Gossip in a Library Part 2

It was left for the riper disciples of the great divine to sing his funerals in more effective numbers. Of the crowd of poets who attended him with music to the grave, none expressed his merits in such excellent verses or with so much critical judgment as Thomas Carew, the king's sewer in ordinary. It is not so well known but that we quote some lines from it:

_The fire That fills with spirit and heat the Delphic choir, Which, kindled first by thy Promethean breath, Glow'd here awhile, lies quench'd now in thy death.

The Muses' garden, with pedantic weeds O'erspread, was purg'd by thee, the lazy seeds Of servile imitation thrown away, And fresh invention planted; thou disdt pay The debts of our penurious bankrupt age_.

_Whatsoever wrong By ours was done the Greek or Latin tongue, Thou hast redeem'd, and opened us a mine Of rich and pregnant fancy, drawn a line Of masculine expression, which, had good Old Orpheus seen, or all the ancient brood Our superst.i.tious fools admire, and hold Their lead more precious than thy burnish'd gold, Thou hadst been their exchequer....

Let others carve the rest; it will suffice I on thy grave this epitaph incise:-- Here lies a King, that ruled as he thought fit The universal monarchy of wit; Here lies two Flamens, and both these the best,-- Apollo's first, at last the True G.o.d's priest_.

There was no full memoir of Dr. Donne until it was the privilege of the present writer, in 1900, to publish his Life and Letters in two substantial volumes. Since then, in 1912, his Poetical Works have been edited and sifted, with remarkable delicacy and judgment, by Professor Grierson. It is now, therefore, as easy as it can be expected ever to be to follow the career of this extraordinary man, with all its cold and hot fits, its rage of lyrical amativeness, its Roman pa.s.sion, and the high and clouded austerity of its final Anglicanism. Donne is one of the most fascinating, in some ways one of the most inscrutable, figures in our literature, and we may contemplate him with instruction from his first wild escapade into the Azores down to his voluntary penitence in the pulpit and the winding-sheet.

GERARD'S HERBAL

THE HERBALL _or General Historie of Plantes. Gathered by John Gerarde, of London, Master in Chirurgerie. Very much enlarged and amended by Thomas Johnson, citizen and apothecarye of London. London, Printed by Adam Islip, Joice Norton, and Richard Whitakers. Anno_ 1633.

The proverb says that a door must be either open or shut. The bibliophile is apt to think that a book should be either little or big. For my own part, I become more and more attached to "dumpy twelves"; but that does not preclude a certain discreet fondness for folios. If a man collects books, his library ought to contain a Herbal; and if he has but room for one, that should be the best.

The luxurious and sufficient thing, I think, is to possess what booksellers call "the right edition of Gerard"; that is to say, the volume described at the head of this paper. There is no handsomer book to be found, none more stately or imposing, than this magnificent folio of sixteen hundred pages, with its close, elaborate letterpress, its innumerable plates, and John Payne's fine frontispiece in compartments, with Theophrastus and Dioscorides facing one another, and the author below them, holding in his right hand the new-found treasure of the potato plant.

This edition of 1633 is the final development of what had been a slow growth. The sixteenth century witnessed a great revival, almost a creation of the science of botany. People began to translate the great _Materia Medica_ of the Greek physician, Dioscorides of Anazarba, and to comment upon it. The Germans were the first to append woodcuts to their botanical descriptions, and it is Otto Brunfelsius, in 1530, who has the credit of being the originator of such figures. In 1554 there was published the first great Herbal, that of Rembertus Dodonaeus, body-physician to the Emperor Maximilian II., who wrote in Dutch. An English translation of this, brought out in 1578, by Henry Lyte, was the earliest important Herbal in our language. Five years later, in 1583, a certain Dr. Priest translated all the botanical works of Dodonaeus, with much greater fulness than Lyte had done, and this volume was the germ of Gerard's far more famous production. John Gerard was a Cheshire man, born in 1545, who came up to London, and practised there as a surgeon.

According to his editor and continuator, Thomas Johnson, who speaks of Gerard with startling freedom, this excellent man was by no means well equipped for the task of compiling a great Herbal. He knew so little Latin, according to this too candid friend, that he imagined Leonard Fuchsius, who was a German contemporary of his own, to be one of the ancients. But Johnson is a little too zealous in magnifying his own office. He brings a worse accusation against Gerard, if I understand him rightly to charge him with using Dr. Priest's ma.n.u.script collections after his death, without giving that physician the credit of his labours. When Johnson made this accusation, Gerard had been dead twenty-six years. In any case it seems certain that Gerard's original _Herbal_, which, beyond question, surpa.s.sed all its predecessors when it was printed in folio in 1597, was built up upon the ground-work of Priest's translation of Dodonaeus. Nearly forty years later, Thomas Johnson, himself a celebrated botanist, took up the book, and spared no pains to reissue it in perfect form. The result is the great volume before us, an elephant among books, the n.o.blest of all the English Herbals. Johnson was seventy-two years of age when he got this gigantic work off his hands, and he lived eleven years longer to enjoy his legitimate success.

The great charm of this book at the present time consists in the copious woodcuts. Of these there are more than two thousand, each a careful and original study from the plant itself. In the course of two centuries and a half, with all the advance in appliances, we have not improved a whit on the original artist of Gerard's and Johnson's time.

The drawings are all in strong outline, with very little attempt at shading, but the characteristics of each plant are given with a truth and a simplicity which are almost j.a.panese. In no case is this more extraordinary than in that of the orchids, or "satyrions," as they were called in the days of the old herbalist. Here, in a succession of little figures, each not more than six inches high, the peculiarity of every portion of a full-grown flowering specimen of each species is given with absolute perfection, without being slurred over on the one hand, or exaggerated on the other. For instance, the little variety called "ladies' tresses" [_Spiranthes_], which throws a spiral head of pale green blossoms out of dry pastures, appears here with small bells hanging on a twisted stem, as accurately as the best photograph could give it, although the process of woodcutting, as then practised in England, was very rude, and although almost all other English ill.u.s.trations of the period are rough and inartistic. It is plain that in every instance the botanist himself drew the form, with which he was already intelligently familiar, on the block, with the living plant lying at his side.

The plan on which the herbalist lays out his letterpress is methodical in the extreme. He begins by describing his plant, then gives its habitat, then discusses its nomenclature, and ends with a medical account of its nature and virtues. It is, of course, to be expected that we should find the line old names of plants enshrined in Gerard's pages. For instance, he gives to the deadly nightshade the name, which now only lingers in a corner of Devonshire, the "dwale." As an instance of his style, I may quote a pa.s.sage from what he has to say about the virtues, or rather vices, of this plant:

"Banish it from your gardens and the use of it also, being a plant so furious and deadly; for it bringeth such as have eaten thereof into a dead sleep wherein many have died, as hath been often seen and proved by experience both in England and elsewhere. But to give you an example hereof it shall not be amiss. It came to pa.s.s that three boys of Wisbeach, in the Isle of Ely, did eat of the pleasant and beautiful fruit hereof, two whereof died in less than eight hours after they had eaten of them. The third child had a quant.i.ty of honey and water mixed together given him to drink, causing him to vomit often. G.o.d blessed this means, and the child recovered. Banish, therefore, these pernicious plants out of your gardens, and all places near to your houses where children do resort."

Gerard has continually to stop his description that he may repeat to his readers some anecdote which he remembers. Now it is how "Master Cartwright, a gentleman of Gray's Inn, who was grievously wounded into the lungs," was cured with the herb called "Saracen's Compound," "and that, by G.o.d's permission, in short s.p.a.ce." Now it is to tell us that he has found yellow archangel growing under a sequestered hedge "on the left hand as you go from the village of Hampstead, near London, to the church," or that "this amiable and pleasant kind of primrose" (a sort of oxlip) was first brought to light by Mr. Hesketh, "a diligent searcher after simples," in a Yorkshire wood. While the groundlings were crowding to see new plays by Shirley and Ma.s.singer, the editor of this volume was examining fresh varieties of auricula in "the gardens of Mr. Tradescant and Mr. Tuggie." It is wonderful how modern the latter statement sounds, and how ancient the former. But the garden seems the one spot on earth where history does not a.s.sert itself, and, no doubt, when Nero was fiddling over the blaze of Rome, there were florists counting the petals of rival roses at Paestum as peacefully and conscientiously as any gardeners of to-day.

The herbalist and his editor write from personal experience, and this gives them a great advantage in dealing with superst.i.tions. If there was anything which people were certain about in the early part of the seventeenth century, it was that the mandrake only grew under a gallows, where the dead body of a man had fallen to pieces, and that when it was dug up it gave a great shriek, which was fatal to the nearest living thing. Gerard contemptuously rejects all these and other tales as "old wives' dreams." He and his servants have often digged up mandrakes, and are not only still alive, but listened in vain for the dreadful scream. It might be supposed that such a statement, from so eminent an authority, would settle the point, but we find Sir Thomas Browne, in the next generation, battling these identical popular errors in the pages of his _Pseudodoxia Epidemica_.

In the like manner, Gerard's botanical evidence seems to have been of no use in persuading the public that mistletoe was not generated out of birdlime dropped by thrushes into the boughs of trees, or that its berries were not desperately poisonous. To observe and state the truth is not enough. The ears of those to whom it is proclaimed must be ready to accept it.

Our good herbalist, however, cannot get through his sixteen hundred accurate and solemn pages without one slip. After accompanying him dutifully so far, we double up with uncontrollable laughter on p.

1587, for here begins the chapter which treats "of the Goose Tree, Barnacle Tree, or the Tree bearing Geese." But even here the habit of genuine observation clings to him. The picture represents a group of stalked barnacles--those shrimps fixed by their antennae, which modern science, I believe, calls _Lepas anatifera_; by the side of these stands a little goose, and the suggestion of course is that the latter has slipped out of the former, although the draughtsman has been far too conscientious to represent the occurrence. Yet the letterpress is confident that in the north parts of Scotland there are trees on which grow white sh.e.l.ls, which ripen, and then, opening, drop little living geese into the waves below. Gerard himself avers that from Guernsey and Jersey he brought home with him to London sh.e.l.ls, like limpets, containing little feathery objects, "which, _no doubt_, were the fowls called Barnacles." It is almost needless to say that these objects really were the plumose and flexible _cirri_ which the barnacles throw out to catch their food with, and which lie, like a tiny feather-brush, just within the valves of the sh.e.l.l, when the creature is dead. Gerard was plainly unable to refuse credence to the ma.s.s of evidence which presented itself to him on this subject, yet he closes with a hint that this seems rather a "fabulous breed" of geese.

With the Barnacle Goose Tree the Herbal proper closes, in these quaint words:

"And thus having, through G.o.d's a.s.sistance, discoursed somewhat at large of gra.s.ses, herbs, shrubs, trees and mosses, and certain excrescences of the earth, with other things moe, incident to the history thereof, we conclude, and end our present volume with this wonder of England. For the which G.o.d's name be ever honoured and praised."

And so, at last, the Goose Tree receives the highest sanction.

PHARAMOND

PHARAMOND; or, _The History of France. A New Romance. In four parts. Written originally in French, by the Author of Ca.s.sandra and Cleopatra: and now elegantly rendered into English. London: Printed by Ja: Cottrell for Samuel Speed, at the Rain-Bow in Fleetstreet, near the Inner Temple-Gate. (Folio_.) 1662.

There is no better instance of the fact that books will not live by good works alone than is offered by the utterly neglected heroic novels of the seventeenth century. At the opening of the reign of Louis XIV. in France, several writers, in the general dearth of prose fiction, began to supply the public in Paris with a series of long romances, which for at least a generation absorbed the attention of the ladies and reigned unopposed in every boudoir. I wonder whether my lady readers have ever attempted to realise how their sisters of two hundred years ago spent their time? In an English country-house of 1650, there were no magazines, no newspapers, no lawn tennis or croquet, no afternoon-teas or glee-concerts, no mothers' meetings or zenana missions, no free social intercourse with neighbours, none of the thousand and one agreeable diversions with which the life of a modern girl is diversified. On the other hand, the ladies of the house had their needlework to attend to, they had to "st.i.tch in a clout," as it was called; they had to attend to the duties of a housekeeper, and, when the sun shone, they tended the garden. Perhaps they rode or drove, in a stately fashion. But through long hours they sat over their embroidery frames or mended the solemn old tapestries which lined their walls, and during these sedate performances they required a long-winded, polite, unexciting, stately book that might be read aloud by turns. The heroic novel, as provided by Gombreville, Calprenede, and Mlle. de Scudery supplied this want to perfection.

The sentiments in these novels were of the most elevated cla.s.s, and tedious as they seem nowadays to us, it was the sentiments, almost more than the action, which fascinated contemporary opinion. Madame de Sevigne herself, the brightest and wittiest of women, confessed herself to be a fly in the spider's web of their attractions. "The beauty of the sentiments," she writes, "the violence of the pa.s.sions, the grandeur of the events, and the miraculous success of their redoubtable swords, all draw me on as though I were still a little girl." In these modern days of success, we may still start to learn that the Parisian publisher of _Le Grand Cyrus_ made 100,000 crowns by that work, from the appearance of its first volume in 1649 to its close in 1653. The qualities so admirably summed up by Madame de Sevigne were those which appealed most directly to public feeling in France. There really were heroes in that day, the age of chivalric pa.s.sions had not pa.s.sed, great loves, great hates, great emotions of all kinds, were conceivable and within personal experience. When La Rochefoucauld wrote to Madame de Longueville the famous lines which may be thus translated:

_To win that wonder of the world, A smile from her bright eyes, I fought my King, and would have hurled The G.o.ds out of their skies_,

he was breathing the very atmosphere of the heroic novels. Their extraordinary artificial elevation of tone was partly the spirit of the age; it was also partly founded on a new literary ideal, the tone of Greek romance. No book had been read in France with greater avidity than the sixteenth-century translation of the old novel _Heliodorus_; and in the _Polexandres_ and _Clelies_ we see what this Greek spirit of romance could blossom into when grafted upon the stock of Louis XIV.

The vogue of these heroic novels in England has been misstated, for the whole subject has but met with neglect from successive historians of literature. It has been a.s.serted that they were not read in England until after the Restoration. Nothing is further from the truth.

Charles I. read _Ca.s.sandra_ in prison, while we find Dorothy Osborne, in her exquisite letters to Sir William Temple, a.s.siduously studying one heroic novel after another through the central years of Cromwell's rule. She reads _Le Grand Cyrus_ while she has the ague; she desires Temple to tell her "which _amant_ you have most compa.s.sion for, when you have read what each one says for himself." She and the King read them in the original, but soon there arrived English translations and imitations. These began to appear a good deal sooner than bibliographers have been prepared to admit. Of the _Astree_ of D'Urfe--which, however, is properly a link between the _Arcadia_ of Sidney and the genuine heroic novel--there was an English version as early as 1620. But, of the real thing, the first importation was _Polexandre_, in 1647, followed by _Ca.s.sandra_ and _Ibrahim_ in 1652, _Artamenes_ in 1653, _Cleopatra_ in 1654-8, and _Clelie_ in 1655, all, it will be observed, published in England before the close of the Commonwealth.

Dorothy Osborne, who had studied the French originals, turned up her nose at these translations. She says that they were "so disguised that I, who am their old acquaintance, hardly knew them." They had, moreover, changed their form. In France they had come out in an infinite number of small, manageable tomes. For instance, Calprenede published his _Cleopatre_ in twenty-three volumes; but the English _Cleopatra_ is all contained in one monstrous elephant folio.

_Artamenes_, the English translation of _Le Grand Cyrus_, is worse still, for it is comprised in five such folios. Many of the originals were translated over and over again, so popular were they; and as the heroic novels of any eminence in France were limited in number, it would be easy, by patiently hunting the translations up in old libraries, to make a pretty complete list of them. The princ.i.p.al heroic novels were eight in all; of these there is but one, the _Almahide_ of Mile, de Scudery, which we have not already mentioned, and the original publication of the whole school is confined within less than thirty years.

The best master in a bad cla.s.s of lumbering and tiresome fiction was the author of the book which is the text of this chapter. La Calprenede, whose full name was nothing less than Gautier de Costes de la Calprenede, was a Gascon gentleman of the Guards, of whose personal history the most notorious fact is that he had the temerity to marry a woman who had already buried five husbands. Some historians relate that she proceeded to poison number six, but this does not appear to be certain, while it does appear that Calprenede lived in the married state for fifteen years, a longer respite than the antecedents of madame gave him any right to antic.i.p.ate. He made a great fame with his two huge Roman novels, _Ca.s.sandra_ and _Cleopatra_, and then, some years later, he produced a third, _Pharamond_ which was taken out of early French history. The translator, in the version before us, says of this book that it "is not a romance, but a history adorned with some excellent flourishes of language and loves, in which you may delightfully trace the author's learned pen through all those historians who wrote of the times he treats of." In other words, while Gombreville--with his King of the Canaries, and his Vanishing Islands, and his necromancers, and his dragons--canters through pure fairyland, and while Mlle. de Scudery elaborately builds up a romantic picture of her own times (in _Clelie_, for instance, where the three hundred and seventy several characters introduced are said to be all acquaintances of the author), Calprenede attempted to produce something like a proper historical novel, introducing invention, but embroidering it upon some sort of genuine framework of fact.

To describe the plot of _Pharamond_, or of any other heroic novel, would be a desperate task. The great number of personages introduced in pairs, the intrigues of each couple forming a separate thread wound into the complex web of the plot, is alone enough to make any following of the story a great difficulty. On the fly-leaf of a copy of _Cleopatra_ which lies before me, some dear lady of the seventeenth century has very conscientiously written out "a list of the Pairs of Lovers," and there are thirteen pairs. _Pharamond_ begins almost in the same manner as a novel by the late Mr. G.P.R. James might. When the book opens we discover the amorous Marcomine and the valiant Genebaud sallying forth along the bank of a river on two beautiful horses of the best jennet-race. Throughout the book all the men are valiant, all the ladies are pa.s.sionate and chaste. The heroes enter the lists covered with rubies, loosely embroidered over surcoats of gold and silk tissue; their heads "shine with gold, enamel and precious stones, with the hinder part covered with an hundred plumes of different colours." They are mounted upon horses "whose whiteness might outvie the purest snow upon the frozen Alps." They pierce into woodland dells, where they by chance discover renowned princesses, nonpareils of beauty, in imminent danger, and release them. They attack hordes of deadly pirates, and scatter their bodies along the sh.o.r.e; and yet, for all their warlike fire and force, they are as gentle as marmozets in a lady's boudoir. They are especially admirable in the putting forth of sentiments, in glozing over a subtle difficulty in love, in tying a knot of silk or fastening a lock of hair to their bonnet. They will steal into a cabinet so softly that a lady who is seated there, in a reverie, will not perceive them; they are so adroit that they will seize a paper on which she has sketched a couplet, will complete it, pa.s.s away, and she not know whence the poetical miracle has come. In valour, in courtesy, in magnificence they have no rival, just as the ladies whom they court are unique in beauty, in purity, in pa.s.sion, and in self-denial. Sometimes they correspond at immense length; in _Pharamond_ the letters which pa.s.s between the Princess Hunnimonde and Prince Balamir would form a small volume by themselves, an easy introduction to the art of polite letter-writing. Mlle. de Scudery actually perceived this, and published a collection of model correspondence which was culled bodily from the huge store-house of her own romances, from _Le Grand Cyrus_ and _Clelie_. These interchanges of letters were kept up by the severity of the heroines. It was not thought proper that the lady should yield her hand until the gentleman had exhausted the resources of language, and had spent years of amorous labour on her conquest.

When Roger Boyle, in 1654, published his novel of _Parthenissa_, in four volumes, Dorothy Osborne objected to the ease with which the hero succeeded; she complains "the ladies are all so kind they make no sport."

This particular 1662 translation of _Pharamond_ appears to be very rare, if not unique. At all events I find it in none of the bibliographies, nor has the British Museum Library a copy of it. The preface is signed J.D., and the version is probably therefore from the pen of John Davies, who helped Loveday to finish his enormous translation of _Cleopatra_ in 1665. In 1677 there came out another version of _Pharamond_, by John Phillips, and this is common enough.

Some day, perhaps, these elephantine old romances may come into fashion again, and we may obtain a precise list of them. At present no corner of our literary history is more thoroughly neglected.[1]

[Footnote 1: Since this was written, a French critic of eminence, M. Jusserand, has made (in _The English Novel in the Time of Shakespeare_, 1890) a delightful contribution to this portion of our literary history. The earlier part of the last chapter of that volume may be recommended to all readers curious about the vogue of the heroic novel. But M. Jusserand does not happen to mention _Pharamond_, nor to cover the exact ground of my little study.]

A VOLUME OF OLD PLAYS

In his _Ballad of the Book-Hunter_, Andrew Lang describes how, in breeches baggy at the knees, the bibliophile hunts in all weathers:

_No dismal stall escapes his eye; He turns o'er tomes of low degrees; There soiled romanticists may lie, Or Restoration comedies_.

That speaks straight to my heart; for of all my weaknesses the weakest is that weakness of mine for Restoration plays. From 1660 down to 1710 nothing in dramatic form comes amiss, and I have great schemes, like the boards on which people play the game of solitaire, in which s.p.a.ce is left for every drama needed to make this portion of my library complete. It is scarcely literature, I confess; it is a sport, a long game which I shall probably be still playing at, with three mouldy old tragedies and one opera yet needed to complete my set, when the Reaper comes to carry me where there is no ama.s.sing nor collecting. It would hardly be credited how much pleasure I have drained out of these dramas since I began to collect them judiciously in my still callow youth. I admit only first editions; but that is not so rigorous as it sounds, since at least half of the poor old things never went into a second.

As long as it is Congreve and Dryden and Otway, of course it is literature, and of a very high order; even Shadwell and Mrs. Behn and Southerne are literature; Settle and Ravenscroft may pa.s.s as legitimate literary curiosity. But there are depths below this where there is no excuse but sheer collectaneomania. Plays by people who never got into any schedule of English letters that ever was planned, dramatic nonent.i.ties, stage innocents ma.s.sacred in their cradles, if only they were published in quarto I find room for them. I am not quite so pleased to get these anonymities, I must confess, as I am to get a clean, tall _editio princeps_ of _The Orphan_ or of _Love for Love_. But I neither reject nor despise them; each of them counts one; each serves to fill a place on my solitaire board, each hurries on that dreadful possible time coming when my collection shall be complete, and I shall have nothing to do but break my collecting rod and bury it fathoms deep.

A volume has just come in which happens to have nothing in it but those forgotten plays, whose very names are unknown to the historians of literature. First comes _The Roman Empress_, by William Joyner, printed in 1671. Joyner was an Oxford man, a fellow of Magdalen College. The little that has been recorded about him makes one wish to know more. He became persuaded of the truth of the Catholic faith, and made a voluntary resignation of his Oxford fellowship. He had to do something, and so he wrote this tragedy, which he dedicated to Sir Charles Sedley, the poet, and got acted at the Theatre Royal. The cast contains two good actors' names, Mohun and Kynaston, and it seems that it enjoyed a considerable success. But doubtless the stage was too rough a field for the gentle Oxford scholar. He retired into a sequestered country village, where he lingered on till 1706, when he was nearly ninety. But Joyner was none of the worst of poets. Here is a fragment of _The Royal Empress_, which is by no means despicably versed:

_O thou bright, glorious morning, Thou Oriental spring-time of the day, Who with thy mixed vermilion colours paintest The sky, these hills and plains! thou dost return In thy accustom'd manner, but with thee Shall ne'er return my wonted happiness_.

Through his Roman tragedy there runs a pensive vein of sadness, as though the poet were thinking less of his Aurelia and his Valentius than of the lost common-room and the arcades of Magdalen to be no more revisited.