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will, in the mean time, both excuse you and put off the day of public appearance till then." Moved by these arguments, Finachty promised to remain and appear on the following day; on this assurance, says Walsh, "I took leave with him for that night, not doubting the sincerity of his promise, and left him there in my own chamber, and bed, leaving also, one to attend and serve him if he had wanted anything, and went myself to lye in the private oratory that was in the same house over his head. But I was scarce out of my bed, when unexpectedly, even by the break of day, I saw him even also as accoutred for a march, come up into that room where I lay, and telling me in plain terms, I must excuse him, in that finding himself not well, he must and would be gone out of town presently, and take his journey to Connacht; praying me withal to excuse him to the lord lieutenant, and assure his grace that so soon as he recovered his health and strength, he would not fail to come (if I called him) and perform what was either expected from him or himself had offered." All further expostulation to divert him from his purpose was ineffectual, nor could he be induced even to write a letter to the lord lieutenant, specifying the reasons for his sudden withdrawal. Walsh, however, begged him not to hold any "fields" during his progress to Lochrea, "and then remembering how he had (though indirectly) but the last night insinuated some want, I gave him," says Walsh, "what money I had in my pocket, i. e. about fourteen shillings; which having taken, he departed from me; yet he had the confidence, within two hours after, even that very morning before he left the town, to send me a little printed English book (in twelves or sixteens) of his own miracles done in London."

After his retreat from Dublin, Finachty fell into obscurity, having been forbidden to practice his exorcisms by the archbishop of Tuam, whose censure he had incurred for having nearly driven mad some weak-minded people at Portumna, and for publicly declaring that "all the women in Ireland were specially possessed of the Devil.”

Finachty had not long retired, when a new wonder worker appeared in the person of Valentine Greatracks or Greatrix, a respectable Protestant gentleman of Affane, clerk of the peace, and a magistrate of the county of Cork. His mode of operating appears to have been similar to that of Finachty, as described at page 618, whence he acquired the name of "the

Stroaker."

His treatment of Thoresby's brother, for violent pains in the head and back, is described as follows: "Mr. Greatracks, coming by accident to the house, gave present ease to his head, by only stroking it with his hands. He then fell to rub his back, which he most complained of; but the pain immediately fled from his hand to his right thigh; then he pursued it with his hand to his knee; from thence to his leg, aucle, and foot, and, at last, to his great toe. As it fell lower, it grew more violent, and when in his toe it made him roar out, but upon rubbing there it vanished." Vast crowds of diseased persons flocked after Greatracks, and he was brought to England expressly to cure viscountess Conway; although unsuccessful in that and many other cases, Boyle, Cudworth, and Wilkins bore testimony to the efficacy of his treatment in several instances; and the philosophers of the time defined his healing faculty "as a sanative contagion in the body, which had an antipathy to some particular diseases and not to others." Of the termination of his career nothing appears to be known, except that he was satirized by St. Evremond; and a writer of the day tells us that," not long after his practices on folks in London, he went out like the snuff of a candle, just as Finachty did."

On the attainder of sir William Kennedy, in 1703, twelve houses, which he held in fee, in Kennedy's-lane, were confisIcated to the crown. One of those is described as "a large brick house, in good repair, has cellars under the whole house, is two storeys and a half high, and has a back-side, being the queen's bench office, with a waste plot of ground joining thereto, breadth in front sixty-four feet, rere forty-six feet, depth thirty-eight feet." Dr. Richard Hemsworth, president of the Irish college of physicians, in 1735, was one of the residents of this locality in the last century; and the king's bench office, although removed for a time to School-house-lane, was re-transferred, in 1745, to Kennedy's-lane, where, together with the office of the court of exchequer and that of the chief remembrancer, it continued to be held till the year 1785.

ART. III.-FASHION IN POETRY AND THE POETS OF FASHION.

1. The Works of the Right Honourable Sir Charles Hanbury Williams, K.B., Ambassador to the Courts of Russia, Saxony, &c. From the Originals in the possession of his Grandson, the Right Hon. the Earl of Essex: With Notes by Horace Walpole, Earl of Orford. 3 vols. 8vo. London: Edward Jeffrey and Son. 1822.

2. Lyra Urbanica, or The Social Effusions of the celebrated Captain Charles Morris, of the late Life-Guards. 2 vols. 8vo. London: Richard Bentley. 1840.

3. Poems. By the late Hon. William R. Spencer. 1 vol. post 8vo. London: James Cochrane and Co. 1835. 4. The Life and Correspondence of M. G. Lewis, author of "The Monk," "Castle Spectre," &c., with many Pieces in Prose and Verse never before published. 2 vols. 8vo. London: Henry Colburn. 1839.

5. Letters to Julia, in Rhyme; to which are added Lines written at Ampthill Park. By Henry Luttrell. Third Edition. 1 vol. post Svo. London: John Murray.

1822.

6. Comic Miscellanies in Prose and Verse. By the late James Smith, Esq., one of the Authors of "The Rejected Addresses;" with a Selection from his Correspondence, and Memoir of his Life. Edited by his brother, Horace Smith, Esq. Second Edition. 2 vols 8vo. London: Henry Colburn. 1841.

7. The Life and Remains of Theodore Edward Hook. By the Rev. R. H. Dalton Barham, B.A., author of "The Life of Thomas Ingoldsby." 2 vols. 8vo. London: Richard Bentley. 1849.

8. Songs, Ballads, and other Poems. By the late Thomas Haynes Bayly. Edited by his widow, with a Memoir of the Author. 2 vols. 8vo. London: Richard Bentley. 1844.

LITERATURE, like all other employments to which men devote their talents, has had its fashions, its phases, and its varieties. Poetry, however, seems to have been peculiarly selected as the

chiefest branch of literature upon which the learned and the clever have exercised their genius, and in torturing metres they have never ceased to rack their powers of invention, excelling, in all their fullest perfections of exuberant efflorescence, the wonderfully empty nothings exemplified by that prince of puppies, Sir Pircie Shafton, in his elaborated Euphuisms.

We love the study of literary history-its eccentricities and its fanciful fopperies, and there is no stranger page in all the records of mental glories and mental weakness than that exemplified by the follies of literary fashions. These fashions have prevailed in all ages and in all countries. The Greeks, so subtile in genius and perfect in taste; the Romans, so wide and all-embracing in the grand scope of their literature, and in another epoch the French, so bizarre in intellect-learning and folly commingled-all have had their literary fashions and ingenuities of metres. The wittiest and the wisest, the most holy and the most grave, the learned and the thoughtful, the man of study and the man of pleasure, have each contributed to the literary fashions of their time, and genius has frequently forsaken its sterner duties to try its powers among the lighter sports of Parnassus. The favorite poetical ingenuities have been, in all times, those called acrostics, centos, figure verses, retrograde verses, alliterative verses, lipogrammatic verses, and chronograms; these forms of metres were known to the Greeks and Romans, but, as we shall hereafter find, were cultivated most assiduously in France, where also other styles of rhyme twisting and mental gymnastics were invented. To France, indeed, nearly all the fanciful forms of verse are due, whether the debt be considered creditable or otherwise; whilst from that country, too, have sprung the whole race of Poets of Fashion.

The acrostic is a very ancient form of verse, and when properly used, can only be composed by the initial letters of each line forming, when read in order, some particular word. It has, however, been varied in many instances, and now we may consider any formation of letters in a poem, by which the name or word required can be produced, an acrostic. Thus, in the Bible, each verse of the thirty-third, and hundred and eighteenth psalms is commenced by one of the letters of the Hebrew alphabet; and in the Greek Anthology there are, in the thirtyeighth chapter of the first book, two epigrams, one in praise of Bacchus, the other in praise of Apollo, composed of twentyfive verses the first containing the design of the poem, the

remaining twenty-four verses, composed each of four words, commencing with a particular letter of the Greek alphabeteach initial word of the first verse commencing with A, the second with B, and so continuing to Z. Priscien, the grammarian, also wrote acrostics; but to Reban-Maur, abbot of Fulda, and afterwards bishop of Mayence, belongs the merit of a very remarkable and ingenious acrostic. About the year 1501 he published a Latin treatise, or panegyric, on The Cross. The book consists of acrostic tatragons of thirty-five lines, each line containing thirty-five letters, and forming the figure of The Cross.

We now insert one of these acrostics, showing the sacred symbol and its frame :

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sacle

crux quae summi es noto

crux quæ XPI es car

benedicta triumph✪

dedicata

tropaeQ

crux quæ cogis ruptō plebem ire ab Averno

Acrostic poems were in vogue at Paris during the first half of the seventeenth century; and as that was the age of patrons and of dedications, this species of verse was much employed by the author in flattering the vanity of his friend. The most amusing and most ingenious we have seen, is that prefixed to a book published in Paris in the year 1633, bearing the title-Oriselle, ou Les Extrêmes mouvements d'amour,

dux misero lato que

redemptio mundo

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