The palace here alluded to is fully described in a volume of “Travels through Sicily and Malta,” by P. Brydone, F.R.S., in 1770. He describes it as belonging to “the Prince of Palermo, a man of immense fortune, who has devoted his whole life to the study of monsters and chimeras, greater and more ridiculous than ever entered into the imagination of the wildest writers of romance and knight-errantry.” He tells us this palace was surrounded by an army of statues, “not one made to represent any object in nature. He has put the heads of men to the bodies of every sort of animal, and the heads of every other animal to the bodies of men. Sometimes he makes a compound of five or six animals that have no sort of resemblance in nature. He puts the head of a lion on the neck of a goose, the body of a lizard, the legs of a goat, the tail of a fox; on the back of this monster he puts another, if possible still more hideous, with five or six heads, and a bush of horns. There is no kind of horn in the world he has not collected, and his pleasure is to see them all flourishing upon the same head.” The interior of the house was decorated in the same monstrous style, and the description, unique of its kind, occupies several pages of Mr. Brydone’s book.—Ed.
This letter was written in 1726, and first found by Dr. Knight in 1750, in fitting up a house where Concanen had probably lodged. It was suppressed, till Akenside, in 1766, printed it in a sixpenny pamphlet, entitled “An Ode to Mr. Edwards.” He preserved the curiosity, with “all its peculiarities of grammar, spelling, and punctuation.” The insulted poet took a deep revenge for the contemptuous treatment he had received from the modern Stagirite. The “peculiarities” betray most evident marks of the self-taught lawyer; the orthography and the double letters were minted in the office. [Thus he speaks of Addison as this “exact Mr. of propriety,” and of his own studies of the English poets “to trace them to their sources; and observe what oar, as well as what slime and gravel they brought down with them.”] When I looked for the letter in Akenside’s Works, I discovered that it had been silently dropped. Some interest, doubtless, had been made to suppress it, for Warburton was humbled when reminded of it. Malone, fortunately, has preserved it in his Shakspeare, where it may be found, in a place not likely to be looked into for it, at the close of Julius Cæsar: this literary curiosity had otherwise been lost for posterity; its whole history is a series of wonderful escapes.
By this document we became acquainted with the astonishing fact, that Warburton, early in life, was himself one of those very dunces whom he has so unmercifully registered in their Doomsday-book; one who admired the genius of his brothers, and spoke of Pope with the utmost contempt! [Thus he says, “Dryden, I observe, borrows for want of leisure, and Pope for want of genius!”]
Lee introduces Alexander the Great, saying,
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“When Glory, like the dazzling eagle, stood Perch’d on my beaver in the Granic flood, When Fortune’s self my standard trembling bore, And the pale Fates stood frighted on the shore; When the Immortals on the billows rode, And I myself appear’d the leading god!” |
In the province of taste Warburton was always at sea without chart or compass, and was as unlucky in his panegyric on Milton as on Lee. He calls the “Paradise Regained” “a charming poem, nothing inferior in the poetry and the sentiments to the Paradise Lost.” Such extravagance could only have proceeded from a critic too little sensible to the essential requisites of poetry itself.
Such opposite studies shot themselves into the most fantastical forms in his rocket-writings, whether they streamed in “The Divine Legation,” or sparkled in “The Origin of Romances,” or played about in giving double senses to Virgil, Pope, and Shakspeare. Churchill, with a good deal of ill-nature and some truth, describes them:—