Greek: syrigx
. The Egg is, by tradition, called Anacreon's.
Simmias of Rhodes, who lived about B.C. 324, is said to have been the
inventor of shaped verses. Butler in his
Character of a Small Poet
said of Edward Benlowes:
'As for Altars and Pyramids in poetry, he has outdone all men that
way; for he has made a gridiron and a frying-pan in verse, that
besides the likeness in shape, the very tone and sound of the words
did perfectly represent the noise that is made by those utensils.'
But a devout earnestness gave elevation to George Herbert's
ingenious conceits. Joshua Sylvester's dedication to King James the
First of his translation of the Divine Weeks and Works of Du Bartas has
not this divine soul in its oddly-fashioned frame. It begins with a
sonnet on the Royal Anagram 'James Stuart: A just Master;' celebrates
his Majesty in French and Italian, and then fills six pages with verse
built in his Majesty's honour, in the form of bases and capitals of
columns, inscribed each with the name of one of the Muses. Puttenham's
Art of Poetry,
published in 1589, book II., ch. ii. contains the fullest
account of the mysteries and varieties of this sort of versification.
When the tyranny of French criticism had imprisoned nearly
all our poetry in the heroic couplet, outside exercise was allowed only
to those who undertook to serve under Pindar.
Contents
Contents p.3
|
Tuesday, May 8, 1711 |
Addison |
Operose Nihil agunt.
Seneca.
There is nothing more certain than that every Man would be a Wit if he
could, and notwithstanding Pedants of a pretended Depth and Solidity are
apt to decry the Writings of a polite Author, as
Flash
and
Froth
,
they all of them shew upon Occasion that they would spare no pains to
arrive at the Character of those whom they seem to despise. For this
Reason we often find them endeavouring at Works of Fancy, which cost
them infinite Pangs in the Production. The Truth of it is, a Man had
better be a Gally-Slave than a Wit, were one to gain that Title by those
Elaborate Trifles which have been the Inventions of such Authors as were
often Masters of great Learning but no Genius.
In my last Paper I mentioned some of these false Wits among the
Ancients, and in this shall give the Reader two or three other Species
of them, that flourished in the same early Ages of the World.
first
I shall produce are the
Lipogrammiatists
or
Letter-droppers
of
Antiquity, that would take an Exception, without any Reason, against
some particular Letter in the Alphabet, so as not to admit it once into
a whole Poem. One
Tryphiodorus
was a great Master in this kind of
Writing. He composed an
Odyssey
or Epick Poem on the Adventures of
Ulysses
, consisting of four and twenty Books, having entirely banished
the Letter
A
from his first Book, which was called
Alpha
(as
Lucus
a non Lucendo
) because there was not an
Alpha
in it. His second Book
was inscribed
Beta
for the same Reason. In short, the Poet excluded
the whole four and twenty Letters in their Turns, and shewed them, one
after another, that he could do his Business without them.
It must have been very pleasant to have seen this Poet avoiding the
reprobate Letter, as much as another would a false Quantity, and making
his Escape from it through the several
Greek
Dialects, when he was
pressed with it in any particular Syllable. For the most apt and elegant
Word in the whole Language was rejected, like a Diamond with a Flaw in
it, if it appeared blemished with a wrong Letter. I shall only observe
upon this Head, that if the Work I have here mentioned had been now
extant, the
Odyssey
of
Tryphiodorus
, in all probability, would have
been oftner quoted by our learned Pedants, than the
Odyssey
of
Homer
. What a perpetual Fund would it have been of obsolete Words and
Phrases, unusual Barbarisms and Rusticities, absurd Spellings and
complicated Dialects? I make no question but it would have been looked
upon as one of the most valuable Treasuries of the
Greek
Tongue.
find likewise among the Ancients that ingenious kind of Conceit, which
the Moderns distinguish by the Name of a
Rebus
, that does not sink
a Letter but a whole Word, by substituting a Picture in its Place. When
Cæsar
was one of the Masters of the
Roman
Mint, he placed the
Figure of an Elephant upon the Reverse of the Publick Mony; the Word
Cæsar
signifying an Elephant in the
Punick
Language. This was
artificially contrived by
Cæsar
, because it was not lawful for a
private Man to stamp his own Figure upon the Coin of the Commonwealth.
Cicero
,
was so called from the Founder of his Family, that was
marked on the Nose with a little Wen like a Vetch (which is
Cicer
in
Latin
) instead of
Marcus Tullius Cicero
, order'd the Words
Marcus
Tullius
with the Figure of a Vetch at the End of them to be inscribed
on a publick Monument
. This was done probably to shew that he was
neither ashamed of his Name or Family, notwithstanding the Envy of his
Competitors had often reproached him with both. In the same manner we
read of a famous Building that was marked in several Parts of it with
the Figures of a Frog and a Lizard: Those Words in
Greek
having been
the Names of the Architects, who by the Laws of their Country were never
permitted to inscribe their own Names upon their Works. For the same
Reason it is thought, that the Forelock of the Horse in the Antique
Equestrian Statue of
Marcus Aurelius
, represents at a Distance the
Shape of an Owl, to intimate the Country of the Statuary, who, in all
probability, was an
Athenian
. This kind of Wit was very much in Vogue
among our own Countrymen about an Age or two ago, who did not practise
it for any oblique Reason, as the Ancients abovementioned, but purely
for the sake of being Witty. Among innumerable Instances that may be
given of this Nature, I shall produce the Device of one Mr
Newberry
,
as I find it mentioned by our learned
Cambden
in his Remains. Mr
Newberry
, to represent his Name by a Picture, hung up at his Door the
Sign of a Yew-Tree, that had several Berries upon it, and in the midst
of them a great golden
N
hung upon a Bough of the Tree, which by the
Help of a little false Spelling made up the Word
N-ew-berry
.
I shall conclude this Topick with a
Rebus
, which has been lately hewn
out in Free-stone, and erected over two of the Portals of
Blenheim
House, being the Figure of a monstrous Lion tearing to Pieces a little
Cock. For the better understanding of which Device, I must acquaint my
English
Reader that a Cock has the Misfortune to be called in
Latin
by the same Word that signifies a
Frenchman
, as a Lion is the Emblem
of the
English
Nation. Such a Device in so noble a Pile of Building
looks like a Punn in an Heroick Poem; and I am very sorry the truly
ingenious Architect would suffer the Statuary to blemish his excellent
Plan with so poor a Conceit: But I hope what I have said will gain
Quarter for the Cock, and deliver him out of the Lion's Paw.
I find likewise in ancient Times the Conceit of making an Eccho talk
sensibly, and give rational Answers. If this could be excusable in any
Writer, it would be in
Ovid
, where he introduces the Eccho as a Nymph,
before she was worn away into nothing but a Voice.
learned
Erasmus
, tho' a Man of Wit and Genius, has composed a Dialogue
upon this silly kind of Device, and made use of an Eccho who seems to
have been a very extraordinary Linguist, for she answers the Person she
talks with in
Latin, Greek
, and
Hebrew
, according as she found the
Syllables which she was to repeat in any one of those learned Languages.
Hudibras
, in Ridicule of this false kind of Wit, has described
Bruin
bewailing the Loss of his Bear to a solitary Eccho, who is of
great used to the Poet in several Disticks, as she does not only repeat
after him, but helps out his Verse, and furnishes him with
Rhymes
.
He rag'd, and kept as heavy a Coil as
Stout Hercules for loss of Hylas;
Forcing the Valleys to repeat
The Accents of his sad Regret;
He beat his Breast, and tore his Hair,
For Loss of his dear Crony Bear,
That Eccho from the hollow Ground
His Doleful Wailings did resound
More wistfully, but many times,
Then in small Poets Splay-foot Rhymes,
That make her, in her rueful Stories
To answer to Introgatories,
And most unconscionably depose
Things of which She nothing knows:
And when she has said all she can say,
'Tis wrested to the Lover's Fancy.
Quoth he, O whither, wicked Bruin,
Art thou fled to my — Eccho, Ruin?
I thought th' hadst scorn'd to budge a Step
for Fear. (Quoth Eccho) Marry guep.
Am not I here to take thy Part!
Then what has quell'd thy stubborn Heart?
Have these Bones rattled, and this Head
So often in thy Quarrel bled?
Nor did I ever winch or grudge it,
For thy dear Sake. (Quoth she) Mum budget.
Think'st thou 'twill not be laid i' th' Dish.
Thou turn'dst thy Back? Quoth Eccho, Pish.
To run from those th' hadst overcome
Thus cowardly? Quoth Eccho, Mum.
But what a-vengeance makes thee fly
From me too, as thine Enemy?
Or if thou hadst not Thought of me,
Nor what I have endur'd for Thee,
Yet Shame and Honour might prevail
To keep thee thus for turning tail;
For who will grudge to spend his Blood in
His Honour's Cause? Quoth she, A Pudding.
From
Greek: leíp_o
, I omit,
Greek: grámma
, a letter. In
modern literature there is a Pugna Porcorum (pig-fight) of which every
word begins with a p, and there are Spanish odes from which all vowels
but one are omitted. The earliest writer of Lipogrammatic verse is said
to have been the Greek poet Lasus, born in Achaia 538 B.C. Lope de Vega
wrote five novels, each with one of the five vowels excluded from it.
This French name for an enigmatical device is said to be
derived from the custom of the priests of Picardy at carnival time to
set up ingenious jests upon current affairs, 'de
rebus
quæ geruntur.'
Addison takes these illustrations from the chapter on
Rebus or Name devises,
in that pleasant old book, Camden's
Remains
,
which he presently cites. The next chapter in the
Remains
is upon
Anagrams.
Colloquia Familiaria
, under the title Echo. The dialogue
is ingeniously contrived between a youth and Echo.
Contents
Contents p.3
|
Wednesday, May 9, 1711 |
Addison |
Hoc est quod palles? Cur quis non prandeat, Hoc est?
Per. Sat. 3.
Several kinds of false Wit that vanished in the refined Ages of the
World, discovered themselves again in the Times of Monkish Ignorance.
As the Monks were the Masters of all that little Learning which was then
extant, and had their whole Lives entirely disengaged from Business, it
is no wonder that several of them, who wanted Genius for higher
Performances, employed many Hours in the Composition of such Tricks in
Writing as required much Time and little Capacity. I have seen half the
Æneid
turned into
Latin
Rhymes by one of the
Beaux Esprits
of
that dark Age; who says in his Preface to it, that the
Æneid
wanted
nothing but the Sweets of Rhyme to make it the most perfect Work in its
Kind. I have likewise seen an Hymn in Hexameters to the Virgin
Mary,
which filled a whole Book, tho' it consisted but of the eight following
Words.
Tot, tibi, sunt, Virgo, dotes, quot, sidera, Cælo.
Thou hast as many Virtues, O Virgin, as there are Stars in Heaven.
Poet rung the
changes
upon these eight several Words, and by
that Means made his Verses almost as numerous as the Virtues and the
Stars which they celebrated. It is no wonder that Men who had so much
Time upon their Hands did not only restore all the antiquated Pieces of
false Wit, but enriched the World with Inventions of their own.
was
to this Age that we owe the Production of Anagrams
, which is nothing
else but a Transmutation of one Word into another, or the turning of the
same Set of Letters into different Words; which may change Night into
Day, or Black into White, if Chance, who is the Goddess that presides
over these Sorts of Composition, shall so direct. I remember a witty
Author, in Allusion to this kind of Writing, calls his Rival, who (it
seems) was distorted, and had his Limbs set in Places that did not
properly belong to them,
The Anagram of a Man
.
When the Anagrammatist takes a Name to work upon, he considers it at
first as a Mine not broken up, which will not shew the treasure it
contains till he shall have spent many Hours in the Search of it: For
it is his Business to find out one Word that conceals it self in
another, and to examine the Letters in all the Variety of Stations in
which they can possibly be ranged. I have heard of a Gentleman who, when
this Kind of Wit was in fashion, endeavoured to gain his Mistress's
Heart by it.
was one of the finest Women of her Age, and
known
by the Name of the Lady
Mary Boon
. The Lover not being able to
make any thing of
Mary
, by certain Liberties indulged to this
kind of Writing, converted it into
Moll
; and after having shut
himself up for half a Year, with indefatigable Industry produced an
Anagram. Upon the presenting it to his Mistress, who was a little vexed
in her Heart to see herself degraded into
Moll Boon
, she told
him, to his infinite Surprise, that he had mistaken her Sirname, for
that it was not
Boon
but
Bohun
.
... Ibi omnis
Effusus labor ...
The lover was thunder-struck with his Misfortune, insomuch that in a
little time after he lost his Senses, which indeed had been very much
impaired by that continual Application he had given to his Anagram.
Acrostick
was probably invented about the same time with the
Anagram, tho' it is impossible to decide whether the Inventor of the one
of the other
were
the greater Blockhead. The
Simple
Acrostick is nothing but the Name or Title of a Person or Thing made out
of the initial Letters of several Verses, and by that Means written,
after the Manner of the
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