William Cowper

William Cowper Poems

William Cowper Biography

an English poet and hymnodist. One of the most popular poets of his time, Cowper changed the direction of 18th century nature poetry by writing of everyday life and scenes of the English countryside. In many ways, he was one of the forerunners of Romantic poetry. Samuel Taylor Coleridge called him "the best modern poet", whilst William Wordsworth particularly admired his poem Yardley-Oak. He was a nephew of the poet Judith Madan. While Cowper found refuge in a fervent evangelical Christianity, the inspiration behind his much-loved hymns, he often experienced doubt and feared that he was doomed to eternal damnation. His religious sentiment and association with John Newton (who wrote the hymn "Amazing Grace") led to much of the poetry for which he is best remembered. His poem "Light Shining out of Darkness" gave the English language the idiom "God moves in a mysterious way, His wonders to perform." Life He was born in Berkhamsted, Hertfordshire, England where his father John Cowper was rector of the Church of St Peter. After education at Westminster School, he was articled to Mr. Chapman, solicitor, of Ely Place, Holborn, in order to be trained for a career in law. During this time, he spent his leisure at the home of his uncle Ashley Cowper, and there fell in love with his cousin Theodora, whom he wished to marry. But as James Croft, who in 1825 first published the poems Cowper addressed to Theodora, wrote, "her father, from an idea that the union of persons so nearly related was improper, refused to accede to the wishes of his daughter and nephew." This refusal left Cowper distraught. In 1763 he was offered a Clerkship of Journals in the House of Lords, but broke under the strain of the approaching examination and experienced a period of insanity. At this time he tried three times to commit suicide and was sent to Nathaniel Cotton's asylum at St. Albans for recovery. His poem beginning "Hatred and vengeance, my eternal portions" (sometimes referred to as "Sapphics") was written in the aftermath of his suicide attempt. After recovering, he settled at Huntingdon with a retired clergyman named Morley Unwin and his wife Mary. Cowper grew to be on such good terms with the Unwin family that he went to live in their house, and moved with them to Olney, where John Newton, a former slave trader who had repented and devoted his life to the gospel, was curate. Not long afterwards, Morley Unwin was killed in a fall from his horse, but Cowper continued to live in the Unwin home and became extremely attached to Mary Unwin. At Olney, Newton invited Cowper to contribute to a hymnbook that Newton was compiling. The resulting volume known as Olney Hymns was not published until 1779 but includes hymns such as "Praise for the Fountain Opened" (beginning "There is a fountain fill'd with blood") and "Light Shining out of Darkness" (beginning "God moves in a mysterious way") which remain some of Cowper's most familiar verses. Several of Cowper's hymns, as well as others originally published in the "Olney Hymns," are today preserved in the Sacred Harp. In 1773, Cowper, experienced an attack of insanity, imagining not only that he was condemned to hell eternally, but that God was commanding him to make a sacrifice of his own life. Mary Unwin took care of him with great devotion and after a year he began again to recover. In 1779, after Newton had left Olney to go to London, Cowper started to write further poetry. Mary Unwin, wanting to keep Cowper's mind occupied, suggested that he write on the subject of The Progress of Error, and after writing his satire of this name he wrote seven others. All of them were published in 1782 under the title Poems by William Cowper, of the Inner Temple, Esq.. Crazy Kate, illustration for Cowper's The Task by Henry Fuseli (1806–1807). The year before this publication, Cowper met a sophisticated and charming widow named Lady Austen who served as a new impetus to his poetry. Cowper himself tells of the genesis of what some have considered his most substantial work, The Task, in his "Advertisement" to the original edition of 1785: "...a lady, fond of blank verse, demanded a poem of that kind from the author, and gave him the SOFA for a subject. He obeyed; and, having much leisure, connected another subject with it; and, pursuing the train of thought to which his situation and turn of mind led him, brought forth at length, instead of the trifle which he at first intended, a serious affair—a Volume!" In the same volume Cowper also printed "The Diverting History of John Gilpin", a notable piece of comic verse. John Gilpin was later looked back on as almost saving Cowper from turning insane. Cowper and Mary Unwin moved to Weston in 1786 and shortly before this became close with his cousin Harriet (Theodora's sister), now Lady Hesketh. During this period he started his translations of Homer's Iliad and Odyssey into blank verse, and his versions (published in 1791) were the most significant English renderings of these epic poems since those of Alexander Pope earlier in the century, although later critics have faulted Cowper's Homer for being too much in the mold of John Milton. In 1795 Cowper moved with Mary to Norfolk. They originally stayed at North Tuddenham, then at Dunham Lodge near Swaffham and then Mundesley before finally settling in East Dereham. Mary Unwin died in 1796, plunging Cowper into a gloom from which he never fully recovered. He did, however, continue revising his Homer for a second edition of his translation, and, aside from writing the powerful and bleak poem "The Castaway", penned some English translations of Greek verse and turned some of the Fables of John Gay into Latin. Cowper was seized with dropsy in the spring of 1800 and died. He is buried in the chapel of St. Thomas of Canterbury, St. Nicholas Church, East Dereham. A window in Westminster Abbey honours him.)

The Best Poem Of William Cowper

The Negro's Complaint

Forc'd from home and all its pleasures,
Afric's coast I left forlorn;
To increase a stranger's treasures,
O'er the raging billows borne;
Men from England bought and sold me,
Paid my price in paltry gold;
But though theirs they have enroll'd me
Minds are never to be sold.
Still in thought as free as ever,
What are England's rights, I ask,
Me from my delights to sever,
Me to torture, me to task?
Fleecy locks and black complexion
Cannot forfeit nature's claim;
Skins may differ, but affection
Dwells in white and black the same.
Why did all-creating Nature
Make the plant for which we toil?
Sighs must fan it, tears must water,
Sweat of ours must dress the soil.
Think, ye masters iron-hearted,
Lolling at your jovial boards;
Think, how many backs have smarted
For the sweets your cane affords.
Is there, as ye sometimes tell us,
Is there one who reigns on high?
Has he bid you buy and sell us,
Speaking from his throne, the sky?
Ask him, if your knotted scourges,
Fetters, blood-extorting screws,
Are the means that duty urges
Agents of his will to use?
Strewing yonder sea with wrecks,
Wasting towns, plantations, meadows,
Are the voice with which he speaks.
He, foreseeing what vexations
Afric's sons should undergo,
Fix'd their tyrants' habitations
Where his whirlwinds answer — No.
By our blood in Afric wasted,
Ere our necks receiv'd the chain;
By the mis'ries which we tasted,
Crossing in your barks the main;
By our suff'rings since ye brought us
To the man-degrading mart;
All sustain'd by patience, taught us
Only by a broken heart:
Deem our nation brutes no longer
Till some reason ye shall find
Worthier of regard and stronger
Than the colour of our kind.
Slaves of gold! whose sordid dealings
Tarnish all your boasted pow'rs,
Prove that you have human feelings,
Ere you proudly question ours.

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