Pinkerton favoured me with the following curious notice concerning pamphlets:--

"Of the etymon of _pamphlet_ I know nothing; but that the word is far more ancient than is commonly believed, take the following proof from the celebrated _Philobiblon_, ascribed to Richard de Buri, bishop of Durham, but written by Robert Holkot, at his desire, as Fabricius says, about the year 1344, (Fabr. Bibl. Medii aevi, vol. i.); it is in the eighth chapter.

"Sed, revera, libros non libras maluimus; codicesque plus dileximus quam florenos: ac PANFLETOS exiguos phaleratis praetulimus palescedis."

"But, indeed, we prefer books to pounds; and we love ma.n.u.scripts better than florins; and we prefer small _pamphlets_ to war horses."

This word is as old as Lydgate's time: among his works, quoted by Warton, is a poem "translated from a _pamflete_ in Frenshe."

LITTLE BOOKS.

Myles Davies has given an opinion of the advantages of Little Books, with some humour.

"The smallness of the size of a book was always its own commendation; as, on the contrary, the largeness of a book is its own disadvantage, as well as the terror of learning. In short, a big book is a scare-crow to the head and pocket of the author, student, buyer, and seller, as well as a harbour of ignorance; hence the inaccessible masteries of the inexpugnable ignorance and superst.i.tion of the ancient heathens, degenerate Jews, and of the popish scholasters and canonists, entrenched under the frightful bulk of huge, vast, and innumerable volumes; such as the great folio that the Jewish rabbins fancied in a dream was given by the angel Raziel to his pupil Adam, containing all the celestial sciences. And the volumes writ by Zoroaster, ent.i.tled The Similitude, which is said to have taken up no more s.p.a.ce than 1260 hides of cattle: as also the 25,000, or, as some say, 36,000 volumes, besides 525 lesser MSS. of his. The grossness and mult.i.tude of Aristotle and Varro's books were both a prejudice to the authors, and an hindrance to learning, and an occasion of the greatest part of them being lost. The largeness of Plutarch's treatises is a great cause of his being neglected, while Longinus and Epictetus, in their pamphlet Remains, are every one's companions. Origen's 6000 volumes (as Epiphanius will have it) were not only the occasion of his venting more numerous errors, but also for the most part of their perdition.--Were it not for Euclid's Elements, Hippocrates' Aphorisms, Justinian's Inst.i.tutes, and Littleton's Tenures, in small pamphlet volumes, young mathematicians, fresh-water physicians, civilian novices, and _les apprentices en la ley d'Angleterre_, would be at a loss and stand, and total disencouragement.

One of the greatest advantages the _Dispensary_ has over _King Arthur_ is its pamphlet size. So Boileau's Lutrin, and his other pamphlet poems, in respect of Perrault's and Chapelain's St. Paulin and la Pucelle.

_These_ seem to pay a deference to the reader's quick and great understanding; _those_ to mistrust his capacity, and to confine his time as well as his intellect."

Notwithstanding so much may be alleged in favour of books of a small size, yet the scholars of a former age regarded them with contempt.

Scaliger, says Baillet, cavils with Drusius for the smallness of his books; and one of the great printers of the time (Moret, the successor of Plantin) complaining to the learned Putea.n.u.s, who was considered as the rival of Lipsius, that his books were too small for sale, and that purchasers turned away, frightened at their diminutive size; Putea.n.u.s referred him to Plutarch, whose works consist of small treatises; but the printer took fire at the comparison, and turned him out of his shop, for his vanity at pretending that he wrote in any manner like Plutarch!

a specimen this of the politeness and reverence of the early printers for their learned authors; Jurieu reproaches Calomies that he is _a great author of little books_!

At least, if a man is the author only of little books, he will escape the sarcastic observation of Cicero on a voluminous writer--that "his body might be burned with his writings," of which we have had several, eminent for the worthlessness and magnitude of their labours.

It was the literary humour of a certain Maecenas, who cheered the l.u.s.tre of his patronage with the steams of a good dinner, to place his guests according to the size and thickness of the books they had printed. At the head of the table sat those who had published in _folio, foliissimo_; next the authors in _quarto_; then those in _octavo_. At that table Blackmore would have had the precedence of Gray. Addison, who found this anecdote in one of the Anas, has seized this idea, and applied it with his felicity of humour in No. 529 of the Spectator.

Montaigne's Works have been called by a Cardinal, "The Breviary of Idlers." It is therefore the book for many men. Francis...o...b..rne has a ludicrous image in favour of such opuscula. "Huge volumes, like the ox roasted whole at Bartholomew fair, may proclaim plenty of labour, but afford less of what is _delicate_, _savoury_, and _well-concocted_, than SMALLER PIECES."

In the list of t.i.tles of minor works, which Aulus Gellius has preserved, the lightness and beauty of such compositions are charmingly expressed.

Among these we find--a Basket of Flowers; an Embroidered Mantle; and a Variegated Meadow.

A CATHOLIC'S REFUTATION.

In a religious book published by a fellow of the Society of Jesus, ent.i.tled, "The Faith of a Catholic," the author examines what concerns the incredulous Jews and other infidels. He would show that Jesus Christ, author of the religion which bears his name, did not impose on or deceive the Apostles whom he taught; that the Apostles who preached it did not deceive those who were converted; and that those who were converted did not deceive us. In proving these three not difficult propositions, he says, he confounds "the _Atheist_, who does not believe in G.o.d; the _Pagan_, who adores several; the _Deist_, who believes in one G.o.d, but who rejects a particular Providence; the _Freethinker_, who presumes to serve G.o.d according to his fancy, without being attached to any religion; the _Philosopher_, who takes reason and not revelation for the rule of his belief; the _Gentile_, who, never having regarded the Jewish people as a chosen nation, does not believe G.o.d promised them a Messiah; and finally, the _Jew_, who refuses to adore the Messiah in the person of Christ."

I have given this sketch, as it serves for a singular Catalogue of _Heretics_.

It is rather singular that so late as in the year 1765, a work should have appeared in Paris, which bears the t.i.tle I translate, "The Christian Religion _proved_ by a _single fact_; or a dissertation in which is shown that those _Catholics_ of whom Huneric, King of the Vandals, cut the tongues, _spoke miraculously_ all the remainder of their days; from whence is deduced the _consequences of this miracle_ against the Arians, the Socinians, and the Deists, and particularly against the author of Emilius, by solving their difficulties." It bears this Epigraph, "_Ecce Ego admirationem faciam populo huic, miraculo grandi et stupendo_." There needs no further account of this book than the t.i.tle.

THE GOOD ADVICE OF AN OLD LITERARY SINNER.

Authors of moderate capacity have unceasingly hara.s.sed the public; and have at length been remembered only by the number of wretched volumes their unhappy industry has produced. Such an author was the Abbe de Marolles, otherwise a most estimable and ingenious man, and the patriarch of print-collectors.

This Abbe was a most egregious scribbler; and so tormented with violent fits of printing, that he even printed lists and catalogues of his friends. I have even seen at the end of one of his works a list of names of those persons who had given him books. He printed his works at his own expense, as the booksellers had unanimously decreed this. Menage used to say of his works, "The reason why I esteem the productions of the Abbe is, for the singular neatness of their bindings; he embellishes them so beautifully, that the eye finds pleasure in them." On a book of his versions of the Epigrams of Martial, this critic wrote, _Epigrams against Martial._ Latterly, for want of employment, our Abbe began a translation of the Bible; but having inserted the notes of the visionary Isaac de la Peyrere, the work was burnt by order of the ecclesiastical court. He was also an abundant writer in verse, and exultingly told a poet, that his verses cost him little: "They cost you what they are worth," replied the sarcastic critic. De Marolles in his _Memoirs_ bitterly complains of the injustice done to him by his contemporaries; and says, that in spite of the little favour shown to him by the public, he has nevertheless published, by an accurate calculation, one hundred and thirty-three thousand one hundred and twenty-four verses! Yet this was not the heaviest of his literary sins.

He is a proof that a translator may perfectly understand the language of his original, and yet produce an unreadable translation.

In the early part of his life this unlucky author had not been without ambition; it was only when disappointed in his political projects that he resolved to devote himself to literature. As he was incapable of attempting original composition, he became known by his detestable versions. He wrote above eighty volumes, which have never found favour in the eyes of the critics; yet his translations are not without their use, though they never retain by any chance a single pa.s.sage of the spirit of their originals.

The most remarkable anecdote respecting these translations is, that whenever this honest translator came to a difficult pa.s.sage, he wrote in the margin, "I have not translated this pa.s.sage, because it is very difficult, and in truth I could never understand it." He persisted to the last in his uninterrupted amus.e.m.e.nt of printing books; and his readers having long ceased, he was compelled to present them to his friends, who, probably, were not his readers. After a literary existence of forty years, he gave the public a work not dest.i.tute of entertainment in his own Memoirs, which he dedicated to his relations and all his ill.u.s.trious friends. The singular postscript to his Epistle Dedicatory contains excellent advice for authors.

"I have omitted to tell you, that I do not advise any one of my relatives or friends to apply himself as I have done to study, and particularly to the composition of books, if he thinks that will add to his fame or fortune. I am persuaded that of all persons in the kingdom, none are more neglected than those who devote themselves entirely to literature. The small, number of successful persons in that cla.s.s (at present I do not recollect more than two or three) should not impose on one's understanding, nor any consequences from them be drawn in favour of others. I know how it is by my own experience, and by that of several amongst you, as well as by many who are now no more, and with whom I was acquainted. Believe me, gentlemen! to pretend to the favours of fortune it is only necessary to render one's self useful, and to be supple and obsequious to those who are in possession of credit and authority; to be handsome in one's person; to adulate the powerful; to smile, while you suffer from them every kind of ridicule and contempt whenever they shall do you the honour to amuse themselves with you; never to be frightened at a thousand obstacles which may be opposed to one; have a face of bra.s.s and a heart of stone; insult worthy men who are persecuted; rarely venture to speak the truth; appear devout, with every nice scruple of religion, while at the same time every duty must be abandoned when it clashes with your interest. After these any other accomplishment is indeed superfluous."

MYSTERIES, MORALITIES, FARCES, AND SOTTIES.

The origin of the theatrical representations of the ancients has been traced back to a Grecian stroller singing in a cart to the honour of Bacchus. Our European exhibitions, perhaps as rude in their commencement, were likewise for a long time devoted to pious purposes, under the t.i.tles of Mysteries and Moralities. Of these primeval compositions of the drama of modern Europe, I have collected some anecdotes and some specimens.[96]

It appears that pilgrims introduced these devout spectacles. Those who returned from the Holy Land or other consecrated places composed canticles of their travels, and amused their religious fancies by interweaving scenes of which Christ, the Apostles, and other objects of devotion, served as the themes. Menestrier informs us that these pilgrims travelled in troops, and stood in the public streets, where they recited their poems, with their staff in hand; while their chaplets and cloaks, covered with sh.e.l.ls and images of various colours formed a picturesque exhibition, which at length excited the piety of the citizens to erect occasionally a stage on an extensive spot of ground.

These spectacles served as the amus.e.m.e.nts and instruction of the people.

So attractive were these gross exhibitions in the middle ages, that they formed one of the princ.i.p.al ornaments of the reception of princes on their public entrances.

When the Mysteries were performed at a more improved period, the actors were distinguished characters, and frequently consisted of the ecclesiastics of the neighbouring villages, who incorporated themselves under the t.i.tle of _Confreres de la Pa.s.sion_. Their productions were divided, not into acts, but into different days of performance, and they were performed in the open plain. This was at least conformable to the critical precept of that mad knight whose opinion is noticed by Pope. It appears by a MS. in the Harleian library, that they were thought to contribute so much to the information and instruction of the people, that one of the Popes granted a pardon of one thousand days to every person who resorted peaceably to the plays performed in the Whitsun week at Chester, beginning with "The Creation," and ending with the "General Judgment." These were performed at the expense of the different corporations of that city, and the reader may smile at the ludicrous combinations. "The Creation" was performed by the Drapers; the "Deluge"

by the Dyers; "Abraham, Melchisedech, and Lot," by the Barbers; "The Purification" by the Blacksmiths; "The Last Supper" by the Bakers; the "Resurrection" by the Skinners; and the "Ascension" by the Tailors. In these pieces the actors represented the person of the Almighty without being sensible of the gross impiety. So unskilful were they in this infancy of the theatrical art, that very serious consequences were produced by their ridiculous blunders and ill-managed machinery. The following singular anecdotes are preserved, concerning a Mystery which took up several days in the performance.

"In the year 1437, when Conrad Bayer, Bishop of Metz, caused the Mystery of 'The Pa.s.sion' to be represented on the plain of Veximel near that city, _G.o.d_ was _an old gentleman_, named Mr. Nicholas Neufchatel, of Touraine, curate of Saint Victory, of Metz, and who was very near expiring on the cross had he not been timely a.s.sisted. He was so enfeebled, that it was agreed another priest should be placed on the cross the next day, to finish the representation of the person crucified, and which was done; at the same time Mr. Nicholas undertook to perform 'The Resurrection,' which being a less difficult task, he did it admirably well."--Another priest, whose name was Mr. John de Nicey, curate of Metrange, personated Judas, and he had like to have been stifled while he hung on the tree, for his neck slipped; this being at length luckily perceived, he was quickly cut down and recovered.

John Bouchet, in his "Annales d'Aquitaine," a work which contains many curious circ.u.mstances of the times, written with that agreeable simplicity which characterises the old writers, informs us, that in 1486 he saw played and exhibited in Mysteries by persons of Poitiers, "The Nativity, Pa.s.sion, and Resurrection of Christ," in great triumph and splendour; there were a.s.sembled on this occasion most of the ladies and gentlemen of the neighbouring counties.

We will now examine the Mysteries themselves. I prefer for this purpose to give a specimen from the French, which are livelier than our own. It is necessary to premise to the reader, that my versions being in prose will probably lose much of that quaint expression and vulgar _navete_ which prevail through the originals, written in octo-syllabic verses.

One of these Mysteries has for its subject the election of an apostle to supply the place of the traitor Judas. A dignity so awful is conferred in the meanest manner; it is done by drawing straws, of which he who gets the longest becomes the apostle. Louis Chocquet was a favourite composer of these religious performances: when he attempts the pathetic, he has constantly recourse to devils; but, as these characters are sustained with little propriety, his pathos succeeds in raising a laugh. In the following dialogue Annas and Caiaphas are introduced conversing about St. Peter and St. John:----

ANNAS.

I remember them once very honest people. They have often brought their fish to my house to sell.

CAIAPHAS.

Is this true?

ANNAS.

By G.o.d, it is true; my servants remember them very well. To live more at their ease they have left off business; or perhaps they were in want of customers. Since that time they have followed Jesus, that wicked heretic, who has taught them magic; the fellow understands necromancy, and is the greatest magician alive, as far as Rome itself.

St. John, attacked by the satellites of Domitian, amongst whom the author has placed Longinus and Patroclus, gives regular answers to their insulting interrogatories. Some of these I shall transcribe; but leave to the reader's conjectures the replies of the Saint, which are not difficult to antic.i.p.ate.

PARTHEMIA.