Thomas Humphry Ward, ed. The English Poets. 1880–1918.rnVol. II. The Seventeenth Century: Ben Jonson to Dryden
William Cartwright (16111643)Critical Introduction by Adolphus William Ward
[Born, according to one authority, at Burford in Oxfordshire, August 16th, 1615; according to another, at Northway in Gloucestershire, in September 1611. From 1628 he chiefly resided at Oxford, where he died of the ‘camp disease’ November 29th, 1643. His plays and poems were collected and published in 1651.]
And yet Ben Jonson himself, among whose foibles it was not to overpraise even friends and followers, was not in error when he proclaimed of ‘his son Cartwright’ that he ‘wrote all like a man.’ Cartwright, though his study of Horace and Martial had failed to teach him the grace of simplicity, was a sure and a ripe scholar; and he moves among classical illustrations and allusions with an almost alarming ease. His conceits, fetched from far and near, and jostling one another in their superabundance, mark him out as a genuine member of the Fantastic School of poets. In his lines To the Memory of Ben Jonson, he blames his fellow-playwrights,
Of the higher imaginative power and tenderer grace to be found in some of the members of that school Cartwright has but few traces. But he possessed a real rhetorical inventiveness, and an extraordinary felicity of expression. These gifts he was able to display on occasions of the most opposite and diverse character, great and small, public and private,—from the occurrence of an unexampled frost to the publication of a treatise on the art of vaulting. Yet even with a panegyrical poet of the Fantastic School the relations between his theme and his own tastes and sentiments are of the highest importance. In ingenuity Cartwright can hardly be said to have elsewhere surpassed the longest of the three following pieces, congenial to himself in its subject, though elaborately singular in treatment. For it may safely be asserted that this Ordination poem achieves its object of being altogether unique, without being altogether inappropriate. On the other hand, there could be no more common theme for elegiac verse than a premature death; but the lines on an occasion of the kind here reprinted are out of the common, though by no means unpleasing. Whether, had Cartwright lived beyond early manhood, he would have fulfilled or exceeded the promise of his youth, it is useless to enquire. He was more genuinely successful as a writer of occasional lyrics and elegies than as a dramatist. Perhaps the seriousness of the epoch at the opening of which he died might have turned his efforts to religious poetry, in which the Fantastic School of English poetry achieved its noblest results, and to which this academical preacher’s and poet’s mind must have had a natural bias. What he actually accomplished in this direction was but little, though not altogether unworthy of being associated with the music of Milton’s friend and favourite composer.