OF the great author of Hudibras there is a life prefixed to the later editions of his poem by an unknown writer, and therefore of disputable authority; and some account is incidentally given by Wood, who confesses the uncertainty of his own narrative; more however than they knew cannot now be learned, and nothing remains but to compare and copy them.
SAMUEL BUTLER was born in the parish of Strensham in Worcestershire, according to his biographer, in 1612. This account Dr. Nash finds confirmed by the register. He was christened, Feb. 14.
His father's condition is variously represented. Wood mentions him as competently wealthy; but Mr. Longueville, the son of Butler's principal friend, says he was an honest farmer with some small estate, who made a shift to educate his son at the grammar school of Worcester, under Mr Henry Bright, from whose care he removed for a short time to Cambridge; but, for a want of money, was never made a member of any college. Wood leaves us rather doubtful whether he went to Cambridge or Oxford; but at last makes him pass six or seven years at Cambridge, without knowing in what hall or college: yet it can hardly be imagined that he lived so long in either university, but as belonging to one house or another; and it is still less likely that he could have so long inhabited a place of learning with so little distinction as to leave his residence uncertain. Dr. Nash has discovered that his father was owner of a house and a little land, worth about eight pounds a year, still called Butler's tenement.
Wood has his information from his brother, whose narrative placed him at Cambridge, in opposition to that of his neighbours which sent him to Oxford. The brother's seems the best authority, till, by confessing his inability to tell his hall or college, he gives reason to suspect that he was resolved to bestow on him an academical education; but durst not name a college, for fear of detection.
He was for some time, according to the author of his Life, clerk to Mr. Jefferys of Earl's Croomb in Worcestershire, an eminent justice of the peace. In his service he had not only leisure for study, but for recreation: his amusements were musick and painting; and the reward of his pencil was the friendship of the celebrated Cooper. Some pictures, said to be his, were shewn to Dr. Nash, at Earl's Croomb; but when he enquired for them some years afterwards, he found them destroyed, to stop windows, and owns that they hardly deserved a better fate.
He was afterwards admitted into the family of the Countess of Kent, where he had the use of a library; and so much recommended himself to Selden, that he was often employed by him in literary business. Selden, as is well known, was steward to the Countess, and is supposed to have gained much of his wealth by managing her estate.
In what character Butler was admitted into that lady's service, how long he continued in it, and why he left it, is, like the other incidents of his life, utterly unknown.
The vicissitudes of his condition placed him afterwards in the family of Sir Samuel Luke, one of Cromwell's officers. Here he observed so much of the character of the sectaries, that he is said to have written or begun his poem at this time; and it is likely that such a design would be formed in a place where he saw the principles and practices of the rebels, audacious and undisguised in the confidence of success.
At length the King returned, and the time came in which loyalty hoped for its reward. Butler, however, was only made secretary to the Earl of Carbery, president of the principality of Wales; who conferred on him the stewardship of Ludlow Castle, when the Court of the Marches was revived.
In this part of his life, he married Mrs. Herbert, a gentlewoman of a good family; and lived, says Wood, upon her fortune, having studied the common law, but never practised it. A fortune she had, says his biographer, but it was lost by bad securities. In 1663 was published the first part, containing three cantos, of the poem of Hudibras, which, as Prior relates, was made known at Court by the taste and influence of the Earl of Dorset. When it was known, it was necessarily admired: the king quoted, the courtiers studied, and the whole party of the royalists applauded it. Every eye watched for the golden shower which was to fall upon the author, who certainly was not without his part in the general expectation.
In 1664 the second part appeared: the curiosity of the nation was rekindled, and the writer was again praised and elated. But praise was his whole reward. Clarendon, says Wood, gave him reason to hope for 'places and employments of value and credit'; but no such advantages did he ever obtain. It is reported, that the King once gave him three hundred guineas; but of this temporary bounty I find no proof.
Wood relates that he was secretary to Villiers, Duke of Buckingham, when he was Chancellor of Cambridge: this is doubted by the other writer, who yet allows the Duke to have been his frequent benefactor. That both these accounts are false there is reason to suspect, from a story told by Packe, in his account of the Life of Wycherley, and from some verses which Mr. Thyer has published in the author's remains.
' Mr. Wycherley,' says Packe, ' had always laid hold of an opportunity which offered of representing to the Duke of Buckingham how well Mr. Butler had deserved of the royal family, by writing his inimitable Hudibras; and that it was a reproach to the Court, that a person of his loyalty and wit should suffer in obscurity, and under the wants he did. The Duke always seemed to hearken to him with attention enough; and, after some time, undertook to recommend his pretensions to his Majesty. Mr. Wycherley, in hopes to keep him steady to his word, obtained of his Grace to name a day, when he might introduce that modest and unfortunate poet to his new patron. At last an appointment was made, and the place of meeting was agreed to be the Roebuck. Mr. Butler and his friend attended accordingly: the Duke joined them; but, as the d——l would have it, the door of the room where they sat was open, and his Grace, who had seated himself near it, observing a pimp of his acquaintance (the creature too was a knight) trip by with a brace of Ladies, immediately quitted his engagement, to follow another kind of business, at which he was more ready than in doing good offices to men of desert; though no one was better qualified than he, both in regard to his fortune and understanding, to protect them; and, from that time to the day of his death, poor Butler never found the least effect of his promise!'
Such is the story. The verses are written with a degree of acrimony, such as neglect and disappointment might naturally excite; and such as it would be hard to imagine Butler capable of expressing against a man who had any claim to his gratitude.
Notwithstanding this discouragement and neglect, he still prosecuted his design; and in 1678 published the third part, which still leaves the poem imperfect and abrupt. How much more he originally intended, or with what events the action was to be concluded, it is vain to conjecture. Nor can it be thought strange that he should stop here, however unexpectedly. To write without reward is sufficiently unpleasing. He had now arrived at an age when he might think it proper to be in jest no longer, and perhaps his health might now begin to fail.
He died in 1680; and Mr. Longueville, having unsuccessfully solicited a subscription for his interment in Westminster Abbey, buried him at his own cost in the church-yard of Covent Garden. Dr. Simon Patrick read the service.
Granger was informed by Dr. Pearce, who named for his authority Mr. Lowndes of the treasury, that Butler had an yearly pension of an hundred pounds. This is contradicted by all tradition, by the complaints of Oldham, and by the reproaches of Dryden , and I am afraid will never be confirmed.
About sixty years afterwards, Mr. Barber, a printer, Mayor of London, and a friend to Butler's principles, bestowed on him a monument in Westminster Abbey, thus inscribed:
Qui Strenthamiae in agro Vigorn. nat. 1612. obiit Lond. 1680.
Vir doctus imprimis, acer, integer;
Operibus Ingenii, non item praemiis, foelix:
Satyrici apud nos Carminis Artifex egregius;
Quo simulatae Religionis Larvam detraxit,
Et Perduellium scelera liberrime exagitavit:
Scriptorum in suo genere, Primus et Postremus.
Ne, cui vivo deerant ferè omnia,
Deesset etiam mortuo Tumulus,
Hoc tandem posito marmore, curavit.
JOHANNES BARBER, Civis Londinensis, 1721.
After his death were published three small volumes of his posthumous works: I know not by whom collected, or by what authority ascertained; and, lately, two volumes more have been printed by Mr. Thyer of Manchester, indubitably genuine. From none of these pieces can his life be traced, or his character discovered. Some verses, in the last collection, shew him to have been among those who ridiculed the institution of the Royal Society, of which the enemies were for some time very numerous and very acrimonious, for what reason it is hard to conceive, since the philosophers professed not to advance doctrines, but to produce facts; and the most zealous enemy of innovation must admit the gradual progress of experience, however he may oppose hypothetical temerity.
In this mist of obscurity passed the life of Butler, a man whose name can only perish with his language. The mode and place of his education are unknown; the events of his life are variously related; and all that can be told with certainty is, that he was poor.
THE poem of Hudibras is one of those compositions of which a nation may justly boast; as the images which it exhibits are domestick, the sentiments unborrowed and unexpected, and the strain of diction original and peculiar. We must not, however, suffer the pride, which we assume as the countrymen of Butler, to make any encroachment upon justice, nor appropriate those honours which others have a right to share. The poem of Hudibras is not wholly English; the original idea is to be found in the History of Don Quixote; a book to which a mind of the greatest powers may be indebted without disgrace.
Cervantes shews a man, who having, by the incessant perusal of incredible tales, subjected his understanding to his imagination, and familiarized his mind by pertinacious meditation to trains of incredible events and scenes of impossible existence, goes out in the pride of knighthood, to redress wrongs, and defend virgins, to rescue captive princesses, and tumble usurpers from their thrones; attended by a squire, whose cunning, too low for the suspicion of a generous mind, enables him often to cheat his master.
The hero of Butler is a Presbyterian Justice, who, in the confidence of legal authority, and the rage of zealous ignorance, ranges the country to repress superstition and correct abuses, accompanied by an Independent Clerk, disputatious and obstinate, with whom he often debates, but never conquers him.
Cervantes had so much kindness for Don Quixote, that, however he embarrasses him with absurd distresses, he gives him so much sense and virtue as may preserve our esteem: wherever he is, or whatever he does, he is made by matchless dexterity commonly ridiculous, but never contemptible.
But for poor Hudibras, his poet had no tenderness: he chuses not that any pity should be shewn or respect paid him: he gives him up at once to laughter and contempt, without any quality that can dignify or protect him.
In forming the character of Hudibras, and describing his person and habiliments, the author seems to labour with a tumultuous confusion of dissimilar ideas. He had read the history of the mock knights-errant; he knew the notions and manners of a presbyterian magistrate, and tried to unite the absurdities of both, however distant, in one personage. Thus he gives him that pedantick ostentation of knowledge which has no relation to chivalry, and loads him with martial encumbrances that can add nothing to his civil dignity. He sends him out a colonelling , and yet never brings him within sight of war.
If Hudibras be considered as the representative of the presbyterians, it is not easy to say why his weapons should be represented as ridiculous or useless; for, whatever judgement might be passed upon their knowledge or their arguments, experience had sufficiently shewn that their swords were not to be despised.
The hero, thus compounded of swaggerer and pedant, of knight and justice, is led forth to action, with his squire Ralpho, an Independent enthusiast.
Of the contexture of events planned by the author, which is called the action of the poem, since it is left imperfect, no judgement can be made. It is probable, that the hero was to be led through many luckless adventures, which would give occasion, like his attack upon the bear and fiddle , to express the ridiculous rigour of the sectaries; like his encounter with Sidrophel and Whacum, to make superstition and credulity contemptible; or, like his recourse to the low retailer of the law, discover the fraudulent practices of different professions.
What series of events he would have formed, or in what manner he would have rewarded or punished his hero, it is now vain to conjecture. His work must have had, as it seems, the defect which Dryden imputes to Spenser; the action could not have been one; there could only have been a succession of incidents, each of which might have happened without the rest, and which could not all co-operate to any single conclusion.
The discontinuity of the action might however have been easily forgiven, if there had been action enough; but I believe every reader regrets the paucity of events, and complains that in the poem of Hudibras, as in the history of Thucydides, there is more said than done. The scenes are too seldom changed, and the attention is tired with long conversation.
It is indeed much more easy to form dialogues than to contrive adventures. Every position makes way for an argument, and every objection dictates an answer. When two disputants are engaged upon a complicated and extensive question, the difficulty is not to continue, but to end the controversy. But whether it be that we comprehend but few of the possibilities of life, or that life itself affords little variety, every man who has tried knows how much labour it will cost to form such a combination of circumstances, as shall have at once the grace of novelty and credibility, and delight fancy without violence to reason.
Perhaps the Dialogue of this poem is not perfect. Some power of engaging the attention might have been added to it, by quicker reciprocation, by seasonable interruptions, by sudden questions, and by a nearer approach to dramatick spriteliness; without which, fictitious speeches will always tire, however sparkling with sentences, and however variegated with allusions.
The great source of pleasure is variety. Uniformity must tire at last, though it be uniformity of excellence. We love to expect; and, when expectation is disappointed or gratified, we want to be again expecting. For this impatience of the present, whoever would please, must make provision. The skilful writer irritat, mulcet, makes a due distribution of the still and animated parts. It is for want of this artful intertexture, and those necessary changes, that the whole of a book may be tedious, though all the parts are praised.
If inexhaustible wit could give perpetual pleasure, no eye would ever leave half-read the work of Butler; for what poet has ever brought so many remote images so happily together? It is scarcely possible to peruse a page without finding some association of images that was never found before. By the first paragraph the reader is amused, by the next he is delighted, and by a few more strained to astonishment; but astonishment is a toilsome pleasure; he is soon weary of wondering, and longs to be diverted.
Omnia vult belle Matho dicere, die aliquando
Et bene, die neutrum, die aliquando male.
Imagination is useless without knowledge: nature gives in vain the power of combination, unless study and observation supply materials to be combined. Butler's treasures of knowledge appear proportioned to his expence: whatever topick employs his mind, he shews himself qualified to expand and illustrate it with all the accessories that books can furnish: he is found not only to have travelled the beaten road, but the bye-paths of literature; not only to have taken general surveys, but to have examined particulars with minute inspection.
If the French boast the learning of Rabelais, we need not be afraid of confronting them with Butler.
But the most valuable parts of his performance are those which retired study and native wit cannot supply. He that merely makes a book from books may be useful, but can scarcely be great. Butler had not suffered life to glide beside him unseen or unobserved. He had watched with great diligence the operations of human nature, and traced the effects of opinion, humour, interest, and passion. From such remarks proceeded that great number of sententious distichs which have passed into conversation, and are added as proverbial axioms to the general stock of practical knowledge.
When any work has been viewed and admired, the first question of intelligent curiosity is, how was it performed? Hudibras was not a hasty effusion; it was not produced by a sudden tumult of imagination, or a short paroxysm of violent labour. To accumulate such a mass of sentiments at the call of accidental desire, or of sudden necessity, is beyond the reach and power of the most active and comprehensive mind. I am informed by Mr. Thyer of Manchester, the excellent editor of this author's reliques, that he could shew something like Hudibras in prose. He has in his possession the common-place book, in which Butler reposited, not such events or precepts as are gathered by reading; but such remarks, similitudes, allusions, assemblages, or inferences, as occasion prompted, or meditation produced; those thoughts that were generated in his own mind, and might be usefully applied to some future purpose. Such is the labour of those who write for immortality.
But human works are not easily found without a perishable part. Of the ancient poets every reader feels the mythology tedious and oppressive. Of Hudibras, the manners, being founded on opinions, are temporary and local, and therefore become every day less intelligible, and less striking. What Cicero says of philosophy is true likewise of wit and humour, that
'time effaces the fictions of opinion, and confirms the determinations of Nature.'
Such manners as depend upon standing relations and general passions are co-extended with the race of man; but those modifications of life, and peculiarities of practice, which are the progeny of error and perverseness, or at best of some accidental influence or transient persuasion, must perish with their parents.
Much therefore of that humour which transported the last century with merriment is lost to us, who do not know the sour solemnity, the sullen superstition, the gloomy moroseness, and the stubborn scruples of the ancient Puritans; or, if we know them, derive our information only from books, or from tradition, have never had them before our eyes, and cannot but by recollection and study understand the lines in which they are satirized. Our grandfathers knew the picture from the life; we judge of the life by contemplating the picture.
It is scarcely possible, in the regularity and composure of the present time, to image the tumult of absurdity, and clamour of contradiction, which perplexed doctrine, disordered practice, and disturbed both publick and private quiet, in that age, when subordination was broken, and awe was hissed away; when any unsettled innovator who could hatch a half-formed notion produced it to the publick; when every man might become a preacher, and almost every preacher could collect a congregation.
The wisdom of the nation is very reasonably supposed to reside in the parliament. What can be concluded of the lower classes of the people, when in one of the parliaments summoned by Cromwell it was seriously proposed, that all the records in the Tower should be burnt, that all memory of things past should be effaced, and that the whole system of life should commence anew?
We have never been witnesses of animosities excited by the use of minced pies and plumb porridge; nor seen with what abhorrence those who could eat them at all other times of the year would shrink from them in December. An old Puritan, who was alive in my childhood, being at one of the feasts of the church invited by a neighbour to partake his cheer, told him, that, if he would treat him at an alehouse with beer, brewed for all times and seasons, he should accept his kindness, but would have none of his superstitious meats or drinks.
One of the puritanical tenets was the illegality of all games of chance; and he that reads Gataker upon Lots, may see how much learning and reason one of the first scholars of his age thought necessary, to prove that it was no crime to throw a die, or play at cards, or to hide a shilling for the reckoning.
Astrology, however, against which so much of the satire is directed, was not more the folly of the Puritans than of others. It had in that time a very extensive dominion. Its predictions raised hopes and fears in minds which ought to have rejected it with contempt. In hazardous undertakings, care was taken to begin under the influence of a propitious planet; and when the king was prisoner in Carisbrook Castle, an astrologer was consulted what hour would be found most favourable to an escape.
What effect this poem had upon the publick, whether it shamed imposture or reclaimed credulity, is not easily determined. Cheats can seldom stand long against laughter. It is certain that the credit of planetary intelligence wore fast away; though some men of knowledge, and Dryden among them, continued to believe that conjunctions and oppositions had a great part in the distribution of good or evil, and in the government of sublunary things.
Poetical action ought to be probable upon certain suppositions, and such probability as burlesque requires is here violated only by one incident. Nothing can shew more plainly the necessity of doing something, and the difficulty of finding something to do, than that Butler was reduced to transfer to his hero the flagellation of Sancho, not the most agreeable fiction of Cervantes; very suitable indeed to the manners of that age and nation, which ascribed wonderful efficacy to voluntary penances; but so remote from the practice and opinions of the Hudibrastick time, that judgement and imagination are alike offended.
The diction of this poem is grossly familiar, and the numbers purposely neglected, except in a few places where the thoughts by their native excellence secure themselves from violation, being such as mean language cannot express. The mode of versification has been blamed by Dryden, who regrets that the heroick measure was not rather chosen. To the critical sentence of Dryden the highest reverence would be due, were not his decisions often precipitate, and his opinions immature. When he wished to change the measure, he probably would have been willing to change more. If he intended that, when the numbers were heroick, the diction should still remain vulgar, he planned a very heterogeneous and unnatural composition. If he preferred a general stateliness both of sound and words, he can be only understood to wish that Butler had undertaken a different work.
The measure is quick, spritely, and colloquial, suitable to the vulgarity of the words and the levity of the sentiments. But such numbers and such diction can gain regard only when they are used by a writer whose vigour of fancy and copiousness of knowledge entitle him to contempt of ornaments, and who, in confidence of the novelty and justness of his conceptions, can afford to throw metaphors and epithets away. To another that conveys common thoughts in careless versification, it will only be said,
'Pauper videri Cinna vult, & est pauper.'
The meaning and diction will be worthy of each other, and criticism may justly doom them to perish together.
Nor even though another Butler should arise, would another Hudibras obtain the same regard. Burlesque consists in a disproportion between the style and the sentiments, or between the adventitious sentiments and the fundamental subject. It therefore, like all bodies compounded of heterogeneous parts, contains in it a principle of corruption. All disproportion is unnatural; and from what is unnatural we can derive only the pleasure which novelty produces. We admire it awhile as a strange thing; but, when it is no longer strange, we perceive its deformity. It is a kind of artifice, which by frequent repetition detects itself; and the reader, learning in time what he is to expect, lays down his book, as the spectator turns away from a second exhibition of those tricks, of which the only use is to shew that they can be played.