Analysis of Life of Abraham Cowley by Johnson
Samuel Johnson, a renowned figure of the 18th century, was known for his many talents as a critic, essayist, moralist, editor, and biographer. His intellect was highly respected and he produced numerous notable works, including "The Lives of British Poet", originally titled "Biographical and Critical, to the Works of the English Poets" from 1771 to 1781. This work is considered one of his most acclaimed pieces and consists of biographical and critical evaluations of 52 poets from the 18th century. Johnson divides the work into three parts.
In the biography of Abraham Cowley, Johnson mentions his predecessor Dr. Sprat and criticizes his work for being more of a funeral oration than a biography. Abraham Cowley (1618-1667) was a posthumous child raised by his mother and proved to be a true genius of his time. In his diligent reading of "Fairy Queene", Cowley is described as possessing the particular mental capacity known as true genius. He began his writing career at a young age and his works include "The Tragical History of Pyramus and Thisbe", "Constantia and Philetus", "Love Riddle", "Davidas"(1936), "The Guardian", and a satire called "Puritan and Papist". In 1644, he left Oxford for Paris and served Lord Jeremy at the court of Henrietta Maria. In 1654, he returned to England and was briefly imprisoned in 1655.
source:-
https://biblioteca.org.ar/libros/167764.pdf
IGNOU UNIT 6: SAMUEL JOHNSON: “LIFE OF COWLEY”
In the biography of Abraham Cowley, Johnson mentions his predecessor Dr. Sprat and criticizes his work for being more of a funeral oration than a biography. Abraham Cowley (1618-1667) was a posthumous child raised by his mother and proved to be a true genius of his time. In his diligent reading of "Fairy Queene", Cowley is described as possessing the particular mental capacity known as true genius. He began his writing career at a young age and his works include "The Tragical History of Pyramus and Thisbe", "Constantia and Philetus", "Love Riddle", "Davidas"(1936), "The Guardian", and a satire called "Puritan and Papist". In 1644, he left Oxford for Paris and served Lord Jeremy at the court of Henrietta Maria. In 1654, he returned to England and was briefly imprisoned in 1655.
In 1657, he became Oxfordian and Johnson wrote, "At the same time, the two great poets Cowley and Milton, of this similar genius but opposite principles, were produced from the same University." Despite his contributions, Cowley was never properly recognized for his work and retired discontent in Surya. He passed away at the age of 49 in 1667 and was buried with great pomp near Chaucer and Spencer. Even King Charles acknowledged his greatness by saying, "That Mr. Cowley had not left behind him a better man in England," and this posthumous praise was given to him.
Johnson then discusses 17th-century metaphysical poetry and points out that while the poets of this era were highly educated, they failed to write poetry that could truly inspire and touch readers. Referring to Aristotle, Johnson states that metaphysical poets may lose their position as poets because they neither imitate nature nor life. Citing Pope's definition of wit as "that which was often thought but never so well expressed," Johnson claims that these poets did not pay attention to wit. They were unique in their thoughts and processes, and their language was casual. Johnson also argues that Pope's definition of wit is limited because when one reads the poetry of a metaphysical poet, one will find that it creates "Discordia Concors" - "a combination of dissimilar images or the discovery of hidden resemblances in seemingly unrelated things." According to Johnson, anything improper and vicious is produced in pursuit of something new and strange, and the writer fails to delight the reader but rather seeks admiration.
Johnson then discusses 17th-century metaphysical poetry and points out that while the poets of this era were highly educated, they failed to write poetry that could truly inspire and touch readers. Referring to Aristotle, Johnson states that metaphysical poets may lose their position as poets because they neither imitate nature nor life. Citing Pope's definition of wit as "that which was often thought but never so well expressed," Johnson claims that these poets did not pay attention to wit. They were unique in their thoughts and processes, and their language was casual. Johnson also argues that Pope's definition of wit is limited because when one reads the poetry of a metaphysical poet, one will find that it creates "Discordia Concors" - "a combination of dissimilar images or the discovery of hidden resemblances in seemingly unrelated things." According to Johnson, anything improper and vicious is produced in pursuit of something new and strange, and the writer fails to delight the reader but rather seeks admiration.
However, despite these flaws, the efforts and hard work of metaphysical poets cannot be overlooked. After a general description of metaphysical poets, Johnson focuses on Cowley and regards him as the best among them. Cowley's "Miscellanies" contains various styles written by a mind that had plenty of leisure time. Johnson gives an example of Cowley's "Ode" and condemns it for being too witty, saying, "Yet 'tis not to adorn and glid each part, That shows more cost than art. Jewels at the nose and, but lips ill appear; Rather than all things wit, let none be there." According to Johnson, Cowley's verses to Lord Falkland, which are proud praises, are not well-crafted. However, his elegy on Sir Henry Wotton is vigorous and happy, although slightly weakened by the intrusion of Alexander. It is elegant and powerful. Johnson's highest praise goes to "Chronicles", an unrivalled and exceptional composition. After "Miscellanies", Cowley is known for a volume of translated poems called "Anacreon", which promotes the "carpe diem" principle (meaning to enjoy the present day). These poems are joyful and festive, unlike his other works.
Cowley's next collection of poems, "Mistress", written with an abundance of wit and learning, uses exaggerated language to express love, which fails to create the beauty and appropriateness expected in poetry. Johnson admits that Cowley's "Pindarick" Odes are a better composition in comparison. In these Odes, Cowley successfully follows the style of ancient poets. An example given by Johnson is, "Begin the song Strike the living lyre! Lo! How the year to come, a numerous and well...
https://biblioteca.org.ar/libros/167764.pdf
IGNOU UNIT 6: SAMUEL JOHNSON: “LIFE OF COWLEY”