OF SOLITUDE.
“Nunquam minus solus, quam cum solis,” is now become a very vulgar saying. Every man and almost every boy for these seventeen hundred years has had it in his mouth. But it was at first spoken by the excellent Scipio, who was without question a most worthy, most happy, and the greatest of all mankind. His meaning no doubt was this: that he found more satisfaction to his mind, and more improvement of it by solitude than by company; and to show that he spoke not this loosely or out of vanity, after he had made Rome mistress of almost the whole world, he retired himself from it by a voluntary exile, and at a private house in the middle of a wood near Linternum passed the remainder of his glorious life no less gloriously. This house Seneca went to see so long after with great veneration, and, among other things, describes his bath to have been of so mean a structure, that now, says he, the basest of the people would despise them, and cry out, “Poor Scipio understood not how to live.” What an authority is here for the credit of retreat! and happy had it been for Hannibal if adversity could have taught him as much wisdom as was learnt by Scipio from the highest prosperities. This would be no wonder if it were as truly as it is colourably and wittily said by Monsieur de Montaigne, that ambition itself might teach us to love solitude: there is nothing does so much hate to have companions. It is true, it loves to have its elbows free, it detests to have company on either side, but it delights above all things in a train behind, aye, and ushers, too, before it. But the greater part of men are so far from the opinion of that noble Roman, that if they chance at any time to be without company they are like a becalmed ship; they never move but by the wind of other men’s breath, and have no oars of their own to steer withal. It is very fantastical and contradictory in human nature, that men should love themselves above all the rest of the world, and yet never endure to be with themselves. When they are in love with a mistress, all other persons are importunate and burdensome to them. “Tecum vivere amem, tecum obeam lubens,” They would live and die with her alone.
Sic ego secretis possum benè vevere silvis
Quà nulla humauo sit via trita pede,
Tu mihi curarum requies, tu nocte vel atrâ
Lumen, et in solis tu mihi terba locis.
With thee for ever I in woods could rest,
Where never human foot the ground has pressed;
Thou from all shades the darkness canst exclude,
And from a desert banish solitude.
And yet our dear self is so wearisome to us that we can scarcely support its conversation for an hour together. This is such an odd temper of mind as Catullus expresses towards one of his mistresses, whom we may suppose to have been of a very unsociable humour.
Odi et Amo, qua nam id faciam ratione requiris?
Nescio, sed fieri sentio, et excrucior.
I hate, and yet I love thee too;
How can that be? I know not how;
Only that so it is I know,
And feel with torment that ’tis so.
It is a deplorable condition this, and drives a man sometimes to pitiful shifts in seeking how to avoid himself.
The truth of the matter is, that neither he who is a fop in the world is a fit man to be alone, nor he who has set his heart much upon the world, though he has ever so much understanding; so that solitude can be well fitted and set right but upon a very few persons. They must have enough knowledge of the world to see the vanity of it, and enough virtue to despise all vanity; if the mind be possessed with any lust or passions, a man had better be in a fair than in a wood alone. They may, like petty thieves, cheat us perhaps, and pick our pockets in the midst of company, but like robbers, they use to strip and bind, or murder us when they catch us alone. This is but to retreat from men, and fall into the hands of devils. It is like the punishment of parricides among the Romans, to be sewed into a bag with an ape, a dog, and a serpent. The first work, therefore, that a man must do to make himself capable of the good of solitude is the very eradication of all lusts, for how is it possible for a man to enjoy himself while his affections are tied to things without himself? In the second place, he must learn the art and get the habit of thinking; for this too, no less than well speaking, depends upon much practice; and cogitation is the thing which distinguishes the solitude of a god from a wild beast. Now because the soul of man is not by its own nature or observation furnished with sufficient materials to work upon; it is necessary for it to have continual resource to learning and books for fresh supplies, so that the solitary life will grow indigent, and be ready to starve without them; but if once we be thoroughly engaged in the love of letters, instead of being wearied with the length of any day, we shall only complain of the shortness of our whole life.
O vita, stulto longa, sapienti brevis!
O life, long to the fool, short to the wise!
The First Minister of State has not so much business in public as a wise man has in private; if the one have little leisure to be alone, the other has less leisure to be in company; the one has but part of the affairs of one nation, the other all the works of God and nature under his consideration. There is no saying shocks me so much as that which I hear very often, “That a man does not know how to pass his time.” It would have been but ill spoken by Methusalem in the nine hundred and sixty-ninth year of his life, so far it is from us, who have not time enough to attain to the utmost perfection of any part of any science, to have cause to complain that we are forced to be idle for want of work. But this you will say is work only for the learned, others are not capable either of the employments or the divertisements that arise from letters. I know they are not, and therefore cannot much recommend solitude to a man totally illiterate. But if any man be so unlearned as to want entertainment of the little intervals of accidental solitude, which frequently occur in almost all conditions (except the very meanest of the people, who have business enough in the necessary provisions for life), it is truly a great shame both to his parents and himself; for a very small portion of any ingenious art will stop up all those gaps of our time, either music, or painting, or designing, or chemistry, or history, or gardening, or twenty other things, will do it usefully and pleasantly; and if he happen to set his affections upon poetry (which I do not advise him too immoderately) that will overdo it; no wood will be thick enough to hide him from the importunities of company or business, which would abstract him from his beloved.
—O quis me geldis sub montibus Hæmi
Sistat, et ingenti ramorum protegat umbrâ?
I.
Hail, old patrician trees, so great and good!
Hail, ye plebeian underwood!
Where the poetic birds rejoice,
And for their quiet nests and plenteous food
Pay with their grateful voice.
II.
Hail, the poor Muses’ richest manor seat!
Ye country houses and retreat
Which all the happy gods so love,
That for you oft they quit their bright and great
Metropolis above.
III.
Here Nature does a house for me erect,
Nature the wisest architect,
Who those fond artists does despise
That can the fair and living trees neglect,
Yet the dead timber prize.
IV.
Here let me, careless and unthoughtful lying,
Hear the soft winds, above me flying,
With all their wanton boughs dispute,
And the more tuneful birds to both replying,
Nor be myself too mute.
V.
A silver stream shall roll his waters near,
Gilt with the sunbeams here and there,
On whose enamelled bank I’ll walk,
And see how prettily they smile, and hear
How prettily they talk.
VI.
Ah wretched, and too solitary he
Who loves not his own company!
He’ll feel the weight of’t many a day,
Unless he call in sin or vanity
To help to bear’t away.
VII.
Oh solitude, first state of human-kind!
Which blest remained till man did find
Even his own helper’s company.
As soon as two, alas, together joined,
The serpent made up three.
VIII.
Though God himself, through countless ages, thee
His sole companion chose to be,
Thee, sacred Solitude alone;
Before the branchy head of numbers Three
Sprang from the trunk of One.
IX.
Thou (though men think thine an unactive part)
Dost break and tame th’ unruly heart,
Which else would know no settled pace,
Making it move, well managed by thy art
With swiftness and with grace.
X.
Thou the faint beams of Reason’s scattered light
Dost like a burning glass unite;
Dost multiply the feeble heat,
And fortify the strength, till thou dost bright
And noble fires beget.
XI.
Whilst this hard truth I teach, methinks, I see
The monster London laugh at me;
I should at thee too, foolish city,
If it were fit to laugh at misery.
But thy estate, I pity.
XII.
Let but thy wicked men from out thee go,
And the fools that crowd thee so,—
Even thou, who dost thy millions boast,
A village less than Islington wilt grow,
A solitude almost.
Other works by Abraham Cowley:
Some works by other baroque authors
- Sonnet 77: Thy glass will show thee how thy beauties wear by William Shakespeare
- Sonnet 76: Why is my verse so barren of new pride? by William Shakespeare
- Sonnet 75: So are you to my thoughts as food to life by William Shakespeare
- Sonnet CVIII by William Shakespeare
- Sonnet CVII: Not Mine Own Fears, Nor the Prophetic Soul by William Shakespeare
- Sonnet CVII by William Shakespeare
- Sonnet CVI by William Shakespeare
- Sonnet CV by William Shakespeare
- Sonnet CLIV by William Shakespeare
- Sonnet CLIII by William Shakespeare
- Sonnet CLII by William Shakespeare
- Sonnet CLI by William Shakespeare
- Sonnet CL by William Shakespeare
- Sonnet CIX by William Shakespeare
- Sonnet CIV by William Shakespeare
- Sonnet CIII by William Shakespeare
- Sonnet CII by William Shakespeare
- Sonnet CI by William Shakespeare
- Sonnet C by William Shakespeare
- Sonnet 9: Is it for fear to wet a widow’s eye by William Shakespeare
- Sonnet 98: From you have I been absent in the spring by William Shakespeare
- Sonnet 97: How like a winter hath my absence been by William Shakespeare
- Sonnet 96: Some say thy fault is youth, some wantonness by William Shakespeare
- Sonnet CXXVIII by William Shakespeare
- Sonnet CXXVII by William Shakespeare
- Sonnet CXXVI by William Shakespeare
- Sonnet CXXV by William Shakespeare
- Sonnet CXXIX by William Shakespeare
- Sonnet CXXIV by William Shakespeare
- Sonnet CXXIII by William Shakespeare
- Sonnet CXXII by William Shakespeare
- Sonnet CXXI by William Shakespeare
- Sonnet CXX by William Shakespeare
- Sonnet CXVIII by William Shakespeare
- Sonnet CXVII by William Shakespeare
- Sonnet CXV by William Shakespeare
- Sonnet CXLVIII by William Shakespeare
- Sonnet CXLVII by William Shakespeare
- Sonnet CXLVI by William Shakespeare
- Sonnet CXLV by William Shakespeare
- Sonnet CXLIX by William Shakespeare
- Sonnet CXLIV by William Shakespeare
- Sonnet CXLIII by William Shakespeare
- Sonnet CXLII by William Shakespeare
- Sonnet CXLI by William Shakespeare
- Sonnet CXL by William Shakespeare
- Sonnet CXIX by William Shakespeare
- Sonnet CXIV by William Shakespeare
- Sonnet CXIII by William Shakespeare
- Sonnet CXII by William Shakespeare
Abraham Cowley (1618 – 1667), the Royalist Poet.Poet and essayist Abraham Cowley was born in London, England, in 1618. He displayed early talent as a poet, publishing his first collection of poetry, Poetical Blossoms (1633), at the age of 15. Cowley studied at Cambridge University but was stripped of his Cambridge fellowship during the English Civil War and expelled for refusing to sign the Solemn League and Covenant of 1644. In turn, he accompanied Queen Henrietta Maria to France, where he spent 12 years in exile, serving as her secretary. During this time, Cowley completed The Mistress (1647). Arguably his most famous work, the collection exemplifies Cowley’s metaphysical style of love poetry. After the Restoration, Cowley returned to England, where he was reinstated as a Cambridge fellow and earned his MD before finally retiring to the English countryside. He is buried at Westminster Abbey alongside Geoffrey Chaucer and Edmund Spenser. Cowley is a wonderful poet and an outstanding representative of the English baroque.