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They, sweet turtles, folded lie
And they wake into a light,
SEE'ST thou that Mary there? O teach her mother
These words scarce waken'd Heaven, when-lo!-our
THE PRINCESSES MARY AND ELIZABETH, CHILDREN OF KING CHARLES I.
("TO THE QUEEN UPON HER NUMEROUS PROGENY," 1. 57-75.)
And when th' hast summ'd up all those blooming blisses,
So have I seen (to dress their mistress May)
UPON FORD'S Two TRAGEDIES, "Love's SACRIFICE " AND "THE BROKEN HEART.”
THOU cheat'st us, Ford; mak'st one seem two by art:
RESPECTING the life of Crashaw little is known. The first attempted "life" was written by the Rev. R. A. Willmott, in his Lives of the Sacred Poets, originally issued in 1834. In 1872-3 came Dr Grosart's Essay on the life and poems, and Memorial-Introduction to his laboriously edited and first complete edition of the works of our Poet. The main known facts of his life, briefly stated, are that he was born in London, 1612-13; at the age of eighteen he was admitted into the University of Cambridge, matriculated pensioner of Pembroke College in 1632, elected Fellow in 1637, and M.A. in 1638. In 1644 he, along with others, was ejected from the University, for refusing to subscribe to the Covenant. Soon after this he ceased to be a Protestant, and went over to Roman Catholicism, it being, as Dr Grosart says, "the 'ideal' of his reading, and the 'home' of the sainted ones whose words were as manna to his spirit." After his acceptance of the Romish faith he retired to France, where Cowley met him in Paris in 1646, and introduced him to the Queen of Charles the First, through whose recommendation he became secretary at Rome to Cardinal Palotta. Here he lived until 1649 or 1650, when he was made Canon of Loretto, where he died of fever shortly after his appointment.
Pp. 3-10. The poem (Sospetto d'Herode) from which the first four selections are made, is a translation of the first book of the Italian Poet Marino's Strage degli Innocenti; and yet Crashaw's version bears all the marks of original inspiration. While adhering closely to his original, he has added creative and imaginative touches of his own, which shew that his genius was even superior to Marino's. As one example out of many wherein our Poet has transcended his original, the following may be given. When the fury Alecto arises,
"The fields' fair eyes saw her, and saw no more,
In Marino (literally translated) it is—
"The flowers all round and the verdure appeared
To feel the strength of the plague." (Trans. by Grosart.)
P. 3, 11. 2, 3. Cf. Shelley (Witch of Atlas, St. ix.)—
"Where the quick heart of the great world doth pant."
P. 4, 11. 34-36. With these lines compare those of Milton on the countenance of Satan (Par. Lost, Book i.):–