Marvell, the Puritan, laughed that very laughter--at leanness, at hunger, cold, and solitude--in the face of the world, and in the name of literature, in one memorable satire. I speak of "Flecno, an English Priest in Rome," wherein nothing is spared--not the smallness of the lodging, nor the lack of a bed, nor the scantiness of clothing, nor the fast.
"This basso-rilievo of a man--"
personal meagreness is the first joke and the last.
It is not to be wondered at that he should find in the smallness of the country of Holland matter for a cordial jest. But, besides the smallness, there was that accidental and natural disadvantage in regard to the sea. In the Venetians, commerce with the sea, conflict with the sea, a victory over the sea, and the ensuing peace--albeit a less instant battle and a more languid victory--were confessed to be noble; in the Dutch they were grotesque. "With mad labour," says Andrew Marvell, with the spirited consciousness of the citizen of a country well above ground and free to watch the labour at leisure, "with mad labour" did the Dutch "fish the land to shore."How did they rivet with gigantic piles, Thorough the centre, their new-catched miles, And to the stake a struggling country bound, Where barking waves still bait the forced ground;Building their watery Babel far more high To reach the sea than those to scale the sky!
It is done with a jolly wit, and in what admirable couplets!
The fish oft-times the burgher dispossessed, And sat, not as a meat, but as a guest.
And it is even better sport that the astonished tritons and sea-nymphs should find themselves provided with a capital cabillau of shoals of pickled Dutchmen (heeren for herring, says Marvell); and it must be allowed that he rhymes with the enjoyment of irony.
There is not a smile for us in "Flecno," but it is more than possible to smile over this "Character of Holland"; at the excluded ocean returning to play at leap-frog over the steeples; at the rise of government and authority in Holland, which belonged of right to the man who could best invent a shovel or a pump, the country being so leaky:-Not who first sees the rising sun commands, But who could first discern the rising lands.
We have lost something more than the delighted laughter of Marvell, more than his practical joke, and more than the heart that was light in so burly a frame--we have lost with these the wild humour that wore so well the bonds of two equal lines, and was wild with so much order, invention, malice, gaiety, polish, equilibrium, and vitality--in a word, the Couplet, the couplet of the past. We who cannot stand firm within two lines, but must slip beyond and between the boundaries, who tolerate the couplets of Keats and imitate them, should praise the day of Charles II because of Marvell's art, and not for love of the sorry reign. We had plague, fire, and the Dutch in the Medway, but we had the couplet; and there were also the measures of those more poetic poets, hitherto called somewhat slightingly the Cavalier poets, who matched the wit of the Puritan with a spirit ******r and less mocking.
It was against an English fortress, profoundly walled, that some remembered winter storms lately turned their great artillery. It was a time of resounding nights; the sky was so clamorous and so close, up in the towers of the seaside stronghold, that one seemed to be indeed admitted to the perturbed counsels of the winds. The gale came with an indescribable haste, hooting as it flew; it seemed to break itself upon the heights, yet passed unbroken out to sea; in the voice of the sea there were pauses, but none in that of the urgent gale with its hoo-hoo-hoo all night, that clamoured down the calling of the waves. That lack of pauses was the strangest thing in the tempest, because the increase of sound seemed to imply a lull before. The lull was never perceptible, but the lift was always an alarm. The onslaught was instant, where would it stop? What was the secret extreme to which this hurry and force were tending? You asked less what thing was driving the flocks of the storm than what was drawing them. The attraction seemed the greater violence, the more irresistible, and the more unknown. And there were moments when the end seemed about to be attained.
The wind struck us hasty blows, and unawares we borrowed, to describe it, words fit for the sharp strokes of material things; but the fierce gale is soft. Along the short grass, trembling and cowering flat on the scarped hill-side, against the staggering horse, against the flint walls, one with the rock they grasp, the battery of the tempest is a quick and enormous softness. What down, what sand, what deep moss, what elastic wave could match the bed and cushion of the gale?
This storm tossed the wave and the stones of the sea-wall up together. The next day it left the waters white with the thrilling whiteness of foam in sunshine. It was only the Channel; and in such narrow waters you do not see the distances, the wide levels of fleeting and floating foam, that lie light between long wave and long wave on a Mediterranean coast, regions of delicate and transitory brightness so far out that all the waves, near and far, seem to be breaking at the same moment, one beyond the other, and league beyond league, into foam. But the Channel has its own strong, short curl that catches the rushing shingle up with the freshest of all noises and runs up with sudden curves, white upon the white sea-wall, under the random shadow of sea-gulls and the light of a shining cloud.
