It is profitable to
compare the sentiment of Crashaw with the more intellectual development of
Herbert. What in the former is the paramount, constant exhibition, in the
latter is accepted, and holds its place subordinate to other claims.
Without a portion of it there could be no deep religious life--with it,
in excess, we fear for the weakness of a partial development. There is so
much gain, however, to the poet, that we have no disposition to take
exception to the single string of Crashaw. The beauty of the Venus was
made up from the charms of many models. So, in our libraries, as in life,
we must be content with parcel-work, and take one man's wisdom and
another's sentiment, looking out that we get something of each to enrich
our multifarious life.
Crashaw's poetry is one musical echo and aspiration. He finds his theme
and illustration constantly in music. His amorous descant never fails him:
his lute is always by his side. Following the "Steps of the Temple," a
graceful tribute to Herbert, we have the congenial title, "The Delights of
the Muses," opening with that exquisite composition:
"Untwisting all the chains that tie
The hidden soul of harmony,"
"Music's Duel.
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