Critical and Historical Essays - Volume 2, Thomas Babington Macaulay [ebook reader macos txt] 📗

Provincial Letters, we can find mirth so harmoniously and becomingly blended with solemnity as in the Short View, In truth, all the modes of ridicule, from broad fun to polished and antithetical sarcasm, were at Collier's command. On the other hand, he was complete master of the rhetoric of honest indignation. We scarcely know any volume which contains so many bursts of that peculiar eloquence which comes from the heart and goes to the heart. Indeed the spirit of the book is truly heroic. In order fairly to appreciate it, we must remember the situation in which the writer stood. He was under the frown of power. His name was already a mark for the invectives of one half of the writers of the age, when, in the cause of good taste, good sense, and good morals, he gave battle to the other half. Strong as his political prejudices were, he seems on this occasion to have entirely laid them aside. He has forgotten that he is a Jacobite, and remembers only that he is a citizen and a Christian. Some of his sharpest censures are directed against poetry which had been hailed with delight by the Tory party, and had inflicted a deep wound on the Whigs. It is inspiriting to see how gallantly the solitary outlaw advances to attack enemies, formidable separately, and, it might have been thought, irresistible when combined, distributes his swashing blows right and left among Wycherley, Congreve, and Vanbrugh, treads the wretched D'Urfey down in the dirt beneath his feet, and strikes with all his strength full at the towering crest of Dryden.

The effect produced by the Short View was immense. The nation was on the side of Collier. But it could not be doubted that, in the great host which he had defied, some champion would be found to lift the gauntlet. The general belief was that Dryden would take the field; and all the wits anticipated a sharp contest between two well-paired combatants. The great poet had been singled out in the most marked manner. It was well known that he was deeply hurt, that much smaller provocations had formerly roused him to violent resentment, and that there was no literary weapon, offensive or defensive, of which he was not master. But his conscience smote him; he stood abashed, like the fallen archangel at the rebuke of Zephon,-

"And felt how awful goodness is, and saw Virtue in her shape how lovely; saw and pined His loss."

At a later period he mentioned the Short View in the preface to his Fables. He complained, with some asperity, of the harshness with which he had been treated, and urged some matters in mitigation. But, on the whole, he frankly acknowledged that he had been justly reproved. "If," said he, "Mr. Collier be my enemy, let him triumph. If he be my friend, as I have given him no personal occasion to be otherwise, he will be glad of my repentance."

It would have been wise in Congreve to follow his master's example. He was precisely in that situation in which it is madness to attempt a vindication; for his guilt was so clear, that no address or eloquence could obtain an acquittal. On the other hand, there were in his case many extenuating circumstances which, if he had acknowledged his error and promised amendment, would have procured his pardon. The most rigid censor could not but make great allowances for the faults into which so young a man had been seduced by evil example, by the luxuriance of a vigorous fancy, and by the inebriating effect of popular applause. The esteem, as well as the admiration, of the public was still within his reach. He might easily have effaced all memory of his transgressions, and have shared with Addison the glory of showing that the most brilliant wit may be the ally of virtue. But, in any case, prudence should have restrained him from encountering Collier. The nonjuror was a man thoroughly fitted by nature, education, and habit, for polemical dispute. Congreve's mind, though a mind of no common fertility and vigour, was of a different class. No man understood so well the art of polishing epigrams and repartees into the clearest effulgence, and setting them neatly in easy and familiar dialogue. In this sort of jewellery he attained to a mastery unprecedented and inimitable. But he was altogether rude in the art of controversy; and he had a cause to defend which scarcely any art could have rendered victorious.

The event was such as might have been foreseen. Congreve's answer was a complete failure. He was angry, obscure, and dull. Even the Green Room and Will's Coffee-House were compelled to acknowledge that in wit, as well as in argument, the parson had a decided advantage over the poet. Not only was Congreve unable to make any show of a case where he was in the wrong; but he succeeded in putting himself completely in the wrong where he was in the right. Collier had taxed him with profaneness for calling a clergyman Mr. Prig, and for introducing a coachman named Jehu, in allusion to the King of Israel, who was known at a distance by his furious driving. Had there been nothing worse in the Old Bachelor and Double Dealer, Congreve might pass for as pure a writer as Cowper himself, who, in poems revised by so austere a censor as John Newton, calls a fox-hunting squire Nimrod, and gives to a chaplain the disrespectful name of Smug. Congreve might with good effect have appealed to the public whether it might not be fairly presumed that, when such frivolous charges were made, there were no very serious charges to make. Instead of doing this, he pretended that he meant no allusion to the Bible by the name of Jehu, and no reflection by the name of Prig. Strange, that a man of such parts should, in order to defend himself against imputations which nobody could regard as important, tell untruths which it was certain that nobody would believe!

One of the pleas which Congreve set up for himself and his brethren was that, though they might be guilty of a little levity here and there, they were careful to inculcate a moral, packed close into two or three lines, at the end of every play. Had the fact been as he stated it, the defence would be worth very little. For no man acquainted with human nature could think that a sententious couplet would undo all the mischief that five profligate acts had done. But it would have been wise in Congreve to have looked again at his own comedies before he used this argument. Collier did so; and found that the moral of the Old Bachelor, the grave apophthegm which is to be a set-off against all the libertinism of the piece is contained in the following triplet:

"What rugged ways attend the noon of life! Our sun declines, and with what anxious strife, What pain, we tug that galling load-a wife."

"Love for Love," says Collier, "may have a somewhat better farewell, but it would do a man little service should he remember it to his dying day":

"The miracle to-day is, that we find A lover true, not that a woman's kind."

Collier's reply was severe and triumphant. One of his repartees we will quote, not as a favourable specimen of his manner, but because it was called forth by Congreve's characteristic affectation. The poet spoke of the Old Bachelor as a trifle to which he attached no value, and which had become public by a sort of accident, "I wrote it," he said," to amuse myself in a slow recovery from a fit of sickness." "What his disease was," replied Collier, "I am not to inquire, but it must be a very ill one to be worse than the remedy."

All that Congreve gained by coming forward on this occasion, was that he completely deprived himself of the excuse which he might with justice have pleaded for his early offences. "Why," asked Collier, "should the man laugh at the mischief of the boy, and make the disorders of his nonage his own, by an after approbation?"

Congreve was not Collier's only opponent. Vanbrugh, Dennis, and Settle took the field. And from a passage in a contemporary satire, we are inclined to think that among the answers to the Short View was one written, or supposed to be written, by Wycherley. The victory remained with Collier. A great and rapid reform in almost all the departments of our lighter literature was the effect of his labours. A new race of wits and poets arose, who generally treated with reverence the great ties which bind society together, and whose very indecencies were decent when compared with those of the school which flourished during the last forty years of the seventeenth century.

This controversy probably prevented Congreve from fulfilling the engagements into which he had entered with the actors. It was not till 1700 that he produced the Way of the World, the most deeply meditated and the most brilliantly written of all his works. It wants, perhaps, the constant movement, the effervescence of animal spirits, which we find in love for Love. But the hysterical rants of Lady Wishfort, the meeting of Witwould and his brother, the country knight's courtship and his subsequent revel, and, above all, the chase and surrender of Millamant, are superior to anything that is to be found in the whole range of English comedy from the civil war downwards. It is quite inexplicable to us that this play should have failed on the stage. Yet so it was; and the author, already sore with the wounds which Collier had inflicted, was galled past endurance by this new stroke. He resolved never again to expose himself to the rudeness of a tasteless audience, and took leave of the theatre for ever.

He lived twenty-eight years longer, without adding to the high literary reputation which he had attained. He read much while he retained his eyesight, and now and then wrote a short essay, or put an idle tale into verse; but he appears never to have planned any considerable work. The miscellaneous pieces which he published in 1710 are of little value, and have long been forgotten.

The stock of fame which he had acquired by his comedies was sufficient, assisted by the graces of his manner and conversation, to secure for him a high place in the estimation of the world. During the winter, he lived among the most distinguished and agreeable people in London. His summers were passed at the splendid country-seats of ministers and peers. Literary envy and political faction, which in that age respected nothing else, respected his repose. He professed to be one of the party of which his patron Montagu, now Lord Halifax, was the head. But he had civil words and small good offices for men of every shade of opinion. And men of every shade of opinion spoke well of him in return.

His means were for a long time scanty. The place which he had in possession barely enabled him to live with comfort. And, when the Tories came into power, some thought that he would lose even this moderate provision. But Harley, who was by no means disposed to adopt the exterminating policy of the October club, and who, with all his faults of understanding and temper, had a sincere kindness for men of genius, reassured the anxious poet by quoting very gracefully and happily the lines of Virgil,

"Non obtusa adeo gestamus pectora Poeni, Nec tam aversus equos Tyria Sol jungit ab urbe."

The indulgence with which Congreve was treated by the Tories was not purchased by any concession on his part which could justly offend