To prove the charge about Latin, Gazier, a doctor of the Sorbonne, exhibited a "Conversation latine, par Mathurin Codier, Jésuite." Unfortunately for the accuser, however, it was found out that Codier not only was not a Jesuit, but was one of the first Calvinists of France. Greek was taught in the lowest classes; and in the earliest days the Society had eminent Hellenists who attracted the attention of the learned world, such as: Gretser, Viger, Jouvancy, Rapin, Brumoy, Grou, Fronton du Duc, Pétau, Sirmond, Garnier and Labbe. The last mentioned was the author of eighty works and his "Tirocinium linguæ græcæ" went through thirteen or fourteen editions. At Louis-le-Grand there were verses and discourses in Greek at the closing of the academic year. Bernis says he used to dream in Greek. There were thirty-two editions of Gretser's "Rudimenta linguæ græcæ," and seventy-five of his "Institutiones." Huot, when very young, began a work on Origen, and Bossuet, when still at college, became an excellent Greek scholar. They were both Jesuit students.
"The Jesuits were also responsible for the collapse of scientific studies," says Compayré (193,197). The answer to this calumny is easily found in the "Monumenta pedagogica Societatis Jesu" (71-78), which insists that "First of all, teachers of mathematics should be chosen who are beyond the ordinary, and who are known for their erudition and authority." This whole passage in the "Monumenta," was written by the celebrated Clavius. Surely it would be difficult to get a man who knew more about mathematics than Clavius. It will be sufficient to quote the words of Lalande, one of the greatest astronomers of France, who, it may be noted incidentally, was a pupil of the Jesuits. In 1800 he wrote as follows: "Among the most absurd calumnies which the rage of Protestants and Jansenists exhale against the Jesuits, I found that of La Chalotais, who carried his ignorance and blindness to such a point as to say that the Jesuits had never produced any mathematicians. I happened to be just then writing my book on 'Astronomy,' and I had concluded my article on 'Jesuit Astronomers,' whose numbers astonished me. I took occasion to see La Chalotais, at Saintes, on July 20, 1773, and reproached him with his injustice, and he admitted it."
"As for history," says Compayré, "it was expressly enjoined by the 'Ratio' that its teaching should be superficial." And his assertion, because of his assumed authority, is generally accepted as true, especially as he adduces the very text of the injunction which says: "Historicus celerius excurrendus," namely "let historians be run through more rapidly." Unfortunately, however, the direction did not apply to the study of history at all, but to the study of Latin, and meant that authors like Livy, Tacitus, and Cæsar were to be gone through more expeditiously than the works of Cicero, for example, who was to be studied chiefly for his exquisite style. In brief, the charge has no other basis than a misreading, intentional or otherwise, of a school regulation.
The same kind of tactics are employed to prove that no philosophy was taught in those colleges, in spite of the fact that it was a common thing for princes and nobles and statesmen to come not only to listen to philosophical disputations in the colleges, in which they themselves had been trained, but to take part in them. That was one of Condé's pleasures; and the Intendant of Canada, the illustrious Talon, was fond of urging his syllogisms against the defenders in the philosophical tournaments of the little college of Quebec. Nor were those pupils merely made to commit to memory the farrago of nonsense which every foolish philosopher of every age and country had uttered, as is now the method followed in non-Catholic colleges. The Jesuit student is compelled not only to state but to prove his thesis, to refute objections against it, to retort on his opponents, to uncover sophisms and so on. In brief, philosophy for him is not a matter of memory but of intelligence. As for independence of thought, a glance at their history will show that perhaps no religious teachers have been so frequently cited before the Inquisition on that score, and none to whom so many theological and philosophical errors have been imputed by their enemies, but whose orthodoxy is their glory and consolation.
Their failure to produce anything in the way of painting or sculpture has also afforded infinite amusement to the critics, although it is like a charge against an Academy of Medicine for not having produced any eminent lawyers, or vice versa. It is true that Brother Seghers had something to do with his friend Rubens, and that a Spanish coadjutor was a sculptor of distinction, and that a third knew something about decorating churches, and that two were painters in ordinary for the Emperor of China, but whose masterpieces however have happily not been preserved. Hüber, an unfriendly author, writing about the Jesuits, names Courtois, known as Borgognone, by the Italians, who was a friend of Guido Reni; Dandini, Latri, Valeriani d'Aquila and Castiglione, none of whom, however, has ever been heard of by the average Jesuit. An eminent scholar once suggested that possibly the elaborate churches of the Compañía, which are found everywhere in the Spanish-American possessions, may have been the work of the lay-brothers of the Society. But a careful search in the menologies of the Spanish assistancy has failed to reveal that such was the case. That, however, may be a piece of good fortune, for otherwise the Society might have to bear the responsibility of those overwrought constructions, in addition to the burden which is on it already of having perpetrated what is known as the "Jesuit Style" of architecture. From the latter accusation, however, a distinguished curator of the great New York Metropolitan Museum of Art, Sir Caspar Purdon Clarke, in an address to an assembly of artists and architects, completely exonerated the Society. "The Jesuit Style," he said, "was in existence before their time, and," he was good enough to add, "being gentlemen, they did not debase it, but on the contrary elevated and ennobled it and made it worthy of artistic consideration."
So, too, the Order has not been conspicuous for its poets. One of them, however, Robert Southwell, was a martyr, and wore a crown that was prized far more by his brethren than the laurels of a bard. He was born at Norfolk on February 21, 1561, and entered the Society at Rome in 1578. Singularly enough, the first verses that bubbled up from his heart, at least of those that are known, were evoked by his grief at not being admitted to the novitiate. He was too young to be received, for he was only seventeen, and conditions in England did not allow it; but his merit as a poet may be inferred from an expression of Ben Jonson that he would have given many of his works to have written Southwell's "Burning Babe," and, according to the "Cambridge History of Literature" (IV, 129), "though Southwell may never have read Shakespeare, it is certain that Shakespeare read Southwell." Of course, his poems are not numerous, for though he may have meditated on the Muse while he was hiding in out of the way places during the persecutions, he was scarcely in a mood to do so when he was flung into a filthy dungeon, or when he was stretched on the rack thirteen different times as a prelude to being hanged, drawn and quartered at Tyburn.
Eleven years after that tragedy, Jacob Balde was born in the imperial free town of Ensisheim in Alsace. He studied the classics and rhetoric in the Jesuit college of that place, and philosophy and law at Ingolstadt, where he became a Jesuit on July 1, 1624. To amuse himself, when professor of rhetoric, he wrote his mock-heroic of the battle of the frogs and mice, "Batrachomyomachia." His mastery of classical Latin and the consummate ease with which he handled the ancient verse made him the wonder of the day. "His patriotic accents," says Herder, "made him a German poet for all time." The tragedies of the Thirty Years War urged him to strive to awaken the old national spirit in the hearts of the people. He was chiefly a lyrist, and was hailed as the German Horace, but he was at home in epic, drama, elegy, pastoral poetry and satire. Of course, he wrote in Latin, which was the language of the cultured classes, for German was then too crude and unwieldy to be employed as a vehicle for poetry. His works fill eight volumes.
No less a personage than Isaac Watts, the English hymnologist, makes Mathias Sarbiewski (Sarbievius), the Pole, another Horace, though his poetry was mostly Pindaric. Grotius puts him above Horace (Brucker, 505). He was a court preacher, a companion of the king in his travels, a musician and an artist. He wrote four books of lyrics, a volume of epodes, another of epigrams, and there is a posthumous work of his called "Silviludia." His muse was both religious and patriotic, and because of the former, he was called by the Pope to help in the revision of the hymns of the Breviary; and for that work he was crowned by King Wladislaw. His prose works run into eight volumes. There are twenty-two translations of his poems in Polish, and there are others in German, Italian, Flemish, Bohemian, English and French.
Gosse in his "Seventeenth Century Studies" says that Famian Strada who wrote "The Nightingale" was not professedly a poet but a lecturer on rhetoric. "The Nightingale" was first published in Rome in 1617 in a volume of "Prolusiones" on rhetoric and poetry, and occurs in the sixth lecture of the second course. "This Jesuit Rhetorician," Gosse informs us, "had been trying to familiarize his pupils with the style of the great Classic poets, by reciting to them passages in imitation of Ovid, Lucretius, Lucian and others. 'This,' he told them 'is an imitation of the style of Claudian,' and so he gives us the lines which have become so famous. That a single fragment in a schoolbook should so suddenly take root and blossom in European literature, when all else that its voluminous author wrote and said was promptly forgotten, is very curious but not unprecedented." In England, the first to adopt the poem was John Ford in his play of "The Lover's Melancholy" in 1629; Crashaw came next with his "Music's Duel," Ambrose Philips essayed it a century later; and in our own days, François Coppée introduced it with charming effect in his "Luthier de Crémone."
The French Jesuit Sautel was a contemporary of Strada and Balde. He was considered the Ovid of his time, and was as remarkable for the holiness of his life as for his unusual poetical ability.