledge, along the line of which his imagination ran with equal celerity and certainty, than

any

other person's, whose writings I know. He however seized upon these results, rather by intuition than by inference: he knew them in their mixed modes, and combined effects rather than by abstraction or analysis, as he explains them to others, not by resolving them into their component parts and elementary principles,

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