Literary, like political history, is interested in the cause of an obscure individual, when deprived of his just rights--character of CAMDEN--BROOKE'S "Discovery of Errors" in the "Britannia"--his work disturbed in the printing--afterwards enlarged, but never suffered to be published--whether BROOKE'S motive was personal rancour!--the persecuted author becomes vindictive--his keen reply to CAMDEN--CAMDEN'S beautiful picture of calumny--BROOKE furnishes a humorous companion-piece--CAMDEN'S want of magnanimity and justice--when great authors are allowed to suppress the works of their adversary, the public receives the injury and the insult.
In the literary as well as the political commonwealth, the cause of an obscure individual violently deprived of his just rights is a common one. We protest against the power of genius itself, when it strangles rather than wrestles with its adversary, or combats in mail against a naked man. The general interests of literature are involved by the illegitimate suppression of a work, of which the purpose is to correct another, whatever may be the invective which accompanies the correction: nor are we always to assign to malignant motives even this spirit of invective, which, though it betrays a contracted genius, may also show the earnestness of an honest one.
The quarrel between CAMDEN, the great author of the "Britannia," and BROOKE, the "York Herald," may illustrate these principles. It has hitherto been told to the shame of the inferior genius; but the history of Brooke was imperfectly known to his contemporaries. Crushed by oppression, his tale was marred in the telling. A century sometimes passes away before the world can discover the truth even of a private history.
Brooke is aspersed as a man of the meanest talents, insensible to the genius of Camden, rankling with envy at his fame, and correcting the "Britannia" out of mere spite.
When the history of Brooke is known, and his labours fairly estimated, we shall blame him much less than he has been blamed; and censure Camden, who has escaped all censure, and whose conduct, in the present instance, was destitute of magnanimity and justice.
The character of the author of "Britannia" is great, and this error of his feelings, now first laid to his charge, may be attributed as much to the weakness of the age as to his own extreme timidity, and perhaps to a little pride. Conscious as was Camden of enlarged views, we can easily pardon him for the contempt he felt, when he compared them with the subordinate ones of his cynical adversary.
Camden possessed one of those strongly directed minds which early in life plan some vast labour, while their imagination and their industry feed on it for many successive years; and they shed the flower and sweetness of their lives in the preparation of a work which at its maturity excites the gratitude of their nation. His passion for our national antiquities discovered itself even in his school-days, grew up with him at the University; and, when afterwards engaged in his public duties as master at Westminster school, he there composed his "Britannia," "at spare hours, and on festival days." To the perpetual care of his work, he voluntarily sacrificed all other views in life, and even drew himself away from domestic pleasures; for he refused marriage and preferments, which might interrupt his beloved studies! The work at length produced, received all the admiration due to so great an enterprise; and even foreigners, as the work was composed in the universal language of learning, could sympathise with Britons, when they contemplated the stupendous labour. Camden was honoured by the titles (for the very names of illustrious genius become such), of the Varro, the Strabo, and the Pausanias of Britain.
While all Europe admired the "Britannia," a cynical genius, whose mind seemed bounded by his confined studies, detected one error amidst the noble views the mighty volume embraced; the single one perhaps he could perceive, and for which he stood indebted to his office as "York Herald." Camden, in an appendage to the end of each county, had committed numerous genealogical errors, which he afterwards affected, in his defence, to consider as trivial matters in so great a history, and treats his adversary with all the contempt and bitterness he could inflict on him; but Ralph Brooke entertained very high notions of the importance of heraldical studies, and conceived that the "Schoolmaster" Camden, as he considered him, had encroached on the rights and honours of his College of Heralds. When particular objects engage our studies, we are apt to raise them in the scale of excellence to a degree disproportioned to their real value; and are thus liable to incur ridicule. But it should be considered that many useful students are not philosophers, and the pursuits of their lives are never ridiculous to them. It is not the interest of the public to degrade this class too low. Every species of study contributes to the perfection of human knowledge, by that universal bond which connects them all in a philosophical mind.
Brooke prepared "A Discovery of Certain Errors in the Much-commended Britannia." When we consider Brooke's character, as headstrong with heraldry as Don Quixote's with romances of chivalry, we need not attribute his motives (as Camden himself, with the partial feelings of an author, does, and subsequent writers echo) to his envy at Camden's promotion to be Clarencieux King of Arms; for it appears that Brooke began his work before this promotion. The indecent excesses of his pen, with the malicious charges of plagiarism he brings against Camden for the use he made of Leland's collections, only show the insensibility of the mere heraldist to the nobler genius of the historian. Yet Brooke had no ordinary talents: his work is still valuable for his own peculiar researches; but his
naïve shrewdness, his pointed precision, the bitter invective, and the caustic humour of his cynical pen, give an air of originality, if not of genius, which no one has dared to notice. Brooke's first work against Camden was violently disturbed in its progress, and hurried, in a mutilated state, into the world, without licence or a publisher's name. Thus impeded, and finally crushed, the howl of persecution followed his name; and subsequent writers servilely traced his character from their partial predecessors.
But Brooke, though denied the fair freedom of the press, and a victim to the powerful connexions of Camden, calmly pursued his silent labour with great magnanimity. He wrote his "Second Discovery of Errors," an enlargement of the first. This he carefully finished for the press, but could never get published. The secret history of the controversy may be found there.[1]
Brooke had been loudly accused of indulging a personal rancour against Camden, and the motive of his work was attributed to envy of his great reputation; a charge constantly repeated.
Yet this does not appear, for when Brooke first began his "Discovery of Errors," he did not design its publication; for he liberally offered Camden his Observations and Collections. They were fastidiously, perhaps haughtily, rejected; on this pernicious and false principle, that to correct his errors in genealogy might discredit the whole work. On which absurdity Brooke shrewdly remarks--"As if healing the sores would have maimed the body." He speaks with more humility on this occasion than an insulted, yet a skilful writer, was likely to do, who had his labours considered, as he says, "worthy neither of thanks nor acceptance."
"The rat is not so contemptible but he may help the lion, at a pinch, out of those nets wherein his strength is hampered; and the words of an inferior may often carry matter in them to admonish his superior of some important consideration; and surely, of what account soever I might have seemed to this learned man, yet, in respect to my profession and courteous offer, (I being an officer-of-arms, and he then but a schoolmaster), might well have vouchsafed the perusal of my notes."
When he published, our herald stated the reasons of writing against Camden with good-humour, and rallies him on his "incongruity in his principles of heraldry--for which I challenge him!--for depriving some nobles of issue to succeed them, who had issue, of whom are descended many worthy families: denying barons and earls that were, and making barons and earls of others that were not; mistaking the son for the father, and the father for the son; affirming legitimate children to be illegitimate, and illegitimate to be legitimate; and framing incestuous and unnatural marriages, making the father to marry the son's wife, and the son his own mother."
He treats Camden with the respect due to his genius, while he judiciously distinguishes where the greatest ought to know when to yield.
"The most abstruse arts I profess not, but yield the palm and victory to mine adversary, that great learned Mr. Camden, with whom, yet, a long experimented navigator may contend about his chart and compass, about havens, creeks, and sounds; so I, an ancient herald, a little dispute, without imputation of audacity, concerning the honour of arms, and the truth of honourable descents."
Brooke had seen, as he observes, in four editions of the "Britannia," a continued race of errors, in false descents, &c., and he continues, with a witty allusion:--
"Perceiving that even the brains of many learned men beyond the seas had misconceived and miscarried in the travail and birth of their relations, being gotten, as it were, with child (as Diomedes's mares) by the blasts of his erroneous puffs; I could not but a little question the original father of their absurdities, being so far blown, with the trumpet of his learning and fame, into foreign lands."
He proceeds with instances of several great authors on the Continent having been misled by the statements of Camden.
Thus largely have I quoted from Brooke, to show, that at first he never appears to have been influenced by the mean envy, or the personal rancour, of which he is constantly accused. As he proceeded in his work, which occupied him several years, his reproaches are whetted with a keener edge, and his accusations are less generous. But to what are we to attribute this? To the contempt and persecution Brooke so long endured from Camden: these acted on his vexed and degraded spirit, till it burst into the excesses of a man heated with injured feelings.
When Camden took his station in the Herald's College with Brooke, whose offers of his notes he had refused to accept, they soon found what it was for two authors to live under the same roof, who were impatient to write against each other. The cynical York, at first, would twit the new king-of-arms, perpetually affirming that "his predecessor was a more able herald than any who lived in this age:" a truth, indeed, acknowledged by Dugdale. On this occasion, once the king-of-arms gave malicious York "the lie!" reminding the crabbed herald of "his own learning; who, as a scholar, was famous through all the provinces of Christendom." "So that (adds Brooke) now I learnt, that before him, when we speak in commendation of any other, to say, I must always except Plato." Camden would allow of no private communication between them; and in
Sermonibus Convivalibus, in his table-talk, "the heat and height of his spirit" often scorched the contemned Yorkist, whose rejected "Discovery of Errors" had no doubt been too frequently enlarged, after such rough convivialities. Brooke now resolved to print; but, in printing the work, the press was disturbed, and his house was entered by "this learned man, his friends, and the stationers." The latter were alarmed for the sale of the "Britannia," which might have been injured by this rude attack. The work was therefore printed in an unfinished state: part was intercepted; and the author stopped, by authority, from proceeding any further. Some imperfect copies got abroad.
The treatment the exasperated Brooke now incurred was more provoking than Camden's refusal of his notes, and the haughtiness of his "Sermonibus Convivalibus." The imperfect work was, however, laid before the public, so that Camden could not refuse to notice its grievous charges. He composed an angry reply in Latin, addressed
ad Lectorem! and never mentioning Brooke by name, contemptuously alludes to him only by a
Quidam and
Iste (a certain person, and He!)--"He considers me (cries the mortified Brooke, in his second suppressed work) as an
Individuum vagum, and makes me but a
Quidam in his pamphlet, standing before him as a schoolboy, while he whips me. Why does he reply in Latin to an English accusation? He would disguise himself in his school-rhetoric; wherein, like the cuttle-fish, being stricken, he thinks to hide and shift himself away in the ink of his rhetoric. I will clear the waters again."
He fastens on Camden's former occupation, virulently accusing him of the manners of a pedagogue:--"A man may perceive an immoderate and eager desire of vainglory growing in hand, ever since he used to teach and correct children for these things, according to the opinion of some,
in mores et naturam abeunt." He complains of "the school-hyperboles" which Camden exhausts on him, among which Brooke is compared to "the strumpet Leontion," who wrote against "the divine Theophrastus." To this Brooke keenly replies:
"Surely, had Theophrastus dealt with women's matters, a woman, though mean, might in reason have contended with him. A king must be content to be laughed at if he come into Apelles's shop, and dispute about colours and portraiture. I am not ambitious nor envious to carp at matters of higher learning than matters of heraldry, which I profess: that is the slipper, wherein I know a slip when I find it. But see your cunning; you can, with the blur of your pen, dipped in copperas and gall, make me learned and unlearned; nay, you can almost change my sex, and make me a whore, like Leontion; and, taking your silver pen again, make yourself the divine Theophrastus."
At the close of Camden's answer, he introduced the allegorical picture of Calumny, that elegant invention of the Grecian fancy of Apelles, painted by him when suffering under the false accusations of a rival. The picture is described by Lucian; but it has received many happy touches from the classical hand of the master of Westminster School. As a literary satire, he applies it with great dignity. I give here a translation, but I preserve the original Latin in the note as Camden's reply to Brooke is not easily to be procured.
"But though I am not disposed to waste more words on these, and this sort of men, yet I cannot resist the temptation of adding a slight sketch, for I cannot give that vivacity of colouring of the picture of the great artist Apelles that our Antiphilus and the like, whose ears are ever open to calumny, may, in contemplating it, find a reflection of themselves.
"On the right hand sits a man, who, to show his credulity, is remarkable for his prodigious ears, similar to those of Midas. He extends his hand to greet Calumny, who is approaching him. The two diminutive females around him are Ignorance and Suspicion. Opposite to them, Calumny advances, betraying in her countenance and gesture the savage rage and anger working in her tempestuous breast: her left hand holds a flaming torch; while with her right she drags by the hair a youth, who, stretching his uplifted hands to Heaven, is calling on the immortal powers to bear testimony to his innocence. She is preceded by a man of a pallid and impure appearance, seemingly wasting away under some severe disease, except that his eye sparkles, and has not the dulness usual to such. That Envy is here meant, you readily conjecture. Some diminutive females, frauds and deceits, attend her as companions, whose office is to encourage and instruct, and studiously to adorn their mistress. In the background, Repentance, sadly arrayed in a mournful, worn-out, and ragged garment, who, with averted head, with tears and shame, acknowledges and prepares to receive Truth, approaching from a distance."[2]
This elegant picture, so happily introduced into a piece of literary controversy, appears to have only slightly affected the mind of Brooke, which was probably of too stout a grain to take the folds of Grecian drapery. Instead of sympathising with its elegance, he breaks out into a horse-laugh; and, what is quite unexpected among such grave inquiries into a ludicrous tale in verse, which, though it has not Grecian fancy, has broad English humour, where he maliciously insinuates that Camden had appropriated to his own use, or "new-coated his 'Britannia'" with Leland's MSS., and disguised what he had stolen.
Now, to show himself as good a painter as he is a herald, he propounded, at the end of his book, a table (
i.e. a picture) of his own invention, being nothing comparable to "Apelles," as he himself confesseth, and we believe him; for, like the rude painter that was fain to write, 'This is a Horse,' upon his painted horse, he writes upon his picture the names of all that furious rabble therein expressed--which, for to requite him, I will return a tale of John Fletcher (some time of Oxford) and his horse. Neither can this fable be any disparagement to his table, being more ancient and authenticall, and far more conceipted than his envious picture. And thus it was:--
A TALE (NOT OF A ROASTED) BUT OF A PAINTED HORSE.
JOHN FLETCHER, famous, and a man well known,
But using not his sirname's trade alone,[3]
Did hackney out poor jades for common hire,
Not fit for any pastime but to tire.
His conscience, once, surveying his jade's stable,
Prick'd him, for keeping horses so unable.
"Oh why should I," saith John, "by scholars thrive,
For jades that will not carry, lead, nor drive?"
To mend the matter, out he starts, one night,
And having spied a palfrey somewhat white,
He takes him up, and up he mounts his back,
Rides to his house, and there he turns him black;
Marks him in forehead, feet, in rump, and crest,
As coursers mark those horses which are best.
So neatly John had coloured every spot,
That the right owner sees him, knows him not.
Had he but feather'd his new-painted breast,
He would have seemèd Pegasus at least.
Who but John Fletcher's horse, in all the town,
Amongst all hackneys, purchased this renown?
But see the luck; John Fletcher's horse, one night,
By rain was wash'd again almost to white.
His first right owner, seeing such a change,
Thought he should know him, but his hue was strange!
But eyeing him, and spying out his steed,
By flea-bit spots of his now washèd weed,
Seizes the horse; so Fletcher was attainted,
And did confess the horse--he stole and painted.
To close with honour to Brooke; in his graver moments he warmly repels the accusation Camden raised against him, as an enemy to learning, and appeals to many learned scholars, who had tasted of his liberality at the Universities, towards their maintenance; but, in an elevated tone, he asserts his right to deliver his animadversions as York Herald.
"I know (says Brooke) the great advantage my adversary has over me, in the received opinion of the world. If some will blame me for that my writings carry some characters of spleen against him, men of pure affections, and not partial, will think reason that he should, by ill hearing, lose the pleasure he conceived by ill speaking. But since I presume not to understand above that which is meet for me to know, I must not be discouraged, nor fret myself, because of the malicious; for I find myself seated upon a rock, that is sure from tempest and waves, from whence I have a prospect into his errors and waverings. I do confess his great worth and merit, and that we Britons are in some sort beholding to him; and might have been much more, if God had lent him the grace to have played the faithful steward, in the talent committed to his trust and charge."
Such was the dignified and the intrepid reply of Ralph Brooke, a man whose name is never mentioned without an epithet of reproach; and who, in his own day, was hunted down, and not suffered, vindictive as he was no doubt, to relieve his bitter and angry spirit, by pouring it forth to the public eye.[4]
But the story is not yet closed. Camden, who wanted the magnanimity to endure with patient dignity the corrections of an inferior genius, had the wisdom, with the meanness, silently to adopt his useful corrections, but would never confess the hand which had brought them.[5]
Thus hath Ralph Brooke told his own tale undisturbed, and, after the lapse of more than a century, the press has been opened to him. Whenever a great author is suffered to gag the mouth of his adversary, Truth receives the insult. But there is another point more essential to inculcate in literary controversy. Ought we to look too scrupulously into the motives which may induce an inferior author to detect the errors of a greater? A man from no amiable motive may perform a proper action: Ritson was useful after Warton; nor have we a right to ascribe it to any concealed motives, which, after all, may be doubtful. In the present instance, our much-abused Ralph Brooke first appears to have composed his elaborate work from the most honourable motives: the offer he made of his Notes to Camden seems a sufficient evidence. The pride of a great man first led Camden into an error, and that error plunged him into all the barbarity of persecution; thus, by force, covering his folly. Brooke over-valued his studies: it is the nature of those peculiar minds adapted to excel in such contracted pursuits. He undertook an ungracious office, and he has suffered by being placed by the side of the illustrious genius with whom he has so skilfully combated in his own province; and thus he has endured contempt, without being contemptible. The public are not less the debtors to such unfortunate, yet intrepid authors.[6]
FOOTNOTES:
[1] This work was not given to the public till 1724, a small quarto, with a fine portrait of Brooke. More than a century had elapsed since its forcible suppression. Anstis printed it from the fair MS. which Brooke had left behind him. The author's paternal affection seemed fondly to imagine its child might be worthy of posterity, though calumniated by its contemporaries.
[2] "Verum enimverò de his et hoc genere hominum ne verbum amplius addam, tabellam tamen summi illius artificis Apellis, cùm colorum vivacitate depingere non possim, verbis leviter adumbrabo et proponam, ut Antiphilus noster, suique similes, et qui calumniis credunt, hanc, et in hac seipsos semel simulque intueantur.
"Ad dextram sedet quidam, quia credulus, auribus prælongis insignis, quales ferè illæ Midæ feruntur. Manum porrigit procul accedenti Calumniæ. Circumstant eum mulierculæ duæ, Ignorantia ac Suspicio. Adit aliunde propiùs Calumnia eximiè compta, vultu ipso et gestu corporis efferens rabiem, et iram æstuanti conceptam pectore præ se ferens: sinistra facem tenens flammantem, dextra secum adolescentem capillis arreptum, manus ad superos tendentem, obtestantemque immortalium deorum fidem, trahit. Anteit vir pallidus, in specium impurus, acie oculorum minimè hebeti, cæterùm planè iis símilis, qui gravi aliquo morbo contabuerunt. Hic livor est, ut facilè conjicias. Quin, et mulierculæ aliquot Insidiæ et Fallaciæ ut comites Calumniam comitantur. Harum est munus, dominam hortari, instruere, comere, et subornare. A tergo, habitu lugubri, pullato, laceroque Poenitentia subsequitur, quæ capite in tergum deflexo, cum lachrymis, ac pudore procul venientem Veritatem agnoscit, et excipit."
[3] A
Fletcher is a maker of bows and arrows.--ASH.
[4] Brooke died at the old mansion opposite the Roman town of Reculver in Kent. The house is still known as Brooke-farm; and the original gateway of decorative brickwork still exists. He was buried in Reculver Church, now destroyed, where a mural monument was erected to his memory, having a rhyming inscription, which told the reader:--
"Fifteenth October he was last alive,
One thousand six hundred and twenty-five,
Seaventy-three years bore he fortune's harms,
And forty-five an officer of armes."
Brooke was originally a painter-stainer. His enmity to Camden appears to have originated in the appointment of the latter to the office of Clarencieux on the death of Richard Lee; he believing himself to be qualified for the place by greater knowledge, and by his long connexion with the College of Arms. His mode of righting himself lacked judgment, and he was twice suspended from his office, and was even attempted to be expelled therefrom.--ED.
[5] In Anstis's edition of "A Second Discoverie of Errors in the Much-commended 'Britannia,' &c.," 1724, the reader will find all the passages in the "Britannia" of the edition of 1594 to which Brooke made exceptions, placed column-wise with the following edition of it in 1600. It is, as Anstis observes, a debt to truth, without making any reflections.
[6] There is a sensible observation in the old "Biographia Britannica" on Brooke. "From the splenetic attack originally made by Rafe Brooke upon the 'Britannia' arose very
great advantages to the public, by the shifting and bringing to light as good, perhaps a better and more authentic account of our nobility, than had been given at that time of those in any other country of Europe."--p. 1135.
[The end]
Isaac Disraeli's essay: Camden And Brooke