Each marked perfection of the sacred few,
Pope, Dryden, Spenser, all that Fame shall raise,
From Chaucer's gloom, till Merry's lucid days.
Her Della Cruscan poems were published under the signature of “Laura,” and she was followed by Cesario, Carlos, Adelaide, Orlando, Arno, and fifty more whose identity can no longer be determined.
A year after his first appearance in the World, Della Crusca printed his poems in a volume, and Anna Matilda speedily followed suit. But this was not enough for the reading public. They further greedily absorbed a collection of Della Cruscan verse, published as The Poetry of the “World,” by Major Topham, the creator and editor of that paper, who, in a dedication to Sheridan, observes: “Of their merit, I am free to say I know no modern poems their superior. I am more happy that your opinion has confirmed mine.” It will be well to make allowance for changing literary fashions before we make too sure that Sheridan is here misrepresented. The Poetry of the “World” afterwards ran through at least four editions as The British Album. As we read the publisher's advertisement of this work, which still abounds on second-hand bookstalls—immorimur studiis lapsoque renascimur ævo—we seem to be walking in the Bond Street of the Prince Regent. “Two beautiful volumes this day published, embellished with genuine portraits of the real Della Crusca and Anna Matilda, engraved in a very superior manner from faithful pictures, under the title of The British Album, being a new edition, revised and corrected by their respective authors, of the celebrated poems of Della Crusca, Anna Matilda, Arley, Laura, Benedict, and the elegant Cesario, “the African Boy;” and others, signed The Bard, by Mr. Jerningham; General Conway's elegy on Miss C. Campbell; Marquis of Townshend's verses on Miss Gardiner; Lord Derby's lines on Miss Farren's portrait.” It is unfortunate that the only pseudonym in the list which it is of much interest to decipher, should still remain a mystery. It is to “Arley” that we owe the admittedly excellent ballad of “Wapping old Stairs,” which first appeared in the World for November 29th, 1787, and shines, a solitary pearl, in the pages of the British Album.
The Della Cruscan mania was at its height—“bedridden old women and girls at their samplers began to rave,”—when Gifford, in search of a quarry for a seasonable satire, came before the town with the Baviad. Of this poem I shall say but little, as it is better known than the writings which it satirised. It contains passages of a certain coarse and rank vigor not difficult of attainment by a student of Dryden and Juvenal. There is, in fact, a sort of Billingsgate raciness about the Baviad; and the notes, which are better written than the poem, contain much amusing matter. The imputation made against the Della Cruscan love-poetry of licentious warmth is, however, wholly absurd—as absurd as the charge made by Mathias, the author of The Pursuits of Literature, that Merry—
Proves a designer works without design,
And fathoms Nature with a Gallic line;
a notion which arose merely from the fact that he identified himself with the anarchists of France, and wrote odes for the Revolution Society, thereby acquiring the name, as Madame d'Arblay tells us, of “Liberty Merry,” and no doubt also the reputation for free-thinking then associated with everything French. As for detecting any breach of decorum in the mannered and falsetto gallantries of insincere Reubens addressing imaginary Annas, the idea was only possible to a satirist who started with the determination to fling all the mud he could find; and, it must be added, when he flung it at irreproachable characters such as Mrs. Piozzi, he did but excite a certain revulsion of sympathy for the victims. Nor was this Gifford's only misrepresentation. He asserted, in order to bring in an apt quotation from Martial, that the interview which finally took place between Merry and Mrs. Cowley, produced mutual disgust. This is not the testimony of Della Crusca himself in the poem of The Interview.
My song subsides, yet ere I close