Curiosities of Literature (Vol. 1-3). Disraeli IsaacЧитать онлайн книгу.
appear not to have been aware that they were burlesquing religion. One Massieu having written a moral explanation of the solemn anthems sung in Advent, which begin with the letter O, published this work under the punning title of La douce Moelle, et la Sauce friande des os Savoureux de l'Avent.81
The Marquis of Carraccioli assumed the ambiguous title of La Jouissance de soi-même. Seduced by the epicurean title of self-enjoyment, the sale of the work was continual with the libertines, who, however, found nothing but very tedious essays on religion and morality. In the sixth edition the marquis greatly exults in his successful contrivance; by which means he had punished the vicious curiosity of certain persons, and perhaps had persuaded some, whom otherwise his book might never have reached.
If a title be obscure, it raises a prejudice against the author; we are apt to suppose that an ambiguous title is the effect of an intricate or confused mind. Baillet censures the Ocean Macromicrocosmic of one Sachs. To understand this title, a grammarian would send an inquirer to a geographer, and he to a natural philosopher; neither would probably think of recurring to a physician, to inform one that this ambiguous title signifies the connexion which exists between the motion of the waters with that of the blood. He censures Leo Allatius for a title which appears to me not inelegantly conceived. This writer has entitled one of his books the Urban Bees; it is an account of those illustrious writers who flourished during the pontificate of one of the Barberinis. The allusion refers to the bees which were the arms of this family, and Urban VIII. is the Pope designed.
The false idea which a title conveys is alike prejudicial to the author and the reader. Titles are generally too prodigal of their promises, and their authors are contemned; but the works of modest authors, though they present more than they promise, may fail of attracting notice by their extreme simplicity. In either case, a collector of books is prejudiced; he is induced to collect what merits no attention, or he passes over those valuable works whose titles may not happen to be interesting. It is related of Pinelli, the celebrated collector of books, that the booksellers permitted him to remain hours, and sometimes days, in their shops to examine books before he purchased. He was desirous of not injuring his precious collection by useless acquisitions; but he confessed that he sometimes could not help being dazzled by magnificent titles, nor being mistaken by the simplicity of others, which had been chosen by the modesty of their authors. After all, many authors are really neither so vain, nor so honest, as they appear; for magnificent, or simple titles, have often been given from the difficulty of forming any others.
It is too often with the Titles of Books, as with those painted representations exhibited by the keepers of wild beasts; where, in general, the picture itself is made more striking and inviting to the eye, than the inclosed animal is always found to be.
LITERARY FOLLIES.
The Greeks composed lipogrammatic works; works in which one letter of the alphabet is omitted. A lipogrammatist is a letter-dropper. In this manner Tryphiodorus wrote his Odyssey; he had not α in his first book, nor β in his second; and so on with the subsequent letters one after another. This Odyssey was an imitation of the lipogrammatic Iliad of Nestor. Among other works of this kind, Athenæus mentions an ode by Pindar, in which he had purposely omitted the letter S; so that this inept ingenuity appears to have been one of those literary fashions which are sometimes encouraged even by those who should first oppose such progresses into the realms of nonsense.
There is in Latin a little prose work of Fulgentius, which the author divides into twenty-three chapters, according to the order of the twenty-three letters of the Latin alphabet. From A to O are still remaining. The first chapter is with out A; the second without B; the third without C; and so with the rest. There are five novels in prose of Lopes de Vega; the first without A, the second without E, the third without I, &c. Who will attempt to verify them?
The Orientalists are not without this literary folly. A Persian poet read to the celebrated Jami a gazel of his own composition, which Jami did not like: but the writer replied, it was notwithstanding a very curious sonnet, for the letter Aliff was not to be found in any one of the words! Jami sarcastically replied, "You can do a better thing yet; take away all the letters from every word you have written."
To these works may be added the Ecloga de Calvis, by Hugbald the monk. All the words of this silly work begin with a C. It is printed in Dornavius. Pugna Porcorum; all the words beginning with a P, in the Nugæ Venales. Canum cum cattis certamen; the words beginning with a C: a performance of the same kind in the same work. Gregorio Leti presented a discourse to the Academy of the Humorists at Rome, throughout which he had purposely omitted the letter R, and he entitled it the exiled R. A friend having requested a copy, as a literary curiosity, for so he considered this idle performance, Leti, to show that this affair was not so difficult, replied by a copious answer of seven pages, in which he had observed the same severe ostracism against the letter R! Lord North, in the court of James, I., has written a set of Sonnets, each of which begins with a successive letter of the alphabet. The Earl of Rivers, in the reign of Edward IV., translated the Moral Proverbs of Christiana of Pisa, a poem of about two hundred lines, the greatest part of which he contrived to conclude with the letter E; an instance of his lordship's hard application, and the bad taste of an age which, Lord Orford observes, had witticisms and whims to struggle with, as well as ignorance.
It has been well observed of these minute triflers, that extreme exactness is the sublime of fools, whose labours may be well called, in the language of Dryden,
Pangs without birth, and fruitless industry.
And Martial says,
Turpe est difficiles habere nugas,
Et stultus labor est ineptiarum.
Which we may translate,
'Tis a folly to sweat o'er a difficult trifle,
And for silly devices invention to rifle.
I shall not dwell on the wits who composed verses in the forms of hearts, wings, altars, and true-love knots; or as Ben Jonson describes their grotesque shapes,
A pair of scissors and a comb in verse.
Tom Nash, who loved to push the ludicrous to its extreme, in his amusing invective against the classical Gabriel Harvey, tells us that "he had writ verses in all kinds; in form of a pair of gloves, a pair of spectacles, and a pair of pot-hooks," &c. They are not less absurd, who expose to public ridicule the name of their mistress by employing it to form their acrostics. I have seen some of the latter where, both sides and crossways, the name of the mistress or the patron has been sent down to posterity with eternal torture. When one name is made out four times in the same acrostic, the great difficulty must have been to have found words by which the letters forming the name should be forced to stand in their particular places. It might be incredible that so great a genius as Boccaccio could have lent himself to these literary fashions; yet one of the most gigantic of acrostics may be seen in his works; it is a poem of fifty cantos! Ginguené has preserved a specimen in his Literary History of Italy, vol. iii. p.54. Puttenham, in "The Art of Poesie," p. 75, gives several odd specimens of poems in the forms of lozenges, rhomboids, pillars, &c. Puttenham has contrived to form a defence for describing and making such trifling devices. He has done more: he has erected two pillars himself to the honour of Queen Elizabeth; every pillar consists of a base of eight syllables, the shaft or middle of four, and the capital is equal with the base. The only difference between the two pillars consists in this; in the one "ye must read upwards," and in the other the reverse. These pillars, notwithstanding this fortunate device and variation, may be fixed as two columns in the porch of the vast temple of literary folly.
It was at this period, when words or verse were tortured into such fantastic forms, that the trees in gardens were twisted and sheared into obelisks and giants, peacocks, or flower-pots. In a copy of verses, "To a hair of my mistress's eye-lash," the merit, next to the choice of the subject, must have been the arrangement, or the disarrangement, of the whole poem into the form of