had been totally neglected by the torpor of the Establishment; that among large classes of the people it was the great civilizing agency of the time.

Newton was succeeded as curate of Olney by his disciple, and a man of somewhat the same cast of mind and character, Thomas Scott the writer of the Commentary on the Bible and The Force of Truth. To Scott Cowper seems not to have greatly taken. He complains that, as a preacher, he is always scolding the congregation. Perhaps Newton had foreseen that it would be so, for he specially commended the spiritual son whom he was leaving, to the care of the Rev. William Bull, of the neighbouring town of Newport Pagnell, a dissenting minister, but a member of a spiritual connexion which did not stop at the line of demarcation between Nonconformity and the Establishment. To Bull Cowper did greatly take; he extols him as "a Dissenter, but a liberal one," a man of letters and of genius, master of a fine imagination-or, rather, not master of it-and addresses him as Carissime Taurorum. It is rather singular that Newton should have given himself such a successor. Bull was a great smoker, and had made himself a cozy and secluded nook in his garden for the enjoyment of his pipe. He was probably something of a spiritual as well as of a physical Quietist, for he set Cowper to translate the poetry of the great exponent of Quietism, Madame Guyon. The theme of all the pieces which Cowper has translated is the sameme-Divine Love and the raptures of the heart that enjoys it-the blissful union of the drop with the Ocean-the Evangelical Nirvana. If this line of thought was not altogether healthy, or conducive to the vigorous performance of practical duty, it was at all

events better than the dark fancy of Reprobation. In his admiration of Madame Guyon, her translator showed his affinity, and that of Protestants of the same school, to Fénelon and the Evangelical element which has lurked in the Roman Catholic church since the days of Thomas à Kempis.

CHAPTER IV.

AUTHORSHIP. THE MORAL SATIRES.

SINCE his recovery, Cowper had been looking out for what he most needed, a pleasant occupation. He tried drawing, carpentering, gardening. Of gardening he had always been fond; and he understood it as shown by the loving though somewhat "stercoraceous" minuteness of some passages in The Task. A little greenhouse, used as a parlour in summer, where he sat surrounded by beauty and fragrance, and lulled by pleasant sounds, was another product of the same pursuit, and seems almost Elysian in that dull dark life. He also found amusement in keeping tame hares, and he fancied that he had reconciled the hare to man and dog. His three tame hares are among the canonized pets of literature, and they were to his genius what "Sailor" was to the genius of Byron. But Mrs. Unwin, who had terrible reason for studying his case, saw that the thing most wanted was congenial employment for the mind, and she incited him to try his hand at poetry on a larger scale. He listened to her advice, and when he was nearly fifty years of age became a poet. He had acquired the faculty of verse-writing, as we have seen; he had even to some extent formed his manner when he was young. Age must by this time have quenched his fire, and tamed his imagination, so

that the didactic style would suit him best. In the length of the interval between his early poems and his great work he resembles Milton; but widely different in the two cases had been the current of the intervening years.

Poetry written late in life is of course free from youthful crudity and extravagance. It also escapes the youthful tendency to imitation. Cowper's authorship is ushered in by Southey with a history of English poetry; but this is hardly in place; Cowper had little connexion with anything before him. Even his knowledge of poetry was not great. In his youth he had read the great poets, and had studied Milton especially with the ardour of intense admiration. Nothing ever made him so angry as Johnson's Life of Milton. "Oh!" he cries, "I could thrash his old jacket till I made his pension jingle in his pocket." Churchill had made a great-far too great -an impression on him, when he was a Templar. Of Churchill, if of anybody, he must be regarded as a follower, though only in his earlier and less successful poems. In expression he always regarded as a model the neat and gay simplicity of Prior. But so little had he kept up his reading of anything but sermons and hymns, that he learned for the first time from Johnson's Lives the existence of Collins. He is the offspring of the Religious Revival rather than of any school of art. His most important relation to any of his predecessors is, in fact, one of antagonism to the hard glitter of Pope.

In urging her companion to write poetry, Mrs. Unwin was on the right path; her puritanism led her astray in the choice of a theme. She suggested The Progress of Error as a subject for a "Moral Satire." It was unhappily adopted, and The Progress of Error was followed

E

by Truth, Table Talk, Expostulation, Hope, Charity, Conversation, and Retirement. When the series was published, Table Talk was put first, being supposed to be the lightest and the most attractive to an unregenerate world. The judgment passed upon this set of poems at the time by the Critical Review seems blasphemous to the fond biographer, and is so devoid of modern smartness as to be almost interesting as a literary fossil. But it must be deemed essentially just, though the reviewer errs, as many reviewers have erred, in measuring the writer's capacity by the standard of his first performance. "These poems," said the Critical Review, "are written, as we learn from the title-page, by Mr. Cowper of the Inner Temple, who seems to be a man of a sober and religious turn of mind, with a benevolent heart, and a serious wish to inculcate the precepts of morality; he is not, however, possessed of any superior abilities or the power of genius requisite for so arduous an undertaking. . He says what is incontrovertible and what has been said over and over again with much gravity, but says nothing new, sprightly or entertaining; travelling on a plain level flat road, with great composure almost through the whole long and tedious volume, which is little better than a dull sermon in very indifferent verse on Truth, the Progress of Error, Charity, and some other grave subjects. If this author had followed the advice given by Caraccioli, and which he has chosen for one of the mottoes prefixed to these poems, he would have clothed his indisputable truths in some more becoming disguise, and rendered his work much more agreeable. In its present shape we cannot compliment him on its beauty; for as this bard himself sweetly sings: