The independence of his mind nerved his ample volumes, his fortitude he displayed in the contest with the University itself, and his firmness in censuring Lord Clarendon, the head of his own party. Could such a work, and such an original manner, have proceeded from an ordinary intellect? Wit may sparkle, and sarcasm may bite; but the cause of literature is injured when the industry of such a mind is ranked with that of “the hewers of wood, and drawers of water:” ponderous compilers of creeping commentators. Such a work as the “Athenæ Oxonienses” involved in its pursuits some of the higher qualities of the intellect; a voluntary devotion of life, a sacrifice of personal enjoyments, a noble design combining many views, some present and some prescient, a clear vigorous spirit equally diffused over a vast surface. But it is the hard fate of authors of this class to be levelled with their inferiors!
Let us exhibit one more picture of the calamities of a laborious author, in the character of Joshua Barnes, editor of Homer, Euripides, and Anacreon, and the writer of a vast number of miscellaneous compositions in history and poetry. Besides the works he published, he left behind him nearly fifty unfinished ones; many were epic poems, all intended to be in twelve books, and some had reached their eighth! His folio volume of “The History of Edward III.” is a labour of valuable research. He wrote with equal facility in Greek, Latin, and his own language, and he wrote all his days; and, in a word, having little or nothing but his Greek professorship, 97 not exceeding forty pounds a year, Barnes, who had a great memory, a little imagination, and no judgment, saw the close of a life, devoted to the studies of humanity, settle around him in gloom and despair. The great idol of his mind was the edition of his Homer, which seems to have completed his ruin; he was haunted all his days with a notion that he was persecuted by envy, and much undervalued in the world; the sad consolation of the secondary and third-rate authors, who often die persuaded of the existence of ideal enemies. To be enabled to publish his Homer at an enormous charge, he wrote a poem, the design of which is to prove that Solomon was the author of the Iliad; and it has been said that this was done to interest his wife, who had some property, to lend her aid towards the publication of so divine a work. This happy pun was applied for his epitaph:—
| Joshua Barnes, Felicis memoriæ, judicium expectans. Here lieth Joshua Barnes, Of happy memory, awaiting judgment! |
The year before he died he addressed the following letter to the Earl of Oxford, which I transcribe from the original. It is curious to observe how the veteran and unhappy scribbler, after his vows of retirement from the world of letters, thoroughly disgusted with “all human learning,” gently hints to his patron, that he has ready for the press, a singular variety of contrasted works; yet even then he did not venture to disclose one-tenth part of his concealed treasures!
“TO THE EARL OF OXFORD.
Oct. 16, 1711.
“My Hon. Lord,
“This, not in any doubt of your goodness and high respect to learning, for I have fresh instances of it every day; but because I am prevented in my design of waiting personally on you, being called away by my business for Cambridge, to read Greek lectures this term; and my circumstances are pressing, being, through the combination of booksellers, and the meaner arts of others, too much prejudiced in the sale. I am not neither sufficiently ascertained whether my Homer and letters came to your honour; surely the vast charges of that edition has almost broke my courage, there being much more trouble in putting off the impression, and 98 contending with a subtle and unkind world, than in all the study and management of the press.
“Others, my lord, are younger, and their hopes and helps are fresher; I have done as much in the way of learning as any man living, but have received less encouragement than any, having nothing but my Greek professorship, which is but forty pounds per annum, that I can call my own, and more than half of that is taken up by my expenses of lodging and diet in terme time at Cambridge.
“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.
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 passions, like the torch, kindle but to consume themselves.
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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