Calamities And Quarrels Of Authors Part 11

"I was obliged to take up three hundred and fifty pounds on interest towards this last work, whereof I still owe two hundred pounds, and two hundred more for the printing; the whole expense arising to about one thousand pounds. I have lived in the university above thirty years, fellow of a college now above forty years' standing, and fifty-eight years of age; am bachelor of divinity, and have preached before kings; but am now your honour's suppliant, and would fain retire from the study of humane learning, which has been so little beneficial to me, if I might have a little prebend, or sufficient anchor to lay hold on; only I have two or three matters ready for the press--an ecclesiastical history, Latin; an heroic poem of the Black Prince, Latin; another of Queen Anne, English, finished; a treatise of Columnes, Latin; and an accurate treatise about Homer, Greek, Latin, &c. I would fain be permitted the honour to make use of your name in some one, or most of these, and to be, &c.,

"JOSHUA BARNES."[72]

He died nine months afterwards. Homer did not improve in sale; and the sweets of patronage were not even tasted. This, then, is the history of a man of great learning, of the most pertinacious industry, but somewhat allied to the family of the _Scribleri_.

FOOTNOTES:

[66] Kennett was characterised throughout life by a strong party feeling, which he took care to display on every occasion. He was born at Dover in 1660, and his first publication, at the age of twenty, gave great offence to the Whig party; it was in the form of a letter from a Student at Oxford to a friend in the country, concerning the approaching parliament. He scarcely ever published a sermon without so far mixing party matters in it as to obtain replies and rejoinders; the rector of Whitechapel employed an artist to place his head on Judas's shoulders in the picture of the Last Supper done for that church, and to make the figure unmistakeable, placed the _patch_ on the forehead which Kennett wore, to conceal a scar he got by the bursting of a gun. His diligence and application through life was extraordinary. He a.s.sisted Anthony Wood in collecting materials for his "Athenae Oxonienses;" and, like Oldys, was continually employed in noting books, or in forming ma.n.u.script collections on various subjects, all of which were purchased by the Earl of Shelburne, afterwards Marquis of Lansdowne, and were sold with the rest of his ma.n.u.scripts to the British Museum. He died in 1714, of a fever he had contracted in a journey to Italy.--ED.

[67] See Bishop Kennett's Letter in Nichols's "Life of Bowyer," vol.

i, 383.

[68] The best account of the Rev. Wm. Cole is to be found in Nichols's "Literary Anecdotes of the Eighteenth Century," vol.

i. His life was eventless, and pa.s.sed in studious drudgery. He had all that power of continuous application which will readily form immense ma.n.u.script collections. In this way his life was pa.s.sed, occasionally aiding from his enormous stores the labours of others. He was an early and intimate acquaintance of Horace Walpole's, and they visited France together in 1765. Browne Willis, the antiquary, gave him the rectory of Blecheley, in Buckinghamshire, and he was afterwards presented to the vicarage of Burnham, near Eton. He died in 1782, in the 68th year of his age, having chiefly employed a long life in noting on all subjects, until his ma.n.u.scripts became a small library of themselves, which he bequeathed to the British Museum, with an order that they should not be opened for twenty years. They are correctly characterised by Nichols: he says, "many of the volumes exhibit striking traits of Mr. Cole's own character; and a man of sufficient leisure might pick out of them abundance of curious matter." He left a diary behind him which for puerility could not be exceeded, and of which Nichols gives several ridiculous specimens. If his parrot died, or his man-servant was bled; if he sent a loin of pork to a friend, and got a quarter of lamb in return; "drank coffee with Mrs.

Willis," or "sent two French wigs to a London barber," all is faithfully recorded. It is a true picture of a lover of labour, whose constant energy must be employed, and will write even if the labour be worthless.--ED.

[69] Cole's collection, ultimately bequeathed by him to the British Museum, is comprised in 92 volumes, and is arranged among the additional ma.n.u.scripts there, of which it forms Nos. 5798 to 5887.--ED.

[70] In his "Critical and Philosophical Enquiry into the Causes of Prodigies."

[71] This, his most valuable work, has been most carefully edited, with numerous additions by Dr. Bliss, and is the great authority for Lives of Oxford men. Its author, born at Oxford in 1632, died there in 1695, having devoted his life strictly to study.--ED.

[72] Harleian MSS. 7523.

THE DESPAIR OF YOUNG POETS.

WILLIAM PATTISON was a young poet who perished in his twentieth year; his character and his fate resemble those of Chatterton. He was one more child of that family of genius, whose pa.s.sions, like the torch, kindle but to consume themselves.

The youth of Pattison was that of a poet. Many become irrecoverably poets by local influence; and Beattie could hardly have thrown his "Minstrel" into a more poetical solitude than the singular spot which was haunted by our young bard. His first misfortune was that of having an anti-poetical parent; his next was that of having discovered a spot which confirmed his poetical habits, inspiring all the melancholy and sensibility he loved to indulge. This spot, which in his fancy resembled some favourite description in Cowley, he called "Cowley's Walk." Some friend, who was himself no common painter of fancy, has delineated the whole scenery with minute touches, and a freshness of colouring, warm with reality. Such a poetical habitation becomes a part of the poet himself, reflecting his character, and even descriptive of his manners.

"On one side of 'Cowley's Walk' is a huge rock, grown over with moss and ivy climbing on its sides, and in some parts small trees spring out of the crevices of the rock; at the bottom are a wild plantation of irregular trees, in every part looking aged and venerable. Among these cavities, one larger than the rest was the cave he loved to sit in: arched like a canopy, its rustic borders were edged with ivy hanging down, overshadowing the place, and hence he called it (for poets must give a name to every object they love) 'Hederinda,' bearing ivy. At the foot of this grotto a stream of water ran along the walk, so that its level path had trees and water on one side, and a wild rough precipice on the other. In winter, this spot looked full of horror--the naked trees, the dark rock, and the desolate waste; but in the spring, the singing of the birds, the fragrancy of the flowers, and the murmuring of the stream, blended all their enchantment."

Here, in the heat of the day, he escaped into the "Hederinda," and shared with friends his rapture and his solitude; and here through summer nights, in the light of the moon, he meditated and melodised his verses by the gentle fall of the waters. Thus was Pattison fixed and bound up in the strongest spell the demon of poetry ever drew around a susceptible and careless youth.

He was now a decided poet. At Sidney College, in Cambridge, he was greatly loved; till, on a quarrel with a rigid tutor, he rashly cut his name out of the college book, and quitted it for ever in utter thoughtlessness and gaiety, leaving his gown behind, as his _loc.u.m tenens_, to make his apology, by pinning on it a satirical farewell.

Whoever gives himself the pains to stoop, And take my venerable tatters up, To his presuming inquisition I, In _loco Pattisoni_, thus reply: "Tired with the senseless jargon of the gown, My master left the college for the town, And scorns his precious minutes to regale With wretched college-wit and college-ale."

He flew to the metropolis to take up the trade of a poet.

A translation of Ovid's "Epistles" had engaged his attention during two years; his own genius seemed inexhaustible; and pleasure and fame were awaiting the poetical emigrant. He resisted all kind importunities to return to college; he could not endure submission, and declares "his spirit cannot bear control." One friend "fears the innumerable temptations to which one of his complexion is liable in such a populous place." Pattison was much loved; he had all the generous impetuosity of youthful genius; but he had resolved on running the perilous career of literary glory, and he added one more to the countless thousands who perish in obscurity.

His first letters are written with the same spirit that distinguishes Chatterton's; all he hopes he seems to realise. He mixes among the wits, dates from b.u.t.ton's, and drinks with Concanen healths to college friends, till they lose their own; more dangerous Muses condescend to exhibit themselves to the young poet in the park; and he was to be introduced to Pope. All is exultation! Miserable youth! The first thought of prudence appears in a resolution of soliciting subscriptions from all persons, for a volume of poems.

His young friends at college exerted their warm patronage; those in his native North condemn him, and save their crowns; Pope admits of no interview, but lends his name, and bestows half-a-crown for a volume of poetry, which he did not want; the poet wearies kindness, and would extort charity even from brother-poets; pet.i.tions lords and ladies; and, as his wants grow on him, his shame decreases.

How the scene has changed in a few months! He acknowledges to a friend, that "his heart was broke through the misfortunes he had fallen under;" he declares "he feels himself near the borders of death." In moments like these he probably composed the following lines, awfully addressed,

AD CLUM!

Good heaven! this mystery of life explain, Nor let me think I bear the load in vain; Lest, with the tedious pa.s.sage cheerless grown, Urged by despair, I throw the burden down.

But the torture of genius, when all its pa.s.sions are strained on the rack, was never more pathetically expressed than in the following letter:--

"SIR,--If you was ever touched with a sense of humanity, consider my condition: what _I am_, my proposals will inform you; what _I have been_, Sidney College, in Cambridge, can witness; but what _I shall be_ some few hours hence, I tremble to think! Spare my blushes!--I have not enjoyed the common necessaries of life for these two days, and can hardly hold to subscribe myself,

"Yours, &c."

The picture is finished--it admits not of another stroke. Such was the complete misery which Savage, Boyse, Chatterton, and more innocent spirits devoted to literature, have endured--but not long--for they must perish in their youth!

HENRY CAREY was one of our most popular poets; he, indeed, has unluckily met with only dictionary critics, or what is as fatal to genius, the cold and undistinguishing commendation of grave men on subjects of humour, wit, and the lighter poetry. The works of Carey do not appear in any of our great collections, where Walsh, Duke, and Yalden slumber on the shelf.

Yet Carey was a true son of the Muses, and the most successful writer in our language. He is the author of several little national poems. In early life he successfully burlesqued the affected versification of Ambrose Philips, in his baby poems, to which he gave the fortunate appellation of "_Namby Pamby_, a panegyric on the new versification;"

a term descriptive in sound of those chiming follies, and now become a technical term in modern criticism. Carey's "Namby Pamby" was at first considered by Swift as the satirical effusion of Pope, and by Pope as the humorous ridicule of Swift. His ballad of "Sally in our Alley" was more than once commended for its nature by Addison, and is sung to this day. Of the national song, "G.o.d save the King," it is supposed he was the author both of the words and of the music.[73] He was very successful on the stage, and wrote admirable burlesques of the Italian Opera, in "The Dragon of Wantley," and "The Dragoness;" and the mock tragedy of "Chrononhotonthologos" is not forgotten. Among his Poems lie still concealed several original pieces; those which have a political turn are particularly good, for the politics of Carey were those of a poet and a patriot. I refer the politician who has any taste for poetry and humour to "The Grumbletonians, or the Dogs without doors, a Fable," very instructive to those grown-up folks, "The Ins and the Outs." "Carey's Wish" is in this cla.s.s; and, as the purity of election remains still among the desiderata of every true Briton, a poem on that subject by the patriotic author of our national hymn of "G.o.d save the King" may be acceptable.

CAREY'S WISH.

Cursed be the wretch that's bought and sold, And barters liberty for gold; For when election is not free, In vain we boast of liberty: And he who sells his single right, Would sell his country, if he might.

When liberty is put to sale For wine, for money, or for ale, The sellers must be abject slaves, The buyers vile designing knaves; A proverb it has been of old, The devil's bought but to be sold.

This maxim in the statesman's school Is always taught, _divide and rule_.

All parties are to him a joke: While zealots foam, he fits the yoke.

Let men their reason once resume; 'Tis then the statesman's turn to fume.

Learn, learn, ye Britons, to unite; Leave off the old exploded bite; Henceforth let Whig and Tory cease, And turn all party rage to peace; Rouse and revive your ancient glory; Unite, and drive the world before you.

To the ballad of "Sally in our Alley" Carey has prefixed an argument so full of nature, that the song may hereafter derive an additional interest from its simple origin. The author a.s.sures the reader that the popular notion that the subject of his ballad had been the noted Sally Salisbury, is perfectly erroneous, he being a stranger to her name at the time the song was composed.

"As innocence and virtue were ever the boundaries of his Muse, so in this little poem he had no other view than to set forth the beauty of a chaste and disinterested pa.s.sion, even in the lowest cla.s.s of human life. The real occasion was this: A shoemaker's 'prentice, making holiday with his sweetheart, treated her with a sight of Bedlam, the puppet-shows, the flying-chairs, and all the elegancies of Moorfields; from whence, proceeding to the Farthing Pye-house, he gave her a collation of buns, cheesecakes, gammon of bacon, stuffed beef, and bottled ale; through all which scenes the author dodged them (charmed with the simplicity of their courtship), from whence he drew this little sketch of Nature; but, being then young and obscure, he was very much ridiculed for this performance; which, nevertheless, made its way into the polite world, and amply recompensed him by the applause of the divine Addison, who was pleased (more than once) to mention it with approbation."

In "The Poet's Resentment" poor Carey had once forsworn "the harlot Muse:"--

Far, far away then chase the harlot Muse, Nor let her thus thy noon of life abuse; Mix with the common crowd, unheard, unseen, And if again thou tempt'st the vulgar praise, Mayst thou be crown'd with birch instead of bays!

Poets make such oaths in sincerity, and break them in rapture.

At the time that this poet could neither walk the streets nor be seated at the convivial board, without listening to his own songs and his own music--for, in truth, the whole nation was echoing his verse, and crowded theatres were applauding his wit and humour--while this very man himself, urged by his strong humanity, founded a "Fund for decayed Musicians"--he was so broken-hearted, and his own common comforts so utterly neglected, that in despair, not waiting for nature to relieve him from the burden of existence, he laid violent hands on himself; and when found dead, had only a halfpenny in his pocket! Such was the fate of the author of some of the most popular pieces in our language. He left a son, who inherited his misery, and a gleam of his genius.

FOOTNOTES:

[73] The late Richard Clark, of the Chapel Royal and Westminster Abbey, published in 1823 "An Account of the National Anthem, ent.i.tled G.o.d save the King," in which he satisfactorily proves "that Carey neither had, nor could have had, any claim at all to this composition," which he traces back to the celebrated composer, Dr. John Bull, who he believes composed it for the entertainment given by the Merchant Taylors Company to King James I., in 1607. Ward, in his "Lives of the Gresham Professors," gives a list of Bull's compositions, then in the possession of Dr. Pepusch (who arranged the music for the _Beggar's Opera_), and Art. 56 is "G.o.d save the King." At the Doctor's death, his ma.n.u.scripts, amounting to two cartloads, were scattered or sold for waste-paper, and this was one of the number. Clark ultimately recovered this MS.--ED.