One of the most singular anecdotes respecting Dedications in English bibliography is that of the Polyglot Bible of Dr. Castell. Cromwell, much to his honour, patronized that great labour, and allowed the paper to be imported free of all duties, both of excise and custom. It was published under the protectorate, but many copies had not been disposed of ere Charles II. ascended the throne. Dr. Castell had dedicated the work gratefully to Oliver, by mentioning him with peculiar respect in the preface, but he wavered with Richard Cromwell. At the Restoration, he cancelled the two last leaves, and supplied their places with three others, which softened down the republican strains, and blotted Oliver's name out of the book of life! The differences in what are now called the republican and the loyal copies have amused the curious collectors; and the former being very scarce, are most sought after. I have seen the republican. In the loyal copies the patrons of the work are mentioned, but their titles are essentially changed; Serenissimus, Illustrissimus, and Honoratissimus, were epithets that dared not shew themselves under the levelling influence of the great fanatic republican.
It is a curious literary folly, not of an individual but of the Spanish nation, who, when the laws of Castile were reduced into a code under the reign of Alfonso X. surnamed the Wise, divided the work into seven volumes; that they might be dedicated to the seven letters which formed the name of his majesty!
Never was a gigantic baby of adulation so crammed with the soft pap of Dedications as Cardinal Richelieu. French flattery even exceeded itself.—Among the vast number of very extraordinary dedications to this man, in which the Divinity itself is disrobed of its attributes to bestow them on this miserable creature of vanity, I suspect that even the following one is not the most blasphemous he received. "Who has seen your face without being seized by those softened terrors which made the prophets shudder when God showed the beams of his glory! But as He whom they dared not to approach in the burning bush, and in the noise of thunders, appeared to them sometimes in the freshness of the zephyrs, so the softness of your august countenance dissipates at the same time, and changes into dew, the small vapours which cover its majesty." One of these herd of dedicators, after the death of Richelieu, suppressed in a second edition his hyperbolical panegyric, and as a punishment to himself, dedicated the work to Jesus Christ!
The same taste characterises our own dedications in the reigns of Charles II. and James II. The great Dryden has carried it to an excessive height; and nothing is more usual than to compare the patron with the Divinity—and at times a fair inference may be drawn that the former was more in the author's mind than God himself! A Welsh bishop made an apology to James I. for preferring the Deity—to his Majesty! Dryden's extravagant dedications were the vices of the time more than of the man; they were loaded with flattery, and no disgrace was annexed to such an exercise of men's talents; the contest being who should go farthest in the most graceful way, and with the best turns of expression.
An ingenious dedication was contrived by Sir Simon Degge, who dedicated "the Parson's Counsellor" to Woods, Bishop of Lichfield. Degge highly complimented the bishop on having most nobly restored the church, which had been demolished in the civil wars, and was rebuilt but left unfinished by Bishop Hacket. At the time he wrote the dedication, Woods had not turned a single stone, and it is said, that much against his will he did something, from having been so publicly reminded of it by this ironical dedication.
PHILOSOPHICAL DESCRIPTIVE POEMS.
The "Botanic Garden" once appeared to open a new route through the trodden groves of Parnassus. The poet, to a prodigality of Imagination, united all the minute accuracy of Science. It is a highly-repolished labour, and was in the mind and in the hand of its author for twenty years before its first publication. The excessive polish of the verse has appeared too high to be endured throughout a long composition; it is certain that, in poems of length, a versification, which is not too florid for lyrical composition, will weary by its brilliance. Darwin, inasmuch as a rich philosophical fancy constitutes a poet, possesses the entire art of poetry; no one has carried the curious mechanism of verse and the artificial magic of poetical diction to a higher perfection. His volcanic head flamed with imagination, but his torpid heart slept unawakened by passion. His standard of poetry is by much too limited; he supposes that the essence of poetry is something of which a painter can make a picture. A picturesque verse was with him a verse completely poetical. But the language of the passions has no connexion with this principle; in truth, what he delineates as poetry itself, is but one of its provinces. Deceived by his illusive standard, he has composed a poem which is perpetually fancy, and never passion. Hence his processional splendour fatigues, and his descriptive ingenuity comes at length to be deficient in novelty, and all the miracles of art cannot supply us with one touch of nature.
Descriptive poetry should be relieved by a skilful intermixture of passages addressed to the heart as well as to the imagination: uniform description satiates; and has been considered as one of the inferior branches of poetry. Of this both Thomson and Goldsmith were sensible. In their beautiful descriptive poems they knew the art of animating the pictures of Fancy with the glow of Sentiment.
Whatever may be thought of the originality of Darwin's poem, it had been preceded by others of a congenial disposition. Brookes's poem on "Universal Beauty," published about 1735, presents us with the very model of Darwin's versification: and the Latin poem of De la Croix, in 1727, entitled "Connubia Florum," with his subject. There also exists a race of poems which have hitherto been confined to one subject, which the poet selected from the works of nature, to embellish with all the splendour of poetic imagination. I have collected some titles.
Perhaps it is Homer, in his battle of the Frogs and Mice, and Virgil in the poem on a Gnat, attributed to him, who have given birth to these lusory poems. The Jesuits, particularly when they composed in Latin verse, were partial to such subjects. There is a little poem on Gold, by P. Le Fevre, distinguished for its elegance; and Brumoy has given the Art of making Glass; in which he has described its various productions with equal felicity and knowledge. P. Vanière has written on Pigeons, Du Cerceau on Butterflies. The success which attended these productions produced numerous imitations, of which several were favourably received. Vanière composed three on the Grape, the Vintage, and the Kitchen Garden. Another poet selected Oranges for his theme; others have chosen for their subjects, Paper, Birds, and fresh-water Fish. Tarillon has inflamed his imagination with gunpowder; a milder genius, delighted with the oaten pipe, sang of Sheep; one who was more pleased with another kind of pipe, has written on Tobacco; and a droll genius wrote a poem on Asses. Two writers have formed didactic poems on the Art of Enigmas, and on Ships.
Others have written on moral subjects. Brumoy has painted the Passions, with a variety of imagery and vivacity of description; P. Meyer has disserted on Anger; Tarillon, like our Stillingfleet, on the Art of Conversation; and a lively writer has discussed the subjects of Humour and Wit.
Giannetazzi, an Italian Jesuit, celebrated for his Latin poetry, has composed two volumes of poems on Fishing and Navigation. Fracastor has written delicately