Abraham Cowley
Abraham Cowley
Full Name and Common Aliases
Abraham Cowley was born on April 8, 1618, and died on July 28, 1667. He is commonly known as the "Father of Neoclassicism" in English poetry.
Birth and Death Dates
April 8, 1618 - July 28, 1667
Nationality and Profession(s)
English poet, translator, and critic. Cowley was a prominent figure in the Restoration period of English literature, which saw a resurgence of interest in classical forms and themes.
Early Life and Background
Abraham Cowley was born in London to an aristocratic family. His father was a military officer who died when Abraham was just eight years old. This event had a significant impact on his life and writing. Cowley's mother remarried, but the household was marked by turmoil and instability.
Despite these challenges, Cowley demonstrated exceptional intellectual ability from an early age. He was educated at Charterhouse School in London before attending University College, Oxford, where he studied Latin, Greek, and classical literature. His time at university had a profound influence on his writing style and thematic preoccupations.
Major Accomplishments
Cowley's poetry is notable for its technical skill, intellectual depth, and emotional resonance. He was one of the first English poets to adopt the French alexandrine meter, which became a hallmark of neoclassical poetry. His work also showcases his mastery of various literary forms, including odes, elegies, and satires.
Cowley's critical essays on literature and poetry are equally significant. In works such as "The Art of Poetry" and "Proposals for an Edition of the English Poets," he articulated a vision for English poetry that emphasized classical models, intellectual rigor, and aesthetic refinement.
Notable Works or Actions
Some of Cowley's most notable poems include:
"Pindarique Odes": A collection of odes written in the style of Pindar, which explores themes of love, beauty, and mortality.
"The Mistress": An elegy that laments the loss of a loved one, showcasing Cowley's technical skill and emotional depth.
* "Cutter of Coleman Street": A satirical poem that critiques the excesses of Restoration London.
Cowley was also an influential translator. His renderings of classical texts, such as Ovid's "Metamorphoses," helped introduce readers to ancient Greek and Roman literature.
Impact and Legacy
Abraham Cowley's impact on English poetry is multifaceted. He played a key role in shaping the neoclassical movement, which emphasized classical models, intellectual rigor, and aesthetic refinement. His work also influenced later poets, such as John Dryden and Alexander Pope.
Cowley's legacy extends beyond his own writing. As a critic and essayist, he helped establish English poetry as a respected literary form, worthy of serious study and critical attention.
Why They Are Widely Quoted or Remembered
Abraham Cowley is widely quoted and remembered for his technical skill, intellectual depth, and emotional resonance. His poetry continues to be studied and admired for its mastery of various literary forms and its exploration of timeless themes.
Cowley's influence on English literature is undeniable. As a poet, critic, and translator, he helped shape the course of neoclassical poetry and introduce readers to classical models. His work remains a testament to his intellectual curiosity, technical skill, and emotional depth.
Quotes by Abraham Cowley
Abraham Cowley's insights on:
The Sunflow’r, thinking ‘twas for him foul shame To nap by daylight, strove t’ excuse the blame; It was not sleep that made him nod, he said, But too great weight and largeness of his head.
Be kind and considerate with your criticism. It’s just as hard to write a bad book as it is to write a good book.
To be a husbandman, is but a retreat from the city; to be a philosopher, from the world; or rather, a retreat from the world, as it is man’s, into the world, as it is God’s.
I confess I love littleness almost in all things. A little convenient estate, a little cheerful house, a little company, and a little feast...
Why to mute fish should’st thou thyself discoverAnd not to me, thy no less silent lover?