The craft and mystery of authorship was practised by Lenglet to perfection; and he often exulted, not only in the subterfuges by which he parried his _censeurs_, but in his bargains with his booksellers, who were equally desirous to possess, while they half feared to enjoy, his uncertain or his perilous copyrights. When the _unique_ copy of the _Methode_, in its pristine state, before it had suffered any dilapidations, made its appearance at the sale of the curious library of the _censeur_ Gros de Boze, it provoked a Roxburgh compet.i.tion, where the collectors, eagerly outbidding each other, the price of this uncastrated copy reached to 1500 livres; and even more extraordinary in the history of French bibliography, than in our own. The curious may now find all these cancel sheets, or _castrations_, preserved in one of those works of literary history, to which the Germans have contributed more largely than other European nations, and I have discovered that even the erasures, or _bruises_, are amply furnished in another bibliographical record.[150]

This _Methode_, after several later editions, was still enlarging itself by fresh supplements; and having been translated by men of letters in Europe, by Coleti in Italy, by Mencken in Germany, and by Dr. Rawlinson in England, these translators have enriched their own editions by more copious articles, designed for their respective nations. The sagacity of the original writer now renovated his work by the infusions of his translators; like old aeson, it had its veins filled with green juices; and thus his old work was always undergoing the magic process of rejuvenescence.[151]

The personal character of our author was as singular as many of the uncommon topics which engaged his inquiries; these we might conclude had originated in mere eccentricity, or were chosen at random. But Lenglet has shown no deficiency of judgment in several works of acknowledged utility; and his critical opinions, his last editor has shown, have, for the greater part, been sanctioned by the public voice. It is curious to observe how the first direction which the mind of a hardy inquirer may take, will often account for that variety of uncommon topics he delights in, and which, on a closer examination, may be found to bear an invisible connexion with some preceding inquiry. As there is an a.s.sociation of ideas, so in literary history there is an a.s.sociation of research; and a very judicious writer may thus be impelled to compose on subjects which may be deemed strange or injudicious.

This observation may be ill.u.s.trated by the literary history of Lenglet du Fresnoy. He opened his career by addressing a letter and a tract to the Sorbonne, on the extraordinary affair of Maria d'Agreda, abbess of the nunnery of the Immaculate Conception in Spain, whose mystical Life of the Virgin, published on the decease of the abbess, and which was received with such rapture in Spain, had just appeared at Paris, where it excited the murmurs of the pious, and the inquiries of the curious.

This mystical Life was declared to be founded on apparitions and revelations experienced by the abbess. Lenglet proved, or a.s.serted, that the abbess was not the writer of this pretended Life, though the ma.n.u.script existed in her handwriting; and secondly, that the apparitions and revelations recorded were against all the rules of apparitions and revelations which he had painfully discovered. The affair was of a delicate nature. The writer was young and incredulous; a grey-beard, more deeply versed in theology, replied, and the Sorbonnists silenced our philosopher in embryo.

Lenglet confined these researches to his portfolio; and so long a period as fifty-five years had elapsed before they saw the light. It was when Calmet published his Dissertations on Apparitions, that the subject provoked Lenglet to return to his forsaken researches. He now published all he had formerly composed on the affair of Maria d'Agreda, and two other works; the one, "_Traite historique et dogmatique sur les Apparitions, les Visions, et les Revelations particulieres_," in two volumes; and "_Recueil de Dissertations anciennes et nouvelles, sur les Apparitions, &c._," with a catalogue of authors on this subject, in four volumes. When he edited the _Roman de la Rose_, in compiling the glossary of this ancient poem, it led him to reprint many of the earliest French poets; to give an enlarged edition of the _Arrets d'Amour_, that work of love and chivalry, in which his fancy was now so deeply embedded; while the subject of Romance itself naturally led to the taste of romantic productions which appeared in "_L'Usage des Romans_," and its accompanying copious nomenclature of all romances and romance-writers, ancient and modern. Our vivacious Abbe had been bewildered by his delight in the works of a chemical philosopher; and though he did not believe in the existence of apparitions, and certainly was more than a sceptic in history, yet it is certain that the "grande oeuvre" was an article in his creed; it would have ruined him in experiments, if he had been rich enough to have been ruined. It altered his health; and the most important result of his chemical studies appears to have been the invention of a syrup, in which he had great confidence; but its trial blew him up into a tympany, from which he was only relieved by having recourse to a drug, also of his own discovery, which, in counteracting the syrup, reduced him to an alarming state of atrophy. But the mischances of the historian do not enter into his history: and our curiosity must be still eager to open Lenglet's "Histoire de la Philosophie Hermetique," accompanied by a catalogue of the writers in this mysterious science, in two volumes: as well as his enlarged edition of the works of a great Paracelsian, Nicholas le Fevre.

This philosopher was appointed by Charles the Second superintendent over the royal laboratory at St. James's: he was also a member of the Royal Society, and the friend of Boyle, to whom he communicated the secret of infusing young blood into old veins, with a notion that he could renovate that which admits of no second creation.[152] Such was the origin of Du Fresnoy's active curiosity on a variety of singular topics, the germs of which may be traced to three or four of our author's princ.i.p.al works.

Our Abbe promised to write his own life, and his pugnacious vivacity, and hardy frankness, would have seasoned a piece of autobiography; an amateur has, however, written it in the style which amateurs like, with all the truth he could discover, enlivened by some secret history, writing the life of Lenglet with the very spirit of Lenglet: it is a mask taken from the very features of the man, not the insipid wax-work of an hyperbolical eloge-maker.[153]

Although Lenglet du Fresnoy commenced in early life his career as a man of letters, he was at first engaged in the great chase of political adventure; and some striking facts are recorded, which show his successful activity. Michault describes his occupations by a paraphrastical delicacy of language, which an Englishman might not have so happily composed. The minister for foreign affairs, the Marquis de Torcy, sent Lenglet to Lille, where the court of the Elector of Cologne was then held: "He had particular orders to _watch_ that the two ministers of the elector should do nothing prejudicial to the king's affairs." He seems, however, to have _watched_ many other persons, and detected many other things. He discovered a captain, who agreed to open the gates of Mons to Marlborough, for 100,000 piastres; the captain was arrested on the parade, the letter of Marlborough was found in his pocket, and the traitor was broken on the wheel. Lenglet denounced a foreign general in the French service, and the event warranted the prediction. His most important discovery was that of the famous conspiracy of Prince Cellamar, one of the chimerical plots of Alberoni; to the honour of Lenglet, he would not engage in its detection unless the minister promised that no blood should be shed. These successful incidents in the life of an honourable spy were rewarded with a moderate pension.--Lenglet must have been no vulgar intriguer; he was not only perpetually confined by his very patrons when he resided at home, for the freedom of his pen, but I find him early imprisoned in the citadel of Strasburgh for six months: it is said for purloining some curious books from the library of the Abbe Bignon, of which he had the care. It is certain that he knew the value of the scarcest works, and was one of those lovers of bibliography who trade at times in costly rarities. At Vienna he became intimately acquainted with the poet Rousseau, and Prince Eugene. The prince, however, who suspected the character of our author, long avoided him. Lenglet insinuated himself into the favour of the prince's librarian; and such was his bibliographical skill, that this acquaintance ended in Prince Eugene laying aside his political dread, and preferring the advice of Lenglet to his librarian's, to enrich his magnificent library. When the motive of Lenglet's residence at Vienna became more and more suspected, Rousseau was employed to _watch_ him; and not yet having quarrelled with his brother spy, he could only report that the Abbe Lenglet was every morning occupied in working on his "Tablettes Chronologiques," a work not worthy of alarming the government; that he spent his evenings at a violin-player's married to a Frenchwoman, and returned home at eleven. As soon as our historian had discovered that the poet was a brother spy and newsmonger on the side of Prince Eugene, their reciprocal civilities cooled.

Lenglet now imagined that he owed his six months' retirement in the citadel of Strasburgh to the secret officiousness of Rousseau: each grew suspicious of the other's fidelity; and spies are like lovers, for their mutual jealousies settled into the most inveterate hatred. One of the most defamatory libels is Lenglet's intended dedication of his edition of Marot to Rousseau, which being forced to suppress in Holland, by order of the States-general; at Brussels, by the intervention of the Duke of Aremberg; and by every means the friends of the unfortunate Rousseau could contrive; was, however, many years afterwards at length subjoined by Lenglet to the first volume of his work on Romances; where an ordinary reader may wonder at its appearance unconnected with any part of the work. In this dedication, or "eloge Historique," he often addresses "Mon cher Rousseau," but the irony is not delicate, and the calumny is heavy. Rousseau lay too open to the unlicensed causticity of his accuser. The poet was then expatriated from France for a false accusation against Saurin, in attempting to fix on him those criminal couplets, which so long disturbed the peace of the literary world in France, and of which Rousseau was generally supposed to be the writer; but of which on his death-bed he solemnly protested that he was guiltless. The _coup-de-grace_ is given to the poet, stretched on this rack of invective, by just accusations on account of those infamous epigrams, which appear in some editions of that poet's works; a lesson for a poet, if poets would be lessoned, who indulge their imagination at the cost of their happiness, and seem to invent crimes, as if they themselves were criminals.

But to return to our Lenglet. Had he composed his own life, it would have offered a sketch of political servitude and political adventure, in a man too intractable for the one, and too literary for the other. Yet to the honour of his capacity, we must observe that he might have chosen his patrons, would he have submitted to patronage. Prince Eugene at Vienna; Cardinal Pa.s.sionei at Rome; or Mons. Le Blanc, the French minister, would have held him on his own terms. But "Liberty and my books!" was the secret e.j.a.c.u.l.a.t.i.o.n of Lenglet; and from that moment all things in life were sacrificed to a jealous spirit of independence, which broke out in his actions as well as in his writings; and a pa.s.sion for study for ever crushed the worm of ambition.

He was as singular in his conversation, which, says Jordan, was extremely agreeable to a foreigner, for he delivered himself without reserve on all things, and on all persons, seasoned with secret and literary anecdotes. He refused all the conveniences offered by an opulent sister, that he might not endure the restraint of a settled dinner-hour. He lived to his eightieth year, still busied, and then died by one of those grievous chances, to which aged men of letters are liable: our caustic critic slumbered over some modern work, and, falling into the fire was burnt to death. Many characteristic anecdotes of the Abbe Lenglet have been preserved in the _Dictionnaire Historique_, but I shall not repeat what is of easy recurrence.

FOOTNOTES:

[149] This fact appears in the account of the minuter erasures.

[150] The _castrations_ are in _Beyeri Memoriae historico-criticae Librorum rariorum_, p. 166. The _bruises_ are carefully noted in the _Catalogue of the Duke de la Valiere_, 4467. Those who are curious in such singularities will be gratified by the extraordinary opinions and results in Beyer; and which after all were purloined from a ma.n.u.script "Abridgment of Universal History," which was drawn up by Count de Boulainvilliers, and more adroitly than delicately inserted by Lenglet in his own work. The original ma.n.u.script exists in various copies, which were afterwards discovered. The minuter corrections, in the Duke de la Valiere's catalogue, furnish a most enlivening article in the dryness of bibliography.

[151] The last edition, enlarged by Drouet, is in fifteen volumes, but is not later than 1772. It is still an inestimable manual for the historical student, as well as his _Tablettes Chronologiques_.

[152] The "Dictionnaire Historique," 1789, in their article Nich. Le Fevre, notices the third edition of his "Course of Chemistry," that of 1664, in two volumes; but the present one of Lenglet du Fresnoy's is more recent, 1751, enlarged into five volumes, two of which contain his own additions. I have never met with this edition, and it is wanting at the British Museum. Le Fevre published a tract on the great cordial of Sir Walter Rawleigh, which may be curious.

[153] This anonymous work of "Memoires de Monsieur l'Abbe Lenglet du Fresnoy," although the dedication is signed G. P., is written by Michault, of Dijon, as a presentation copy to Count de Vienne in my possession proves. Michault is the writer of two volumes of agreeable "Melanges Historiques et Philologiques;" and the present is a very curious piece of literary history. The "Dictionnaire Historique" has compiled the article of Lenglet entirely from this work; but the _Journal des Scavans_ was too ascetic in this opinion.

_Etoit-ce la peine de faire un livre pour apprendre au public qu'un homme de lettres fut espion, escroc, bizarre, fougueux, cynique, incapable d'amitie, de soumission aux loix? &c._ Yet they do not pretend that the bibliography of Lenglet du Fresnoy is at all deficient in curiosity.

THE DICTIONARY OF TREVOUX.

A learned friend, in his very agreeable "Trimestre, or a Three Months'

Journey in France and Switzerland," could not pa.s.s through the small town of Trevoux without a literary a.s.sociation of ideas which should accompany every man of letters in his tours, abroad or at home. A mind well-informed cannot travel without discovering that there are objects constantly presenting themselves, which _suggest_ literary, historical, and moral facts. My friend writes, "As you proceed nearer to Lyons you stop to dine at Trevoux, on the left bank of the Saone. On a sloping hill, down to the water-side, rises an amphitheatre, crowned with an ancient Gothic castle, in venerable ruin; under it is the small town of Trevoux, well known for its Journal and Dictionary, which latter is almost an encyclopaedia, as _there are few things of which something is not said in that most valuable compilation_, and the whole was printed at Trevoux. The knowledge of this circ.u.mstance greatly enhances the delight of any visitor who has consulted the book, and is acquainted with its merit; and must add much to his local pleasures."

A work from which every man of letters may be continually deriving such varied knowledge, and which is little known but to the most curious readers, claims a place in these volumes; nor is the history of the work itself without interest. Eight large folios, each consisting of a thousand closely printed pages, stand like a vast mountain, of which, before we climb, we may be anxious to learn the security of the pa.s.sage.

The history of dictionaries is the most mutable of all histories; it is a picture of the inconstancy of the knowledge of man; the learning of one generation pa.s.ses away with another; and a dictionary of this kind is always to be repaired, to be rescinded, and to be enlarged.

The small town of Trevoux gave its name to an excellent literary journal, long conducted by the Jesuits, and to this dictionary--as Edinburgh has to its Critical Review and Annual Register, &c. It first came to be distinguished as a literary town from the Duc du Maine, as prince sovereign of Dombes,[154] transferring to this little town of Trevoux not only his parliament and other public inst.i.tutions, but also establishing a magnificent printing-house, in the beginning of the last century. The duke, probably to keep his printers in constant employ, inst.i.tuted the "_Journal de Trevoux_;" and this perhaps greatly tended to bring the printing-house into notice, so that it became a favourite with many good writers, who appear to have had no other connexion with the place; and this dictionary borrowed its first t.i.tle, which it always preserved, merely from the place where it was printed. Both the journal and the dictionary were, however, consigned to the care of some learned Jesuits; and perhaps the place always indicated the principles of the writers, of whom none were more eminent for elegant literature than the Jesuits.[155]

The first edition of this dictionary sprung from the spirit of rivalry, occasioned by a French dictionary published in Holland, by the protestant Basnage de Beauval. The duke set his Jesuits hastily to work; who, after a pompous announcement that this dictionary was formed on a plan suggested by their patron, did little more than pillage Furetiere, and rummage Basnage, and produced three new folios without any novelties; they pleased the Duc du Maine, and no one else. This was in 1704. Twenty years after, it was republished and improved; and editions increasing, the volumes succeeded each other, till it reached to its present magnitude and value in eight large folios, in 1771, the only edition now esteemed. Many of the names of the contributors to this excellent collection of words and things, the industry of Monsieur Barbier has revealed in his "Dictionnaire des Anonymes," art. 10782. The work, in the progress of a century, evidently became a favourite receptacle with men of letters in France, who eagerly contributed the smallest or largest articles with a zeal honourable to literature and most useful to the public. They made this dictionary their commonplace book for all their curious acquisitions; every one competent to write a short article, preserving an important fact, did not aspire to compile the dictionary, or even an entire article in it; but it was a treasury in which such mites collected together formed its wealth; and all the literati may be said to have engaged in perfecting these volumes during a century. In this manner, from the humble beginnings of three volumes, in which the plagiary much more than the contributor was visible, eight were at length built up with more durable materials, and which claim the attention and the grat.i.tude of the student.

The work, it appears, interested the government itself, as a national concern, from the tenor of the following anecdotes.

Most of the minor contributors to this great collection were satisfied to remain anonymous; but as might be expected among such a number, sometimes a contributor was anxious to be known to his circle; and did not like this penitential abstinence of fame. An anecdote recorded of one of this cla.s.s will amuse: A Monsieur Lautour du Chatel, avocat au parlement de Normandie, voluntarily devoted his studious hours to improve this work, and furnished nearly three thousand articles to the supplement of the edition of 1752. This ardent scholar had had a lively quarrel thirty years before with the first authors of the dictionary. He had sent them one thousand three hundred articles, on condition that the donor should be handsomely thanked in the preface of the new edition, and further receive a copy _en grand papier_. They were accepted. The conductors of the new edition, in 1721, forgot all the promises--nor thanks, nor copy! Our learned avocat, who was a little irritable, as his nephew who wrote his life acknowledges, as soon as the great work appeared, astonished, like Dennis, that "they were rattling his own thunder," without saying a word, quits his country town, and ventures, half dead with sickness and indignation, on an expedition to Paris, to make his complaint to the chancellor; and the work was deemed of that importance in the eye of government, and so zealous a contributor was considered to have such an honourable claim, that the chancellor ordered, first, that a copy on large paper should be immediately delivered to Monsieur Lautour, richly bound and free of carriage; and secondly, as a reparation of the unperformed promise, and an acknowledgment of grat.i.tude, the omission of thanks should be inserted and explained in the three great literary journals of France; a curious instance, among others, of the French government often mediating, when difficulties occurred in great literary undertakings, and considering not lightly the claims and the honours of men of letters.

Another proof, indeed, of the same kind, concerning the present work, occurred after the edition of 1752. One Jamet l'aine, who had with others been usefully employed on this edition, addressed a proposal to government for an improved one, dated from the Bastile. He proposed that the government should choose a learned person, accustomed to the labour of the researches such a work requires; and he calculated, that if supplied with three amanuenses, such an editor would accomplish his task in about ten or twelve years, the produce of the edition would soon repay all the expenses and capital advanced. This literary projector did not wish to remain idle in the Bastile. Fifteen years afterwards the last improved edition appeared, published by the a.s.sociated booksellers of Paris.

As for the work itself, it partakes of the character of our Encyclopaedias; but in this respect it cannot be safely consulted, for widely has science enlarged its domains and corrected its errors since 1771. But it is precious as a vast collection of ancient and modern learning, particularly in that sort of knowledge which we usually term antiquarian and philological. It is not merely a grammatical, scientific, and technical dictionary, but it is replete with divinity, law, moral philosophy, critical and historical learning, and abounds with innumerable miscellaneous curiosities. It would be difficult, whatever may be the subject of inquiry, to open it, without the gratification of some knowledge neither obvious nor trivial. I heard a man of great learning declare, that whenever he could not recollect his knowledge he opened Hoffman's _Lexicon Universale Historic.u.m_, where he was sure to find what he had lost. The works are similar; and valuable as are the German's four folios, the eight of the Frenchman may safely be recommended as their subst.i.tute, or their supplement. As a Dictionary of the French Language it bears a peculiar feature, which has been presumptuously dropped in the Dictionnaire de l'Academie; the last invents phrases to explain words, which therefore have no other authority than the writer himself! this of Trevoux is furnished, not only with mere authorities, but also with quotations from the cla.s.sical French writers--an improvement which was probably suggested by the English Dictionary of Johnson. One nation improves by another.

FOOTNOTES:

[154] It was always acknowledged as an independent state by the French kings from the time of Philip Augustus. It had its own parliament, and the privilege also of coining its own money.

[155] The house in which the Jesuits resided, having the shield of arms of their order over its portal, still remains at Trevoux.

QUADRIO'S ACCOUNT OF ENGLISH POETRY.

It is, perhaps, somewhat mortifying in our literary researches to discover that our own literature has been only known to the other nations of Europe comparatively within recent times. We have at length triumphed over our continental rivals in the n.o.ble struggles of genius, and our authors now see their works printed even at foreign presses, while we are furnishing with our gratuitous labours nearly the whole literature of a new empire; yet so late as in the reign of Anne, our poets were only known by the Latin versifiers of the "Musae Anglicanae;"

and when Boileau was told of the public funeral of Dryden, he was pleased with the national honours bestowed on genius, but he declared that he never heard of his name before. This great legislator of Parna.s.sus has never alluded to one of our own poets, so insular then was our literary glory! The most remarkable fact, or perhaps a.s.sertion, I have met with, of the little knowledge which the Continent had of our writers, is a French translation of Bishop Hall's "Characters of Virtues and Vices." It is a duodecimo, printed at Paris, of 109 pages, 1610, with this t.i.tle _Characteres de Vertus et de Vices; tires de l'Anglois de M. Josef Hall_. In a dedication to the Earl of Salisbury, the translator informs his lordship that "_ce livre est la_ premiere traduction de l'Anglois _jamais_ imprimee en aucun vulgaire"--the first translation from the English ever printed in any modern language!

Whether the translator is a bold liar, or an ignorant blunderer, remains to be ascertained; at all events it is a humiliating demonstration of the small progress which our home literature had made abroad in 1610!

I come now to notice a contemporary writer, professedly writing the history of our Poetry, of which his knowledge will open to us as we proceed with our enlightened and amateur historian.

Father Quadrio's _Della Storia e dell' ragione d' ogni Poesia_,--is a gigantic work, which could only have been projected and persevered in by some hypochondriac monk, who, to get rid of the _ennui_ of life, could discover no pleasanter way than to bury himself alive in seven monstrous closely-printed quartos, and every day be compiling something on a subject which he did not understand. Fortunately for Father Quadrio, without taste to feel, and discernment to decide, nothing occurred in this progress of literary history and criticism to abridge his volumes and his amus.e.m.e.nts; and with diligence and erudition unparalleled, he has here built up a receptacle for his immense, curious, and trifling knowledge on the poetry of every nation. Quadrio is among that cla.s.s of authors whom we receive with more grat.i.tude than pleasure, fly to sometimes to quote, but never linger to read; and fix on our shelves, but seldom have in our hands.

I have been much mortified, in looking over this voluminous compiler, to discover, although he wrote so late as about 1750, how little the history of English poetry was known to foreigners. It is a.s.suredly our own fault. We have too long neglected the bibliography and the literary history of our own country. Italy, Spain, and France have enjoyed eminent bibliographers--we have none to rival them. Italy may justly glory in her Tiraboschi and her Mazzuch.e.l.li; Spain in the Bibliothecas of Nicholas Antonio; and France, so rich in bibliographical treasures, affords models to every literary nation of every species of literary history. With us, the partial labour of the hermit Anthony for the Oxford writers, compiled before philosophical criticism existed in the nation; and Warton's History of Poetry, which was left unfinished at its most critical period, when that delightful antiquary of taste had just touched the threshold of his Paradise--these are the sole great labours to which foreigners might resort, but these will not be found of much use to them. The neglect of our own literary history has, therefore, occasioned the errors, sometimes very ridiculous ones, of foreign writers respecting our authors. Even the lively Chaudon, in his "Dictionnaire Historique," gives the most extraordinary accounts of most of the English writers. Without an English guide to attend such weary travellers, they have too often been deceived by the _mirages_ of our literature. They have given blundering accounts of works which do exist, and chronicled others which never did exist; and have often made up the personal history of our authors, by confounding two or three into one.

Chaudon, mentioning Dryden's tragedies, observes, that Atterbury translated two into Latin verse, ent.i.tled _Achitophel_ and _Absalom_![156]

Of all these foreign authors, none has more egregiously failed than this good Father Quadrio. In this universal history of poetry, I was curious to observe what sort of figure we made, and whether the fertile genius of our original poets had struck the foreign critic with admiration or with critical censure. But little was our English poetry known to its universal historian. In the chapter on those who have cultivated "la melica poesia in propria lingua tra, Tedeschi, Fiamminghi e Inglesi,"[157] we find the following list of English poets.

"Of John Gower; whose rhymes and verses are preserved in ma.n.u.script in the college of the most Holy Trinity, in Cambridge.

"Arthur Kelton, flourished in 1548, a skilful English poet: he composed various poems in English; also he lauds the Cambrians and their genealogy.

"The works of William Wycherly, in English prose and verse."

These were the only English poets whom Quadrio at first could muster together! In his subsequent additions he caught the name of Sir Philip Sidney with an adventurous criticism, "le sue poesie a.s.sai buone." He then was lucky enough to pick up the t.i.tle--not the volume, surely--which was one of the rarest; "Fiori poetici de A. Cowley," which he calls "poesie amorose:" this must mean that early volume of Cowley's, published in his thirteenth year, under the t.i.tle of "Poetical Blossoms." Further he laid hold of "John Donne" by the skirt, and "Thomas Creech," at whom he made a full pause, informing his Italians that "his poems are reputed by his nation as 'a.s.sai buone.'" He has also "Le opere di Guglielmo;" but to this Christian name, as it would appear, he had not ventured to add the surname. At length, in his progress of inquiry, in his fourth volume (for they were published at different periods), he suddenly discovers a host of English poets--in Waller, Duke of Buckingham, Lord Roscommon, and others, among whom is Dr. Swift; but he acknowledges their works have not reached him.

Shakspeare at length appears on the scene; but Quadrio's notions are derived from Voltaire, whom, perhaps, he boldly translates. Instead of improving our drama, he conducted it _a totale rovina nelle sue fa.r.s.e monstruose, che si chiaman tragedie; alcune scene vi abbia luminose e belle e alcuni tratti si trovono terribili e grandi_. Otway is said to have composed a tragic drama on the subject of "Venezia Salvata;" he adds with surprise, "ma affatto regolare." Regularity is the essence of genius with such critics as Quadrio. Dryden is also mentioned; but the only drama specified is "King Arthur." Addison is the first Englishman who produced a cla.s.sical tragedy; but though Quadrio writes much about the life of Addison, he never alludes to the Spectator.

We come now to a more curious point. Whether Quadrio had read our _comedies_ may be doubtful; but he distinguishes them by very high commendation. Our comedy, he says, represents human life, the manners of citizens and the people, much better than the French and Spanish comedies, in which all the business of life is mixed up with love affairs. The Spaniards had their gallantry from the Moors, and their manners from chivalry; to which they added their tumid African taste, differing from that of other nations. I shall translate what he now adds of English comedy.

"The English, more skilfully even than the French, have approximated to the true idea of comic subjects, choosing for the argument of their invention the customary and natural objects of the citizens and the populace. And when religion and decorum were more respected in their theatres, they were more advanced in this species of poetry, and merited not a little praise, above their neighbouring nations. But more than the English and the French (to speak according to pure and bare truth) have the Italians signalised themselves." A sly, insinuating criticism! But, as on the whole, for reasons which I cannot account for, Father Quadrio seems to have relished our English comedy, we must value his candour.

He praises our comedy; "per il bello ed il buono;" but, as he is a methodical Aristotelian, he will not allow us that liberty in the theatre which we are supposed to possess in parliament--by delivering whatever we conceive to the purpose. His criticism is a specimen of the irrefragable. "We must not abandon legitimate rules _to give mere pleasure thereby_; because pleasure is produced by, and flows from, the _beautiful_; and the beautiful is chiefly drawn from the good order and unity in which it consists!"

Quadrio succeeded in discovering the name of one of our greatest comic geniuses; for, alluding to our diversity of action in comedy, he mentions in his fifth volume, page 148,--"Il celebre _Benjanson_, nella sua commedia int.i.tolato _Bartolommeo Foicere_, e in quella altra commedia int.i.tolato _Ipsum Veetz_." The reader may decipher the poet's name with his _Fair_; but it required the critical sagacity of Mr. Douce to discover that by _Ipsum Veetz_ we are to understand Shadwell's comedy of _Epsom Wells_. The Italian critic had transcribed what he and his Italian printer could not spell. We have further discovered the source of his intelligence in St. Evremond, who had cla.s.sed Shadwell's comedy with Ben Jonson's. To such shifts is the writer of an universal history _d' ogni Poesia_ miserably reduced!