SEVENTEENTH CENTURY LYRICS Among the lyrics of the earlier part of the seventeenth century, one discerns, somewhat clearly, at least three poetical manners, which emanated, respectively, from Edmund Spenser, Ben Jonson, and John Donne. The sensuous beauty, playful imagery, and fluent melody of Spenser are clearly present in the poems of William Browne and George Wither. The fine finish, poise, and chastened sweetness of Jonson are a refining influence in the shorter lyrics of Robert Herrick, Thomas Carew, John Suckling, and Richard Lovelace. In John Donne, incisive and subtle thinking finds fantastic, and sometimes harsh, expression in far-fetched analogies, mystifying metaphors, and dimly suggestive images. The poetical apparatus of Donne, often, and his fancy, still more often, are essential in the passionate, soaring, and mystical outbursts of George Herbert, Richard Crashaw, and Henry Vaughan. One notices, however, that Spenser, Jonson, and Donne did not exclusively dominate the poetical output of their conscious or unconscious disciples. Toward the middle of the century appears a new influence in poetical form, the heroic,' or 'closed,' couplet, practiced by Edmund Waller, John Denham, Abraham Cowley, and Andrew Marvell. This verse-form, best adapted to epic and satire, had no important influence upon lyric, except, indirectly, through repression. SONG: TO CELIA Come, my Celia, let us prove, Of a few poor household spies? These have crimes accounted been. TO HEAVEN ΤΟ 15 As, since, she will vouchsafe no other wit. But antiquated and deserted lie, (Such as thine are) and strike the second heat 60 Upon the Muses' anvil; turn the same (And himself with it) that he thinks to frame, Or, for the laurel, he may gain a scorn; For a good poet's made, as well as born. And such wert thou! Look how the father's face 65 Lives in his issue, even so the race Of Shakspere's mind and manners brightly shines In his well turnèd, and true filèd lines; The Strophe, or Turn Brave infant of Saguntum, clear Thy coming forth in that great year, When the prodigious Hannibal did crown His rage with razing your immortal town. Thou looking then about, 5 Ere thou wert half got out, Wise child, didst hastily return, And mad'st thy mother's womb thine urn. How summed a circle didst thou leave mankind Of deepest lore, could we the center find! 10 The Antistrophe, or Counter-Turn Did wiser nature draw thee back, From out the horror of that sack; Where shame, faith, honor, and regard of right, Lay trampled on? the deeds of death and night Urged, hurried forth, and hurled 15 40 To sordid flatteries, acts of strife, And sunk in that dead sea of life, So deep, as he did then death's waters sup, But that the cork of title buoyed him up. The Antistrophe, or Counter-Turn Alas! but Morison fell young! He never fell,- thou fall'st, my tongue. He stood a soldier to the last right end, 45 A perfect patriot and a noble friend; But most, a virtuous son. All offices were done By him, so ample, full, and round, In weight, in measure, number, sound, 50 As, though his age imperfect might appear, His life was of humanity the sphere. The Epode, or Stand Go now, and tell our days summed up with And keep the one half from his Harry. But fate doth so alternate the design, Whilst that in heaven, this light on earth must shine, IV The Strophe, or Turn And shine as you exalted are; Two names of friendship, but one star: Of hearts the union, and those not by chance |