Volume 7 — Cowper, Keble, Wordsworth; Or, "Quietist" Poetry, And Its Influence On Society.

The Spanish priest, Michael Molinos, who spent the last eleven years of his life in the prisons of the Inquisition, was destined to exert considerable influence over many of the most thoughtful and gifted spirits of his age. It was in 1675, and in the heart of Rome, that he published a Spiritual Guide, in which he pointed out various methods calculated to raise the soul to a state of contemplation and quietude, in which she makes no use of her faculties, is unconcerned about all that may happen, and even about the practice of good works and her own salvation; reposing on the love of God, and, through his presence, safe, all-sufficient, and entirely blest. It can be easily imagined how acceptable the unction of ascetic eloquence might render such doctrine to minds mystically disposed. Multitudes in every age are ready to run after any quack of human happiness who is ingenious enough to hide his fallacies under a show of reason; and Molinos had this advantage over many charlatans, that before deceiving others he had completely deceived himself. He was honest, therefore, and certainly a great advance on the Quietists of the 14th century, called in Greek Hesuchasts, who in their monastery on Mount Athos passed whole days in a state of immobility, "contemplating," as their historians say, "their nose or their navel, and by force of this contemplation finding divine light." Molinos found many partisans in Italy and in France, where his system was fervently embraced by the celebrated poetess and mystic, Madame Guyon, who conceived herself called from above to quit her home and travel, inculcating everywhere the gospel of quietism. Fenelon, whose sweetness and goodness flung a charm around every opinion he expressed, adopted in part the theories of Molinos, and Madame de Maintenon herself is numbered among Madame Guyon's converts to the Spaniard's novel and dreamy creed.

The inmates of Port-Royal, and the Jansenists in general, had, as may be conjectured from the example of Fenelon, strong affinities for quietism; and the sympathy entertained for their sufferings by English Calvinists in the last century, sufficiently accounts for the poet Cowper becoming an admirer of Madame Guyon's writings, and imitating in the Olney Hymns many of her fervent compositions.

Without falling into the errors of the Quietists, Cowper imbibed much of their spirit, and transfused it into his verses very happily. His poetry is essentially of a quietist description, provided the term be understood in a favorable sense. His mind was naturally tranquil, and even during the melancholy of his later days, his mental aberration partook of the original placidity of his character. His rhythm is musical, his language choice, and the flow of his thoughts calm and tranquillizing. He discards stormy and passionate themes from instinct rather than resolve. He delighted in such subjects as "Truth," "Hope," "Charity," "Retirement," "Mutual Forbearance," and

"Domestic happiness, the only bliss Of Paradise that has survived the Fall."

And he has clustered around them all the graces of poetry and charms of Christian philosophy. In that work in which his powers are exhibited to most advantage and at greatest length—The Task—he has touched on every topic that is most soothing, and in verses, many of which have become proverbs, has expressed, with unrivalled precision and ease, thoughts and feelings common to every Christian who is

"Happy to rove among poetic flowers, Though poor in skill to rear them."

He is never obscure, his emotions are never fictitious, his humor is never forced, nor his satire pointless. Hence he became popular in his generation, and has lost no particle of the credit he once obtained. Brighter stars than he have in the present century come forth and dazzled the eyes of beholders, by the intensity of their radiance and the boldness of their career; but they have not thrown the gentle Cowper into the shade. He still shines above the horizon, "a star among the stars of mortal night," of heavenly lustre, unobtrusive, steadfast, and serene. He still exerts a wholesome influence on society, still refreshes us in the pauses of the battle of life, still refines the taste, fills the ear with melody, elevates the soul, and fosters in many those habits of reflection from which alone greatness and goodness spring. The "Lines on the receipt of his Mother's Picture" have rarely been surpassed in pathos. There never was a poet more sententious or a moralist more truly poetic. "He was," says one of his biographers, "an enthusiastic lover of nature, and some of his descriptions of natural objects are such as Wordsworth himself might be proud to own." His poems, observes Hazlitt, contain "a number of pictures of domestic comfort and social refinement which can hardly be forgotten but with the language itself." Of all his encomiasts, none has spoken of him with more fervor than Elizabeth Barrett, afterward Mrs. Browning, and the following stanzas from her beautiful poem called "Cowper's Grave" deserve to be quoted in connection with the present subject:

"O poets, from a maniac's tongue Was pour'd the deathless singing! O Christians, to your cross of hope A hopeless hand was clinging! O men, this man in brotherhood Your weary paths beguiling, Groan'd inly while he taught you peace, And died while ye were smiling."

But has Cowper had no successor in the peculiar path he so successfully trod? Was Wordsworth not in one sense a Quietist? Were the subjects he selected not as passionless as those of his master, and treated with equal thoughtfulness and calm? No doubt. Yet there was an important difference between them. The quietude which Cowper inculcated was to spring from religion; while that which Wordsworth promoted had its sources principally in contemplation of the beauties of Nature, and in obedience to her powerful influences. Each of these gifted minds has benefitted society, but in different ways; and it is well that, in a poetry-loving age, there should be some counter-balance to the morbid excitement and passionate intensity which the school of Byron, Moore, and Shelley rendered so popular. It is well that minor and gentler streams should irrigate the ground which has been desolated by their torrents of impetuous verse. It is well that divine no less than human love should have its laurel-crowned minstrels, and that principle and conscience should be proved no less poetical than passion and crime.

It is undoubtedly difficult for one who foregoes the passions to rise to a very high eminence as a poet, since the violent emotions of our nature are well adapted to verse, and full of dramatic effect. The bard of Rydal-Mount has, nevertheless, attained a lasting celebrity, after patiently enduring years—long years—of neglect and ridicule. He has carefully eschewed those stormy and harrowing subjects with which poets of the highest genius had, before his time, generally delighted to familiarize our minds. He leaves such themes as Prometheus bound by Jupiter to a rock, with a vulture preying perpetually on his entrails, [Footnote 58] Count Ugolino devouring the flesh of his own offspring in the Tower of Famine, [Footnote 59] and Satan summoning his fallen peers to council in the fiery halls of Pandemonium, [Footnote 60] to such masters as "AEschylus the Thunderous," Dante, and Milton, and addresses himself to the softer and more homely feelings, and to the calmer reason of men. He is firmly persuaded that a truer and deeper source of poetic inspiration is to be found in the every-day sights and sounds of Nature; that the changing clouds and falling waters, the forest-glades, wet with noon-tide dew, the rocky beach, musical with foaming waves, the sheep-walks on the barren hill-side, and the "primrose by the river's brim," supply the imagination with its best aliment, and effectually tend to calm, elevate, and hallow the mind. This is his great, his constant theme. His longer and more philosophical poems ring ever-varying changes on it, and may be called an Epithalamium on the espousals of Man and Nature. But for his devoting a long life to the poetic development of this fundamental idea, we should never have seen our literature enriched by the productions of Shelley and Tennyson's genius. In poetry, as in all that concerns the human mind, there is a law of progress. The poetic harvest-home of one generation is the seed-time of that which is to follow. Thus Dante speaks of two poets (Guinicelli and Daniello) now forgotten, or known only by name, in terms of strong admiration, as predecessors to whose writings he was considerably indebted. [Footnote 61] The following lines are but a sample of a thousand passages in Wordsworth which set forth the agency of natural scenery in the work of man's education and refinement. It is taken from the Prelude, a long introduction to the Excursion, which lay upon the author's shelves in manuscript during forty-five years: [Footnote 62]

"Was it for this, That one, the fairest of all rivers, loved To blend his murmurs with my nurse's song, And from his alder-shades and rocky falls, And, from his fords and shallows, sent a voice That flowed along my dreams? For this didst thou, O Derwent! winding among grassy holms Where I was looking on, a babe in arms. Make ceaseless music, that composed my thoughts To more than infant softness, giving me, Amid the fretful dwellings of mankind, A foretaste, a dim earnest of the calm That Nature breathes among the hills and groves?"

Wordsworth's life was an exemplification of the doctrine he taught. Cheerfulness and peace marked his character at each stage of his eighty years' pilgrimage, and, towards the close of his career, he had the satisfaction of perceiving that his works were slowly effecting the result to which he had destined them—making a lasting impression on the literature of his age, and leading many a thoughtful spirit from artificial to natural enjoyments, from the imagery of dreamland to that of daily life, from bombast to simplicity, from passion to feeling, and from turmoil to repose.

"O heavenly poet! such thy verse appears, So sweet, so charming to my ravished ears, As to the weary swain, with cares opprest. Beneath the silvan shade, refreshing rest; As to the fev'rish traveller, when first He finds a crystal stream to quench his thirst." [Footnote 63]

Nor was Wordsworth's love of nature and her soothing influences dissociated from religious belief. He was no materialist, maintaining the eternal existence and self-government of the universe by fixed and exclusively natural laws. He was no pantheist, worshipping nature as an indivisible portion of the divine essence—a body of which God is actually the soul. He believed in other laws besides those which regulate the movements of the celestial bodies, and the gradual formation and destruction of the strata that compose the surface of our globe. The view which he took of the material universe was such as became a Christian, and is luminously expressed by him in the following lines:

"I have seen A curious child applying to his ear The convolutions of a smooth-lipped shell. To which, in silence hushed, his very soul Listened intensely, and his countenance soon Brightened with joy; for murmurings from within Were heard—sonorous cadences! whereby, To his belief, the monitor expressed Mysterious union with its native sea. E'en such a shell the universe itself Is to the ear of faith, and doth impart Authentic tidings of invisible things. Of ebb and flow, and ever-during power, And central peace subsisting at the heart Of endless agitation."

It is impossible to read the Prelude and the Excursion without perceiving that Wordsworth's passion for natural scenery was no fictitious emotion, assumed for the purpose of appearing brimful of philosophy and sentiment, and making an effective parade of moon and stars, flowers and rivulets, in verse. No, it was a deep and abiding principle—a feeling of which he could no more have divested himself than Newton of his bent toward science, or Beethoven of his ear for music. This unaffected enthusiasm enabled him to speak with the authority of a master, and to instil into the minds of disciples the ideas that had taken so strongly possession of his own.

From the poetry of inanimate nature, the transition was easy to that of simple feelings, particularly in rustic life. In the innocent plays of children of the cot, and the sparkling dews on the cheeks of wild mountain maids, Wordsworth found themes for reflection deep enough to sink into the memory of men. Who has not felt the inimitable simplicity of the verses in which the child, who often, after sunset, took her little porringer, and ate her supper beside her brother's grave, persisted in saying: "Oh! no, sir, we are seven," and in ignoring the power of death to sever or to annihilate? Purity marks all which this chief of the Lake School has composed; for how could he soothe the spirit if, like Moore and Byron, he pandered to vicious inclinations? Hence his successor as Poet-Laureate congratulates himself very properly on wearing

"The laurel greener from the brows Of him that uttered nothing base."

A poet's best eulogy is that which comes from a poet. Having quoted that of Tennyson, therefore, I shall add that which Shelley also bestows on Wordsworth:

"Thou wert as a lone star, whose light did shine On some frail bark in winter's midnight roar: Thou hast like to a rock-built refuge stood Above the blind and battling multitude In honored poverty thy voice did weave Songs consecrate to truth and liberty."

The quietude commended by infidel poets is, at the best, that of despair. It is rest without repose, pathetic but not peaceful—a spurious and delusive calm, difficult to attain for a moment, and certain not to endure.

"Yet now despair itself is mild. Even as the winds and waters are; I could lie down like a tired child. And weep away the life of care Which I have borne and yet must bear." [Footnote 64]

Such is their language; so writes one of the most distinguished of these "apostles of affliction." How different are the feelings of the Christian "quietist:"

"Nor let the proud heart say. In her self-torturing hour, The travail pangs must have their way. The aching brow must lower. To us long since the glorious Child is born, Our throes should be forgot, or only seem Like a sad vision told for joy at morn, For joy that we have waked, and found it but a dream." [Footnote 65]

Nor is this strain unreal. The writer's life was the best guarantee for the sincerity of his sentiments, and the response he has wakened in myriads of hearts is a seal set on the depth of his convictions. He hymned not the happiness of the Christian, because the theme suited an ambitious lyre in that it is lofty, or an ordinary one in that it is familiar, but because he was persuaded that the poet's highest glory consists in calming the agitated spirit, as David did when he played cunningly on the harp in the presence of Saul; and that, while it is incumbent on us to make others happy, our paramount duty is to be happy ourselves; that if we are not so, the fault is our own; and that there are in the religion we profess, in every crisis and condition, ample provisions for that happiness to which all aspire.

"O awful touch of God made man! We have no lack if thou art there: From thee our infant joys began, By thee our wearier age we bear." [Footnote 66]

This is the key-note of his thoughtful rhymes.

Keble's reputation as a poet was established long before the leading periodicals of the land called attention to the beauty of his compositions.

Their publication in the first instance is said to have been owing to his seeing several of them in print without being able to conjecture by what means they had found their way to public light. He soon learned, however, that some of his manuscripts, which he had lent to a lady, had been dropped in the street and lost. He therefore resolved on completing and publishing The Christian Year. It was not till nearly twenty years after its first appearance that it received in the Quarterly Review that meed of applause to which it was justly entitled. The article which there called attention to its extraordinary merits was written, we believe; by Mr. Gladstone, whom neither the bustle of parliamentary life, nor the aridity of financial study, renders insensible to the charms of those muses who are generally supposed to haunt woods and caves, and to smile only on the recluse.

To us Catholics the name of Keble will always be remembered with interest, because he shared with Drs. Newman and Pusey the leadership of that great party in the Anglican Church which has given so many children to the true church, and has spread through England and through the world many Catholic doctrines and practices long dormant or forgotten. We think of him with affection, because he carried on to the end the work of soothing the troubled spirit by means of religious verse; because he was through life the friend of that distinguished convert to whose genius and writings we owe so much; and because he has, both in prose and verse, laid down, more clearly and explicitly than any other Protestant writer, the grounds of our veneration of the blessed Mother of God Incarnate.[Footnote 67]

He did not, indeed, follow out his convictions to their legitimate results; he fancied that he responded to them sufficiently by remaining where he was. But his poems will ever remain a witness against the church in which they were composed, because it can never reduce to practice the doctrines he taught in reference to the holy eucharist, the confessional, and the communion of saints. Meanwhile they are silently imbuing the minds of Anglican readers with feelings and arguments favorable to the divine system of the Catholic Church. Though his Christian Year is adapted to the services of the Church of England, and though its chief purpose, as stated in the preface, is "to exhibit the soothing tendency of the Prayer-Book," the author's sympathies are with the Book of Common Prayer in its Catholic, and not in its Protestant aspects. During more than forty years it has been chiselling the Anglican mind into a more orthodox shape. It moulds the chaotic elements of faith into substance, form, and life. It supplies the lost sense of Scriptures, and lays the foundation of towers and bulwarks it cannot build. It opens bright vistas of realized truth, and points to glorious summits from the foot of the hill. It is not inspired with genius of the highest order; the range it takes is more circumscribed in some respects than that of Cowper; it seldom reaches the sublime, and is always pleasing rather than original. But in spite of these drawbacks, it has wound itself more and more into public esteem. No poetry is read more habitually by members of the Established Church. The number of those is very large who take down The Christian Year from their bookshelves every Sunday and festival. It rings every change on the theme Resignation, and presents it in all its truest and most beautiful lights. It has extracted from the sacred writings the very marrow of the text, has developed in a thousand ways the typical and mystic import of Scripture histories, expressed from them abundantly the wine and oil of consolation, and conveyed it to us in poetic ducts of no mean kind.

"As for some dear familiar strain Untired we ask, and ask again. Ever, in its melodious store. Finding a spell unheard before;" [Footnote 68]

so, many Anglicans of the devouter sort recur to Keble's poems year after year, and end the perusal only with death. Other poets charm and instruct the mind, he forms it; and while others are but read, he is learnt. Even the conviction which he cherished of the heavenly mission of the church of Queen Elizabeth, though misplaced, added to the sweetness and soothing character of his verses. But it is deserving of note that his latter volume, Lyra Innocentium, which contains more lamentation than he uttered before over the shortcomings of his own communion, and more intense aspirations after Catholic dogma and practice, evinces at the same time less inward quietude in the writer, and imparts less of it to the reader. One poem, indeed, called "Mother out of Sight," on the absence of the holy Mother of God from the English mind, invoking her, as it did, in a strain of glorious verse, was omitted, lest it should perplex and disquiet those who were unused to such invocations, and believed them to be forbidden by the Anglican Church.

To cite passages from Keble's poems illustrative of their soothing tendency, would be to copy almost all he wrote. They fell like the dew of Hermon, and were a sign and symbol of the man himself. "His bright, fresh, joyous, and affectionate nature," says one who knew him well, "was an ever-flowing spring, always at play, always shedding a gentle, imperceptible, and recreating dew upon those who came within its reach. There was a Christian poetry about him, a natural gift, elevated and transformed by his consistent piety and religious earnestness, which gilded the commonest things and the most ordinary actions, and cast the radiance of an unearthly sunshine all around him." [Footnote 69] What wonder that the illustrious author of the Apologia used to look at him with awe when walking in the High Street at Oxford? What wonder that, when elected a Fellow of Oriel, and for the first time taken by the hand by the Provost and all the Fellows, he bore it till Keble took his hand, and then, as he said, "felt so abashed and unworthy of the honor done him, that he seemed desirous of quite sinking into the ground"? [Footnote 70] Yet the greater was blessed of the less. For depth and subtlety of reasoning, for power and pathos in prose composition. Dr. Newman has surpassed beyond all measure everything which Keble did or could accomplish. In poetry, the world in general has awarded the palm to Keble, and the world, we believe, is right. In the art, at least, of calming the ruffled spirit, the poet of The Christian Year has outdone his beloved rival and friend.

The Lyra Apostolica brought Keble and Newman together as athletes in the arena of poetry; and that series of poems affords a good opportunity of comparing their several merits, to those who have the key to the writers' names. They appeared in the British Magazine, signed only with Greek characters representing the following writers:

Alpha J. W. Bowden.

Beta R. H. Froude.

Gamma John Keble.

Delta J. H. Newman.

Epsilon R. J. Wilberforce;

Zeta Isaac Williams.

By far the greater number of the pieces were written by Keble and Newman, and almost all by the latter have reappeared this year in a series, which supplies a poetic commentary on the author's life. These Verses on Various Occasions range over a period of forty-six years, and having each of them the date and the place where composed attached to it, the interest of the whole is thereby greatly increased. Among the poems is that remarkable one, "The Dream of Gerontius," which was published in The Catholic World in 1865. But neither Dr. Newman's verses thus collected, nor the series entitled Lyra Apostolica in general, are marked by that repose which is the prevailing feature of The Christian Year. The motto chosen by Froude for the Lyra was truly combative, and shows the feeling both of Newman and himself, then together at Rome. It was taken from the prayer of Achilles on returning to the battle, and it implores Heaven to make his enemies know the difference, now that his respite from fighting is over.

[Footnote 71]

The scars of warfare are visible even in Newman's hymns. He has evidently passed through many an inward conflict, and fought with, many an external foe. He has vacated ground he once occupied, and he defends principles which he once assailed. He pierces many heights, and depths, and has to be always on his guard against his lively imagination. He is lucid as any star, but not always as serene. He flashes now and then like a meteor; he hints and suggests in nebulous light. He is a pioneer of thought; he shoots beyond his comrades; he walks "with Death and Morning on the Silver Horns." He sees, where others grope; he is at home, where others feel confused and out of place. He is, like Ballanche, [Footnote 72] more satisfied of the truth of the unseen than of the visible world. Mysteries are his solemn pastime. He strikes his harp in Limbo, as Spaniards weave a dance in church before the Holy Sacrament. His dreams are Dantesque; he is half a seer. The veil of death is rent before him, and his soul, by anticipation, launches into the abyss. The chains of the body are dropped, and angels and demons come round him to console and to harass his solitary spirit in its transition state. His condition there, like his poetry, and like himself on earth and in the body, is one of mingled quietude and disturbance;

"And the deep rest, so soothing and so sweet, Had something, too, of sternness and of pain." [Footnote 73]

The happy, suffering soul ("for it is safe, consumed, yet quickened, by the glance of God,") sings in Purgatory in a strain identical with that to which it was used in this mortal life:

"Take me away, and in the lowest deep There let me be, And there in hope the lone night-watches keep, Told out for me. There motionless and happy in my pain, Lone, not forlorn— There will I sing my sad perpetual strain Until the morn; There will I sing and soothe my stricken breast, Which ne'er can cease To throb and pine and languish, till possest Of its sole peace." [Footnote 74]

There is, indeed, one of Dr. Newman's poems, and that one the most popular and beautiful he has ever composed, which is singularly pathetic and peaceful. Yet even here darker shades are not wanting. The angel faces are "lost awhile," and the "pride" and self-will of former years recur to the memory like spectres. It was in June, 1833, when becalmed in the Straits of Bonifacio in an orange-boat [Footnote 75] that Dr. Newman wrote "Lead, Kindly Light." The Pall Mall Gazette—no mean critic—has said of it recently, [Footnote 76] "It appears to us one of the most perfect poems of the kind in the language."

"Lead, kindly Light, amid th' encircling gloom. Lead thou me on! The night is dark, and I am far from home— Lead thou me on! Keep thou my feet: I do not ask to see The distant scene—one step enough for me. "I was not ever thus, nor prayed that thou Would'st lead me on. I loved to choose and see my path; but now Lead thou me on! I loved the garish day, and, spite of fears. Pride ruled my will: remember not past years. "So long thy power hath blest me, sure it still Will lead me on O'er moor and fen, o'er crag and torrent, till The night is gone; And with the morn those angel faces smile Which I have loved long since, and lost awhile."

Fond as Dr. Newman is of modern poetry he has not imitated it. His style is original—a rare mixture of strength, sincerity, and sweetness, moulded rather after the choruses of Greek dramas, than the rich creations of Keats, Shelley, Tennyson, and Longfellow. Hence his poems bear a nearer resemblance to Milton's Samson Agonistes than to any other English production. His lyrical pieces, again, often remind us of George Herbert, and of Shenstone, Waller, and Cowley. They have a clearness of expression and bright fluency, which makes you love the writer even when you cannot greatly admire his verse. One of the best specimens of his poetic faculty in the Verses on Various Occasions is a poem called "Consolations in Bereavement," written in 1828. It turns on one idea—the rapidity of death's work in the case of the dear sister whom he mourns. He solaces himself with the reflection that the deed was quickly done, and thus derives comfort from a thought which is in most cases afflictive. Perhaps Byron's lines were unconsciously running in his head:

"I know not if I could have borne To see thy beauties fade: ...... Thy day without a cloud hath past, And thou wert lovely to the last; Extinguished, not decayed; As stars that shoot along the sky Shine brightest as they fall from high."

Dr. Newman's poetry did not properly fall within the scope of this article, but we have been led to speak of it because he was Keble's colleague in the Lyra Apostolica, and because the verses of the surviving poet have just appeared in England in a new form, and have attracted general attention and been made the subject of admiring and affectionate criticism not merely by Catholic periodicals, but by non-Catholic reviews and newspapers of every political and religious shade. Indeed, the praise bestowed on them by such journalists has exceeded that of our own critics, because it has, generally speaking, been more discriminating and uttered by higher authorities in the literary world.

Let us then rejoice that English literature includes three poets at least—Cowper, Keble, and Wordsworth—who are in a good sense quietists, and the tenor of whose writings, from first to last, is tranquillizing. They may not, perhaps, be the authors who will afford us most pleasure in the tumultuous season of youthful enjoyment; but as years advance, and the trials of life present themselves, one by one, in all their painful reality; as reason matures and reflection ripens; as the probationary character of our mortal existence becomes more and more clear to our apprehension; as the discovery of much that is formal and hollow in society enamors us of rural retreats and sylvan solitudes; as the inexhaustible treasures of beauty and magnificence in the material universe unfold before our gaze; as the things unseen triumph over visible objects in our thoughts and affections, we shall find in such poetry as we have attempted to describe, more that is congenial and charming, and shall cherish with fonder remembrance the names of Cowper, the mellifluous exponent of Christian ethics and delights; of Keble, the bard of Biblical lore; and of Wordsworth, the child and poet of nature. Like skilful tuners of roughly-used instruments, they will reduce to sweetness our spirits' harsher and discordant tones, and fit us to take our part in the everlasting harmonies of the boundless universe. They will each make poetry, in our view, the handmaid of science and revelation, accepting with rapture the vast, amazing discoveries of the one, and ever seeking to harmonize them with the momentous and soul-subduing disclosures of the other. They will impart to mute matter the voice and power of a moral teacher, imbue inanimate things (to our imagination) with life and feeling, inspire us with "a glorious sympathy with suns that set" and rise, with "flowers that bloom and stars that glow," with the birdling warbling on her bough, and the ocean bellowing in his caves; and will lead us by nature's golden steps to the footstool of the Creator's throne; for, in the eyes of such poets, earth is "crammed with heaven," and every common bush on fire with God.