A History of English Literature

to survive. From the equally chaotic product of Colonel Richard Lovelace
stand out the two well-known bits of noble idealism, 'To Lucasta, Going to
the Wars,' and 'To Althea, from Prison.' George Wither (1588-1667), a much
older man than Suckling and Lovelace, may be mentioned with them as the
writer in his youth of light-hearted love-poems. But in the Civil War he
took the side of Parliament and under Cromwell he rose to the rank of
major-general. In his later life he wrote a great quantity of Puritan
religious verse, largely prosy in spite of his fluency.
The last important group among these lyrists is that of the more distinctly
religious poets. The chief of these, George Herbert (1593-1633), the
subject of one of the most delightful of the short biographies of Izaak
Walton, belonged to a distinguished family of the Welsh Border, one branch
of which held the earldom of Pembroke, so that the poet was related to the
young noble who may have been Shakspere's patron. He was also younger
brother of Lord Edward Herbert of Cherbury, an inveterate duellist and the
father of English Deism. [Footnote: See below, p. 212.] Destined by his
mother to peaceful pursuits, he wavered from the outset between two forces,
religious devotion and a passion for worldly comfort and distinction. For a
long period the latter had the upper hand, and his life has been described
by his best editor, Professor George Herbert Palmer, as twenty-seven years
of vacillation and three of consecrated service. Appointed Public Orator,
or showman, of his university, Cambridge, he spent some years in enjoying
the somewhat trifling elegancies of life and in truckling to the great.
Then, on the death of his patrons, he passed through a period of intense
crisis from which he emerged wholly spiritualized. The three remaining
years of his life he spent in the little country parish of Bemerton, just
outside of Salisbury, as a fervent High Church minister, or as he preferred
to name himself, priest, in the strictest devotion to his professional
duties and to the practices of an ascetic piety which to the usual American
mind must seem about equally admirable and conventional. His religious
poems, published after his death in a volume called 'The Temple,' show
mainly two things, first his intense and beautiful consecration to his
personal God and Saviour, which, in its earnest sincerity, renders him
distinctly the most representative poet of the Church of England, and
second the influence of Donne, who was a close friend of his mother. The
titles of most of the poems, often consisting of a single word, are
commonly fantastic and symbolical--for example, 'The Collar,' meaning the
yoke of submission to God; and his use of conceits, though not so pervasive
as with Donne, is equally contorted. To a present-day reader the apparent
affectations may seem at first to throw doubt on Herbert's genuineness; but
in reality he was aiming to dedicate to religious purposes what appeared to
him the highest style of poetry. Without question he is, in a true if
special sense, a really great poet.
The second of these religious poets, Richard Crashaw, [Footnote: The first
vowel is pronounced as in the noun _crash_.] whose life (1612-1649)
was not quite so short as Herbert's, combined an ascetic devotion with a
glowingly sensuous esthetic nature that seems rather Spanish than English.
Born into an extreme Protestant family, but outraged by the wanton
iconoclasm of the triumphant Puritans, and deprived by them of his
fellowship, at Cambridge, he became a Catholic and died a canon in the
church of the miracle-working Lady (Virgin Mary) of Loretto in Italy. His
most characteristic poetry is marked by extravagant conceits and by
ecstatic outbursts of emotion that have been called more ardent than
anything else in English; though he sometimes writes also in a vein of calm
and limpid beauty. He was a poetic disciple of Herbert, as he avowed by
humbly entitling his volume 'Steps to the Temple.'