Chinese
, in a perpendicular Line. But
besides these there are
Compound
Acrosticks, where the principal
Letters stand two or three deep. I have seen some of them where the
Verses have not only been edged by a Name at each Extremity, but have
had the same Name running down like a Seam through the Middle of the
Poem.
is another near Relation of the Anagrams and Acrosticks, which is
commonly
called
a Chronogram.
kind of Wit appears very often
on many modern Medals, especially those of
Germany
, when they
represent in the Inscription the Year in which they were coined. Thus we
see on a Medal of
Gustavus Adolphus
the following Words, CHRISTVS
DUX ERGO TRIVMPHVS. If you take the pains to pick the Figures out of the
several Words, and range them in their proper Order, you will find they
amount to MDCXVVVII, or 1627, the Year in which the Medal was stamped:
For as some of the Letters distinguish themselves from the rest, and
overtop their Fellows, they are to be considered in a double Capacity,
both as Letters and as Figures. Your laborious
German
Wits will turn
over a whole Dictionary for one of these ingenious Devices. A Man would
think they were searching after an apt classical Term, but instead of
that they are looking out a Word that has an L, and M, or a D in it.
When therefore we meet with any of these Inscriptions, we are not so
much to look in 'em for the Thought, as for the Year of the Lord.
Boutz Rimez
were the Favourites of the
French
Nation for a whole Age together, and that at a Time when it abounded in
Wit and Learning. They were a List of Words that rhyme to one another,
drawn up by another Hand, and given to a Poet, who was to make a Poem to
the Rhymes in the same Order that they were placed upon the List: The
more uncommon the Rhymes were, the more extraordinary was the Genius of
the Poet that could accommodate his Verses to them. I do not know any
greater Instance of the Decay of Wit and Learning among the
French
(which generally follows the Declension of Empire) than
the endeavouring to restore this foolish Kind of Wit. If the Reader will
be at the trouble to see Examples of it, let him look into the new
Mercure Galant
; where the Author every Month gives a List of
Rhymes to be filled up by the Ingenious, in order to be communicated to
the Publick in the
Mercure
for the succeeding Month. That for the
Month of
November
last
, which now lies before me, is as follows.
| - - - - - - - - - - - - |
Lauriers |
| - - - - - - - - - - - - |
Guerriers |
| - - - - - - - - - - - - |
Musette |
| - - - - - - - - - - - - |
Lisette |
| - - - - - - - - - - - - |
Cesars |
| - - - - - - - - - - - - |
Etendars |
| - - - - - - - - - - - - |
Houlette |
| - - - - - - - - - - - - |
Folette |
One would be amazed to see so learned a Man as
Menage
talking
seriously on this Kind of Trifle in the following Passage.
Monsieur de la Chambre has told me that he never knew what he was
going to write when he took his Pen into his Hand; but that one
Sentence always produced another. For my own part, I never knew what I
should write next when I was making Verses. In the first place I got
all my Rhymes together, and was afterwards perhaps three or four
Months in filling them up. I one Day shewed Monsieur Gombaud a
Composition of this Nature, in which among others I had made use of
the four following Rhymes, Amaryllis, Phillis, Marne, Arne, desiring
him to give me his Opinion of it. He told me immediately, that my
Verses were good for nothing. And upon my asking his Reason, he said,
Because the Rhymes are too common; and for that Reason easy to be put
into Verse. Marry, says I, if it be so, I am very well rewarded for
all the Pains I have been at. But by Monsieur Gombaud's Leave,
notwithstanding the Severity of the Criticism, the Verses were good.
Vid
.
Menagiana
.
far the learned
Menage,
whom I have translated
Word for Word
.
The first Occasion of these
Bouts Rimez
made them in some manner
excusable, as they were Tasks which the
French
Ladies used to impose
on their Lovers.
when a grave Author, like him above-mentioned,
tasked himself, could there be anything more ridiculous? Or would not
one be apt to believe that the Author played
booty
, and did not
make his List of Rhymes till he had finished his Poem?
shall only add, that this Piece of false Wit has been finely ridiculed
by Monsieur
Sarasin,
in a Poem intituled,
La Defaite des Bouts-Rimez,
The Rout of the Bouts-Rimez.
I must subjoin to this last kind of Wit the double Rhymes, which are
used in Doggerel Poetry, and generally applauded by ignorant Readers.
the Thought of the Couplet in such Compositions is good, the Rhyme adds
little
to it; and if bad, it will not be in the Power of the
Rhyme to recommend it. I am afraid that great Numbers of those who
admire the incomparable
Hudibras
, do it more on account of these
Doggerel Rhymes than of the Parts that really deserve admiration. I am
sure I have heard the
Pulpit, Drum Ecclesiastick,
Was beat with fist instead of a Stick,
and
There was an ancient sage Philosopher
Who had read Alexander Ross over,
more frequently quoted, than the finest Pieces of Wit in the whole Poem.
C.
chymes
This is an error.
Greek: Anagrámma
meant in old Greek
what it now means. Lycophron, who lived B.C. 280, and wrote a Greek poem
on Cassandra, was famous for his Anagrams, of which two survive. The
Cabalists had a branch of their study called Themuru, changing, which
made mystical anagrams of sacred names.
was called
The invention of Acrostics is attributed to Porphyrius Optatianus, a writer of the 4th century. But the arguments of the Comedies of Plautus are in form of acrostics, and acrostics occur in the original Hebrew of the
Book of Psalms.
was
known by the name of
The Chronogram was popular also, especially among the
Germans, for inscriptions upon marble or in books. More than once, also,
in Germany and Belgium a poem was written in a hundred hexameters, each
yielding a chronogram of the date it was to celebrate.
Bouts rimés are said to have been suggested to the wits of
Paris by the complaint of a verse turner named Dulot, who grieved one
day over the loss of three hundred sonnets; and when surprise was
expressed at the large number, said they were the 'rhymed ends,' that
only wanted filling up.
Menagiana
, vol. I. p. 174, ed. Amst. 1713. The
Menagiana
were published in 4 volumes, in 1695 and 1696. Gilles Menage died at
Paris in 1692, aged 79. He was a scholar and man of the world, who had a
retentive memory, and, says Bayle,
'could say a thousand good things in a thousand pleasing ways.'
The repertory here quoted from is the best of
the numerous collections of 'ana.'
double
Jean François Sarasin, whose works were first collected by
Menage, and published in 1656, two years after his death. His defeat of
the Bouts-Rimés, has for first title
Dulot Vaincu
is in four cantos,
and was written in four or five days.
nothing
Contents
|
Thursday, May 10, 1711 |
Addison |
Non equidem studeo, bullalis ut mihi nugis
Pagina turgescal, dare pondus idonea fumo.
Pers.
translation
There is no kind of false Wit which has been so recommended by the
Practice of all Ages, as that which consists in a Jingle of Words, and
is comprehended under the general Name of
Punning
. It is indeed
impossible to kill a Weed, which the Soil has a natural Disposition to
produce. The Seeds of Punning are in the Minds of all Men, and tho' they
may be subdued by Reason, Reflection and good Sense, they will be very
apt to shoot up in the greatest Genius, that is not broken and
cultivated by the Rules of Art. Imitation is natural to us, and when it
does not raise the Mind to Poetry, Painting, Musick, or other more noble
Arts, it often breaks out in Punns and Quibbles.
Aristotle
, in the Eleventh Chapter of his Book of Rhetorick, describes
two or three kinds of Punns, which he calls Paragrams, among the
Beauties of good Writing, and produces Instances of them out of some of
the greatest Authors in the
Greek
Tongue.
Cicero
has sprinkled
several of his Works with Punns, and in his Book where he lays down the
Rules of Oratory, quotes abundance of Sayings as Pieces of Wit, which
also upon Examination prove arrant Punns. But the Age in which
the
Punn
chiefly flourished, was the Reign of King
James
the First.
That learned Monarch was himself a tolerable Punnster, and made very few
Bishops or Privy-Counsellors that had not some time or other signalized
themselves by a Clinch, or a
Conundrum
. It was therefore in this
Age that the Punn appeared with Pomp and Dignity. It had before been
admitted into merry Speeches and ludicrous Compositions, but was now
delivered with great Gravity from the Pulpit, or pronounced in the most
solemn manner at the Council-Table. The greatest Authors, in their most
serious Works, made frequent use of Punns. The Sermons of Bishop
Andrews
, and the Tragedies of
Shakespear
, are full of
them. The Sinner was punned into Repentance by the former, as in the
latter nothing is more usual than to see a Hero weeping and quibbling
for a dozen Lines together.
I must add to these great Authorities, which seem to have given a kind
of Sanction to this Piece of false Wit, that all the Writers of
Rhetorick have treated of Punning with very great Respect, and divided
the several kinds of it into hard Names, that are reckoned among the
Figures of Speech, and recommended as Ornaments in Discourse. I remember
a Country School-master of my Acquaintance told me once, that he had
been in Company with a Gentleman whom he looked upon to be the greatest
Paragrammatist
among the Moderns. Upon Inquiry, I found my
learned Friend had dined that Day with Mr.
Swan
, the famous
Punnster; and desiring him to give me some Account of Mr.
Swan's
Conversation, he told me that he generally talked in the
Paranomasia
, that he sometimes gave into the
Plocè
, but
that in his humble Opinion he shined most in the
Antanaclasis
.
I must not here omit, that a famous University of this Land was formerly
very much infested with Punns; but whether or no this might not arise
from the Fens and Marshes in which it was situated, and which are now
drained, I must leave to the Determination of more skilful Naturalists.
After this short History of Punning, one would wonder how it should be
so entirely banished out of the Learned World, as it is at present,
especially since it had found a Place in the Writings of the most
ancient Polite Authors. To account for this, we must consider, that the
first Race of Authors, who were the great Heroes in Writing, were
destitute of all Rules and Arts of Criticism; and for that Reason,
though they excel later Writers in Greatness of Genius, they fall short
of them in Accuracy and Correctness. The Moderns cannot reach their
Beauties, but can avoid their Imperfections. When the World was
furnished with these Authors of the first Eminence, there grew up
another Set of Writers, who gained themselves a Reputation by the
Remarks which they made on the Works of those who preceded them. It was
one of the Employments of these Secondary Authors, to distinguish the
several kinds of Wit by Terms of Art, and to consider them as more or
less perfect, according as they were founded in Truth. It is no wonder
therefore, that even such Authors as
Isocrates, Plato
, and
Cicero
,
should have such little Blemishes as are not to be met with in Authors
of a much inferior Character, who have written since those several
Blemishes were discovered.
do not find that there was a proper
Separation made between Punns and
true
Wit by any of the Ancient
Authors, except
Quintilian
and
Longinus
. But when this Distinction
was once settled, it was very natural for all Men of Sense to agree in
it. As for the Revival of this false Wit, it happened about the time of
the Revival of Letters; but as soon as it was once detected, it
immediately vanished and disappeared. At the same time there is no
question, but as it has sunk in one Age and rose in another, it will
again recover it self in some distant Period of Time, as Pedantry and
Ignorance shall prevail upon Wit and Sense. And, to speak the Truth, I
do very much apprehend, by some of the last Winter's Productions, which
had their Sets of Admirers, that our Posterity will in a few Years
degenerate into a Race of Punnsters: At least, a Man may be very
excusable for any Apprehensions of this kind, that has seen
Acrosticks
handed about the Town with great Secrecy and Applause; to which I must
also add a little Epigram called the
Witches Prayer
, that fell into
Verse when it was read either backward or forward, excepting only that
it Cursed one way and Blessed the other. When one sees there are
actually such Pains-takers among our
British
Wits, who can tell what
it may end in? If we must Lash one another, let it be with the manly
Strokes of Wit and Satyr; for I am of the old Philosopher's Opinion,
That if I must suffer from one or the other, I would rather it should be
from the Paw of a Lion, than the Hoof of an Ass. I do not speak this out
of any Spirit of Party. There is a most crying Dulness on both Sides. I
have seen Tory
Acrosticks
and Whig
Anagrams
, and do not quarrel with
either of them, because they are
Whigs
or
Tories
, but because they
are
Anagrams
and
Acrosticks
.
But to return to Punning. Having pursued the History of a Punn, from its
Original to its Downfal, I shall here define it to be a Conceit arising
from the use of two Words that agree in the Sound, but differ in the
Sense. The only way therefore to try a Piece of Wit, is to translate it
into a different Language: If it bears the Test, you may pronounce it
true; but if it vanishes in the Experiment, you may conclude it to have
been a Punn. In short, one may say of a Punn, as the Countryman
described his Nightingale, that it is
vox et præterea nihil,
a Sound,
and nothing but a Sound. On the contrary, one may represent true Wit by
the Description which
Aristinetus
makes of a fine Woman; when she is
dressed
she is Beautiful, when she is
undressed
she is Beautiful; or
as
Mercerus
has translated it [more Emphatically]
Induitur, formosa est: Exuitur, ipsa forma est.
C.
fine
Contents
|
Friday, May 11, 1711 |
Addison |
Scribendi rectè sapere est et principium et fons.
Hor.
translation
Mr.
Lock
has an admirable Reflexion upon the Difference of Wit and
Judgment, whereby he endeavours to shew the Reason why they are not
always the Talents of the same Person. His Words are as follows:
And
hence, perhaps, may be given some Reason of that common Observation,
That Men who have a great deal of Wit and prompt Memories, have not
always the clearest Judgment, or deepest Reason. For Wit lying most in
the Assemblage of Ideas, and putting those together with Quickness and
Variety, wherein can be found any Resemblance or Congruity, thereby to
make up pleasant Pictures and agreeable Visions in the Fancy; Judgment,
on the contrary, lies quite on the other Side, In separating carefully
one from another, Ideas wherein can be found the least Difference,
thereby to avoid being misled by Similitude, and by Affinity to take one
thing for another. This is a way of proceeding quite contrary to
Metaphor and Allusion; wherein, for the most part, lies that
Entertainment and Pleasantry of Wit which strikes so lively on the
Fancy, and is therefore so acceptable to all People.1
This is, I think, the best and most Philosophical Account that I have
ever met with of Wit, which generally, though not always, consists in
such a Resemblance and Congruity of Ideas as this Author mentions. I
shall only add to it, by way of Explanation, That every Resemblance of
Ideas is not that which we call Wit, unless it be such an one that gives
Delight
and
Surprise
to the Reader: These two Properties
seem essential to Wit, more particularly the last of them. In order
therefore that the Resemblance in the Ideas be Wit, it is necessary that
the Ideas should not lie too near one another in the Nature of things;
for where the Likeness is obvious, it gives no Surprize. To compare one
Man's Singing to that of another, or to represent the Whiteness of any
Object by that of Milk and Snow, or the Variety of its Colours by those
of the Rainbow, cannot be called Wit, unless besides this obvious
Resemblance, there be some further Congruity discovered in the two Ideas
that is capable of giving the Reader some Surprize. Thus when a Poet
tells us, the Bosom of his Mistress is as white as Snow, there is no Wit
in the Comparison; but when he adds, with a Sigh, that it is as cold
too, it then grows into Wit. Every Reader's Memory may supply him with
innumerable Instances of the same Nature. For this Reason, the
Similitudes in Heroick Poets, who endeavour rather to fill the Mind with
great Conceptions, than to divert it with such as are new and
surprizing, have seldom any thing in them that can be called Wit. Mr.
Lock's
Account of Wit, with this short Explanation, comprehends
most of the Species of Wit, as Metaphors, Similitudes, Allegories,
Ænigmas, Mottos, Parables, Fables, Dreams, Visions, dramatick Writings,
Burlesque, and all the Methods of Allusion: As there are many other
Pieces of Wit, (how remote soever they may appear at first sight, from
the foregoing Description) which upon Examination will be found to agree
with it.
As
true Wit
generally consists in this Resemblance and Congruity
of Ideas,
false Wit
chiefly consists in the Resemblance and
Congruity sometimes of single Letters, as in Anagrams, Chronograms,
Lipograms, and Acrosticks: Sometimes of Syllables, as in Ecchos and
Doggerel Rhymes: Sometimes of Words, as in Punns and Quibbles; and
sometimes of whole Sentences or Poems, cast into the Figures of
Eggs,
Axes
, or
Altars
: Nay, some carry the Notion of Wit so far, as
to ascribe it even to external Mimickry; and to look upon a Man as an
ingenious Person, that can resemble the Tone, Posture, or Face of
another.
As
true Wit
consists in the Resemblance of Ideas, and
false
Wit
in the Resemblance of Words, according to the foregoing
Instances; there is another kind of Wit which consists partly in the
Resemblance of Ideas, and partly in the Resemblance of Words; which for
Distinction Sake I shall call
mixt Wit
. This kind of Wit is that which
abounds in
Cowley
, more than in any Author that ever wrote. Mr.
Waller
has likewise a great deal of it. Mr.
Dryden
is very sparing
in it.
Milton
had a Genius much above it.
Spencer
is in the same
Class with
Milton
. The
Italians
, even in their Epic Poetry, are full
of it. Monsieur
Boileau