Cromwell sometimes visited her; and when she talked in favour of the
royal cause, would throw napkins at her, and say that he would not
dispute with his aunt, although afterwards, as we have seen, her spirit
of political intrigue compelled him to make her a prisoner in her own
house. The poet took up his residence near her at Hall-barn, a house of
his own erection, and on the walls of which he hung up a picture of
Saccharissa, whence he hoped, it may be, draw consolation for the past,
and inspiration for the future. Here Cromwell, who probably despised
Waller in his heart, as often men of action despise men of mere literary
ability, especially when that ability is not transcendent, but whose cue
it was to conciliate all men according to their respective positions and
capabilities, paid great attention to his kinsman. Waller found Cromwell
well acquainted with the ancient historians, and they conversed a good
deal on such topics. It is said, that when Waller jeered him on his
using the peculiar phraseology of the Puritans in his conversation with
them, the Protector answered, "Cousin Waller, I must talk to these men
in their own way;" an anecdote which is sometimes quoted as if it proved
that Cromwell had no religion; whereas it only proved that he had at
heart no cant. It was not as if he had privately avowed infidelity to
his kinsman. Cromwell found _cant_ prevalent on his stage, just as any
great actor of that century found _rant_ on his, and, like the actor, he
used it occasionally as a means of gaining his own lofty ends, and as a
foil to his own genuine earnestness and power.

The Protector, however, seems to have profoundly impressed even Waller's
light and fickle mind; and the panegyric which he produced on him in
1654, is not only the ablest, but seems the sincerest of his
productions. He had hitherto been writing about women, courtiers, and
kings; but now he had to gird up his loins and write on a man. The piece
is accordingly as masculine in style, as it is just in appreciation;