The Life of Cowley” as a Literary Criticism

Answer

Consider Johnson’s “The Life of Cowley” as a literary criticism.

Samuel Johnson’s (1709-1784) “The Life of Cowley,” part of his collection of essays “Lives of English Poets,” (1779-1781), is both a biography and a critical essay. In this work, Johnson not only recounts the life of Abraham Cowley (1618-1667) but also critically examines his writings. He offers insights into Cowley’s poetic style, themes, and contributions to literature, which we discuss below.

Background of Abraham Cowley: Abraham Cowley was a prominent poet in the 17th century, known for his diverse body of work. He was a child prodigy, publishing his first collection of poems at the age of 15. Cowley’s literary career spanned different genres, including lyrical, pastoral, and epic poetry. His most ambitious work is the unfinished epic “Davideis.”

Critical Analysis of Cowley’s Works is in the following:

Miscellanies: Abraham Cowley’s “Miscellanies” is a collection of shorter poems encompassing many themes and styles. Johnson begins his criticism by examining Cowley’s early works, especially in “Miscellanies”. These poems showcase Cowley’s youthful talent and versatility. Johnson praises the liveliness and imaginative prowess of these pieces. However, Johnson also notes that they sometimes lack depth and maturity, which is understandable given Cowley’s age when he wrote them.

The Mistress: One of Cowley’s well-known collections is “The Mistress,” a series of love poems. Johnson acknowledges Cowley’s skill in crafting clever verses in these poems. However, Johnson criticizes the poems for being overly intellectual and lacking genuine emotion. According to Johnson, the poems are more focused on showcasing wit and poetic prowess than conveying heartfelt feelings of love.

Pindaric Odes: Cowley attempted to revive the Pindaric ode, a complex form of poetry inspired by the ancient Greek poet Pindar. Johnson appreciates Cowley’s ambition and technical skill but argues that these odes often feel artificial. He suggests that Cowley’s adherence to the strict structure of the Pindaric ode sometimes hinders the natural flow of his poetry, making it less enjoyable to read.

Davideis: The “Davideis” is Cowley’s unfinished epic about the biblical King David. Johnson sees this work as a significant but flawed effort. He commends Cowley for choosing a grand and noble subject, fitting for an epic poem. However, Johnson points out that the poem lacks the coherence and polish of a completed work.

Intellectual Depth: According to Johnson, Cowley is the last influential metaphysical poet. Dr. Johnson undoubtedly accepts that metaphysical poets are highly learned and intellectual. All of Cowley’s writings are a specimen of his deep knowledge and intellectual excellence, but his elegies are special for his intellectual excellence. “On the Death of Mr. Crashaw” and “An Elegy on the Death of the Dean of St. Paul’s, Dr. John Donne” are Cowley’s powerful elegies.

Overuse of Conceits: Johnson criticizes Cowley for his excessive use of conceits, which are elaborate and often far-fetched metaphors or similes. Johnson feels that Cowley’s overuse of them makes his poetry sometimes seem forced and unnatural. Johnson evaluates conceit in the following manner: 

“The most heterogeneous ideas are yoked by violence together;

nature and art are ransacked for illustrations, comparisons, and allusions.”

Thus, Johnson evaluates the metaphysical poets who are responsible for the dissociation of sensibility. Further, Johnson says that nothing can be more disgusting than a narrative decorated with conceits, and “Davideis,” the unfinished epic of Cowley, abounds in conceits.

In conclusion, “The Life of Cowley,” Johnson offers his personal reflections on Cowley’s life and work. He admires Cowley’s early genius and versatility but is also critical of his tendency to prioritize wit and technical skill over emotional depth and simplicity. Johnson’s critique is balanced, acknowledging Cowley’s strengths while also pointing out his weaknesses.