Macpherson and Della Crusca were to the true reformers of English poetry what Knipperdoling was to Luther, or Clootz to Turgot. The success of Chatterton’s forgeries and of the far more contemptible forgeries of Ireland showed that people had begun to love the old poetry well, though not wisely. The public was never more disposed to believe stories without evidence, and to admire books without merit. Any thing which could break the dull monotony of the correct school was acceptable.
The forerunner of the great restoration of our literature was Cowper. His literary career began and { 350}ended at nearly the same time with that of Alfieri. A comparison between Alfieri and Cowper may, at first sight, appear as strange as that which a loyal Presbyterian minister is said to have made in 1745 between George the Second and Enoch. It may seem that the gentle, shy, melancholy Calvinist, whose spirit had been broken by fagging at school, who had not courage to earn a livelihood by reading the titles of bills in the House of Lords, and whose favourite associates were a blind old lady and an evangelical divine, could have nothing in common with the haughty, ardent, and voluptuous nobleman, the horse-jockey, the libertine, who fought Lord Ligonier in Hyde Park, and robbed the Pretender of his queen. But though the private lives of these remarkable men present scarcely any points of resemblance, their literary lives bear a close analogy to each other. They both found poetry in its lowest state of degradation, feeble, artificial, and altogether nerveless. They both possessed precisely the talents which fitted them for the task of raising it from that deep abasement. They cannot, in strictness, be called great poets. They had not in any very high degree the creative power,
but they had great vigour of thought, great warmth of feeling, and what, in their circumstances, was above all things important, a manliness of taste which approached to roughness. They did not deal in mechanical versification and conventional phrases. They wrote concerning things the thought of which set their hearts on fire; and thus what they wrote, even when it wanted every other grace, had that inimitable grace which sincerity and strong passion impart to the rudest and most homely compositions. Each of them sought { 351}for inspiration in a noble and affecting subject, fertile of images which had not yet been hackneyed. Liberty was the muse of Alfieri, Religion was the muse of Cowper. The same truth is found in their lighter pieces. They were not among those who deprecated the severity, or deplored the absence, of an unreal mistress in melodious commonplaces. Instead of raving about imaginary Chloes and Sylvias, Cowper wrote of Mrs. Unwin’s knitting-needles. The only love-verses of Alfieri were addressed to one whom he truly and passionately loved. “Tutte le rime amorose che se-guono,” says he, “tutte sono per essa, e ben sue, e di lei solamente; poiche mai d” altra donna per certo non canterô.”
