LITMIR.BIZ

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my friends whose repose I should be tempted to disturb (were it in my power), are implicit, inextricable, inscrutable.

      ‘When I look at that obscure but gorgeous prose composition the Urn-burial, I seem to myself to look into a deep abyss, at the bottom of which are hid pearls and rich treasure; or it is like a stately labyrinth of doubt and withering speculation, and I would invoke the spirit of the author to lead me through it. Besides, who would not be curious to see the lineaments of a man who, having himself been twice married, wished that mankind were propagated like trees! As to Fulke Greville, he is like nothing but one of his own “Prologues spoken by the ghost of an old king of Ormus,” a truly formidable and inviting personage: his style is apocalyptical, cabalistical, a knot worthy of such an apparition to untie; and for the unravelling a passage or two, I would stand the brunt of an encounter with so portentous a commentator!’—‘I am afraid, in that case,’ said Ayrton, ‘that if the mystery were once cleared up, the merit might be lost’; and turning to me, whispered a friendly apprehension, that while Lamb continued to admire these old crabbed authors, he would never become a popular writer. Dr. Donne was mentioned as a writer of the same period, with a very interesting countenance, whose history was singular, and whose meaning was often quite as uncomeatable, without a personal citation from the dead, as that of any of his contemporaries. The volume was produced; and while some one was expatiating on the exquisite simplicity and beauty of the portrait prefixed to the old edition, Ayrton got hold of the poetry, and exclaiming ‘What have we here?’ read the following:

      ‘Here lies a She-Sun and a He-Moon there—

       She gives the best light to his sphear,

       Or each is both, and all, and so

       They unto one another nothing owe.’

      There was no resisting this, till Lamb, seizing the volume, turned to the beautiful Lines to his Mistress, dissuading her from accompanying him abroad, and read them with suffused features and a faltering tongue:

      ‘By our first strange and fatal interview,

       By all desires which thereof did ensue,

       By our long starving hopes, by that remorse

       Which my words’ masculine perswasive force

       Begot in thee, and by the memory

       Of hurts, which spies and rivals threatned me,

       I calmely beg. But by thy father’s wrath,

       By all paines which want and divorcement hath,

       I conjure thee; and all the oathes which I

       And thou have sworne to seale joynt constancy

       Here I unsweare, and overswear them thus—

       Thou shalt not love by wayes so dangerous.

       Temper, O fair love! love’s impetuous rage,

       Be my true mistris still, not my faign’d Page;

       I’ll goe, and, by thy kinde leave, leave behinde

       Thee! onely worthy to nurse in my minde.

       Thirst to come backe; O, if thou die before,

       My soule, from other lands to thee shall soare.

       Thy (else almighty) beauty cannot move

       Rage from the seas, nor thy love teach them love.

       Nor tame wild Boreas’ harshnesse; thou hast reade

       How roughly hee in pieces shivered

       Fair Orithea, whom he swore he lov’d.

       Fall ill or good, ’tis madnesse to have prov’d

       Dangers unurg’d: Feed on this flattery,

       That absent lovers one in th’ other be.

       Dissemble nothing, not a boy; nor change

       Thy bodie’s habite, nor minde; be not strange

       To thyeselfe onely. All will spie in thy face

       A blushing, womanly, discovering grace.

       Richly-cloath’d apes are call’d apes, and as soone

       Eclips’d as bright, we call the moone the moon.

       Men of France, changeable camelions,

       Spittles of diseases, shops of fashions,

       Love’s fuellers, and the rightest company

       Of players, which upon the world’s stage be,

       Will quickly know thee …

       O stay here! for for thee

       England is onely a worthy gallerie,

       To walke in expectation; till from thence

       Our greatest King call thee to his presence.

       When I am gone, dreame me some happinesse,

       Nor let thy lookes our long-hid love confesse,

       Nor praise, nor dispraise me; nor blesse, nor curse

       Openly love’s force, nor in bed fright thy nurse

       With midnight’s startings, crying out, Oh, oh,

       Nurse, oh, my love is slaine, I saw him goe

       O’er the white Alpes alone; I saw him, I,

       Assail’d, fight, taken, stabb’d, bleed, fall, and die.

       Augure me better chance, except dread Jove

       Thinke it enough for me to have had thy love.’

      Some one then inquired of Lamb if we could not see from the window the Temple walk in which Chaucer used to take his exercise; and on his name being put to the vote, I was pleased to find that there was a general sensation in his favour in all but Ayrton, who said something about the ruggedness of the metre, and even objected to the quaintness of the orthography. I was vexed at this superficial gloss, pertinaciously reducing everything to its own trite level, and asked ‘if he did not think it would be worth while to scan the eye that had first greeted the Muse in that dim twilight and early dawn of English literature; to see the head round which the visions of fancy must have played like gleams of inspiration or a sudden glory; to watch those lips that “lisped in numbers, for the numbers came”—as by a miracle, or as if the dumb should speak? Nor was it alone that he had been the first to tune his native tongue (however imperfectly to modern ears); but he was himself a noble, manly character, standing before his age and striving to advance it; a pleasant humourist withal, who has not only handed down to us the living manners of his time, but had, no doubt, store of curious and quaint devices, and would make as hearty a companion as mine Host of the Tabard. His interview with Petrarch is fraught with interest. Yet I would rather have seen Chaucer in company with the author of the Decameron, and have heard them exchange their best stories together—the Squire’s Tale against the Story of the Falcon, the Wife of Bath’s Prologue against the Adventures of Friar Albert. How fine to see the high mysterious brow which learning then wore, relieved by the gay, familiar tone of men of the world, and by the courtesies of genius! Surely, the thoughts and feelings which passed through the minds of these great revivers of learning, these Cadmuses who sowed the teeth of letters, must have stamped an expression on their features as different from the moderns as their books, and well worth the perusal. Dante,’ I continued, ‘is as interesting a person as his own Ugolino, one whose lineaments curiosity would as eagerly devour in order to penetrate his spirit, and the only one of the Italian poets I should care much to see. There is a fine portrait of Ariosto by no less a hand than Titian’s; light, Moorish, spirited, but not answering our idea. The same artist’s large colossal profile of Peter Aretine is the only likeness of the kind that has the effect of conversing with “the mighty dead”; and this is truly spectral, ghastly, necromantic.’ Lamb put it to me if I should like to see Spenser as well as Chaucer; and I answered, without hesitation, ‘No; for that his beauties were ideal, visionary, not palpable or personal, and therefore connected with less curiosity about the man. His poetry was the essence of romance, a very halo round the bright orb of fancy; and the bringing in the individual

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