THE EARLY PUBLICATIONS OF GROTIUS.
There is not, perhaps, an instance of a person's acquiring at an age
equally early, the reputation, which attended the first publication of
Grotius. It was an edition, with notes, of the work of "_Martianus
Mineus Felix Capella_, on the Marriage of Mercury and Philology, in two
books; and of the same writer's Seven Treatises on the Liberal Arts."
They had been often printed; but all the editions were faulty: a
manuscript of them having been put into the hands of Grotius by his
father, he communicated it to Scaliger, and by his advice undertook a
new edition of them.
The time, in which Capella lived, and the place of his birth, are
uncertain; the better opinion seems to be, that he flourished towards
the third century, resided at Rome, and attained the consular dignity.
His works are written in prose, intermixed with poetry. His diction has
some resemblance to that of Tertullian, but is much more crabbed and
obscure: none, but the ablest Latin scholars, can understand him. The
Marriage of Mercury and Philology,--or of Speech with Learning, is not
uninteresting. His other treatises contain nothing remarkable: that upon
music, is hardly intelligible; it is printed separately in the
collection of _Meibomius_. With all his harshness and obscurity, Capella
seems to have been much studied in the middle ages,--some proof that
there was more learning in them, than is generally supposed,--he is so
often quoted by the writers of those times, that some persons have
supposed that his work was then a text book in the schools.
[Sidenote: The early publications of Grotius.]
[Sidenote: CHAP. III. 1597-1610.]
When Grotius undertook his edition of Capella, he was only twelve years
of age: he published it in his fourteenth year, and dedicated it to the
Prince of Condé. The learning and critical discernment displayed by him
in this publication excited astonishment, and obtained for him the
applause of all the literary world. Grotius himself gives the following
account of his work: "We have collated Capella with the several authors,
who have investigated the same subjects. In the two first books, we have
consulted those whose writings contain the sentiments of the antient
philosophers, as Apuleius, Albericus and others, too tedious to name; on
grammar, we have compared, Capella with the antient grammarians; in what
he has said on rhetoric, with Cicero and Aquila; on logic, with
Porphyry, Aristotle, Cassiodorus and Apuleius; on geography, with
Strabo, Mela, Solinus, and Ptolemy, but chiefly Pliny; on arithmetic,
with Euclid; on astronomy, with Hyginus, and others, who have treated on
that subject; on music, with Cleonides, Vitruvius and Boethius." In
Grotius's Annotations all these writers are mentioned in a manner, which
shews that he was thoroughly conversant with their works. Grotius's
edition is become, from its extreme scarcity, a typographical curiosity:
all the other editions are scarce. The writer of these pages found, with
great difficulty, a copy of it in the London market.[006] That of
Bonhomme, published at Lyons in 1539, he procured by loan. The
celebrated Leibniz began to prepare an edition of Capella _in usum
Delphini_; but his collections being purloined from him, he desisted
from his project: it must be owned that the general learning of Leibniz
qualified him admirably for such a task.[009]
[Sidenote: The early Publications of Grotius.]
While yet in his fourteenth year, Grotius published a translation of a
work, published by Simon Steven in 1586, upon Navigation, and shewed by
it a profound knowledge of mathematics:[010] he dedicated it to the
republic of Venice.
[Sidenote: CHAP. III. 1597-1610.]
In the following year, Grotius published _the Phenomena of Aratus_, a
poetical treatise of that author upon astronomy, with Cicero's
translation of it, so far as it has reached us. Grotius supplied the
vacancies. It is universally admitted that the parts supplied by him,
are not inferior to those of Cicero. The abbé d'Olivet, the editor of
Cicero's works, and an enthusiastic admirer of his style, declares that
"the Muse of Cicero[011] did not throw the Muse of Grotius into the
shade:" he therefore inserted the supplementary verses of Grotius in his
edition. Grotius dedicated his work to the States of Holland and West
Friseland; and promised them in his dedication something more
considerable. He was complimented upon it by several of the greatest men
of the age.
The following simile, taken from Cicero's translation of Aratus, and
Voltaire's version of it, are greatly admired:
Sic Jovis altisoni subito pennata satelles,
Arboris è trunco, serpentis saucia morsu;
Ipsa feris subigit transfigens unguibus anguem
Semianimum, et variâ graviter cervice micantem;
Quem se intorquentem laniens rostroque craentans,
Abjicit efflantem, et laceratum effundit in undas,
Seque obitu a solis nitidos convertit ad ortus.
CICERO.
Tel on voit cet oiseau, qui porte le tonnere,
Blessé par un serpent élancé de la terre;
Il s'envole, il entraine au sejour azuré
L'ennemi tortueux dont il est entouré.
Le sang tombe des airs: il dechire, il devore
Le reptile acharné, qui le combat encore;
Il le perçe, il le tient sous ses ongles vainqeurs,
Par cent coups rédoublés il venge ses douleurs;
Le Monstre en expirant, se debat, se replie;
Il exhale en poison le reste de sa vie;
Et l'aigle tout sanglant, fier et victorieux,
Le rejette en fureur, et plane au haut des cieux.
VOLTAIRE.
[Sidenote: The early Publications of Grotius.]
About the year 1608, Grotius published his celebrated work _Mare
Liberum_, to assert in it against the English, the general freedom of
the sea. The controversy arose upon the claim of Great Britain to enjoy
the dominion of the British seas, in the most extensive sense of those
words, both as to the right of navigating them, and the right of fishing
within them. Against this claim, Grotius attempted to shew that the sea
was, from its nature, insusceptible of exclusive right; and that, if it
were susceptible of it, England did not prove her title to it. Selden,
in opposition to Grotius, asserted the British claim, by his treatise
_Mare Clausam_,--a noble exertion of a vigorous mind, fraught with
profound and extensive erudition. It is pleasing to add, that he treats
Grotius with the respect due to his learning and character. Selden's
treatise was thought of so much importance to his cause, that a copy of
it was directed to be deposited in the British Admiralty. Grotius was
highly pleased with the respect, which was shewn to him by Selden.
On Selden's _Mare Clausum_ he composed the following epigram:--
Ipsum compedibus qui vinxerat Ennegisæum,
Est Grecâ Xerxes multus in historia:
Lucullum Latii Xerxem dixere togatum;
Seldenus Xerxes ecce Britannus erit.
[Sidenote: CHAP. III. 1597-1610]
The States General were gratified by his work; but at that time it was
so much their interest to preserve the strictest amity with England,
that they discountenanced any further advocation of their claim.[012]
The year after his publication of his "Treatise on the Freedom of the
Sea," Grotius printed his work on the "_Antiquity of the Batavian
Republic_." He gives in it an account of the antient _Batavians;_ he
professes to shew that they were the allies, not the subjects of the
Romans; that, after a period of anarchy, during which little is known of
their history, they became subjects of the Counts of Holland; that these
were not vassals of the empire, but independent princes; and, strictly
speaking, elected by the people, although, in the election of them,
great regard was always shewn to the hereditary line: that they were
bound to conform to the laws of the state; and always required, before
their election, to swear to the observance of the constitution; that the
taxes were always imposed by the States, and that Philip the Second had
occasioned the grand war, by repeated infractions of the public and
private right of the people of the United Provinces.
[Sidenote: The early Publications of Grotius.]
The States of Holland were highly pleased with this work; they voted
thanks to its author, and accompanied them with a present. It is
considered that his partiality to his country led him to advance some
positions favourable to its antient independence, which his proofs did
not justify.
For the use of _Du Maurier_, the French ambassador to the States
General, Grotius published, about this time, his "Directions for a
Course of general Study," _De omni genere studiorum recte instituendo_.
It was favourably received, both by the diplomatist for whose use it was
composed, and the public at large; but, on account of the great
extension of literature, since the time of Grotius, it is now little
read. Mentioning the Roman history, he shews that a knowledge of it is
better acquired by reading its Greek than by reading its Latin
historians; because foreigners give more attention to the public manners
and customs of a country than natives.
[Sidenote: CHAP. III. 1597-1610.]
All the works, which we have mentioned, were most favourably received in
every part of the United Provinces. It was now become evident that the
exertions for their independence were on the eve of being crowned with
complete success. All the European Powers had deserted Spain, so that
she was left to her own single and unaided strength, to maintain the
contest against the insurgent provinces. The glory, which they acquired
by their successful resistance to her, determined them to make choice of
an historian, who should transmit to future ages the signal exploits of
their memorable struggle. With this view, they appointed Grotius their
historiographer.
[Sidenote: The Poems of Grotius.]
It remains to mention the "_Poems of Grotius:_" throughout his life, he
sacrificed to the Muses. The _Prosopopoeia,_ in which he introduces the
City of Ostend addressing the world, when, in the third year of her
siege, the Marquis Spinola led the troops of Spain against her, was
greatly, admired. All the adjacent territory had been taken by the
Spaniards, so that nothing remained of it to the confederates, but the
precinct within the walls of the city; and even much of this had been
wrested from the besieged. All Europe had its eye fixed on the
operations of Spinola. It is therefore, with great propriety of
language, that Grotius makes Ostend thus address herself to the world,
in the following lines:--
"Area parva ducum, totus quam respicit orbis;
Celsior una malis, et quam damnare ruinae
Nunc quoque fata timent,--alieno in litore resto.
Tertius annus abit; toties mutavimus hostem:
Sævit hyems pelago, morbisque furentibus æstas;
Et minimum est quod fecit Iber,--crudelior armis
In nos orta lues,--nullum est sine funere funus.
Nec perimit mors una semel:--Fortuna quid haeres?
Quâ mercede tenes mixtos in sanguine manes?
Quis tumulos moriens hos occupet hoste perempto?
Queritur,--et sterili tantum de pulvere pugna est."
"A small area of chiefs, whom the whole world contemplates;
alone loftier than my woes; I, whom the
Fates even yet, fear to condemn to ruin;--remain on a
foreign shore.
"The third year now passes away; thrice has my foe
been changed:
"The winter rages on the sea; the summer, by its furious
heats.
"The Spaniard has been my least enemy;--more cruel
than arms, a pestilence has risen among us; no funeral is
without another; the dying never perish by a single death.
"Fortune! why do'st thou hesitate? By what reward
do'st thou detain the manes mingled in blood?
"Who, dying, will, after the destruction of the enemy,
occupy these tombs?--This is enquired.--
The contest is only for sterile dust."
With the following poetical translation of these verses, the writer has
been favoured by Mr. Sotheby, the elegant translator of "Oberon."
Scant battle-field of Chiefs, thro' earth renown'd,
Opprest, I loftier tow'r;--and, now, while Fate
Dreads to destroy, in foreign soil I stand.
Thrice chang'd the year, thrice have we chang'd the Foe.
Fierce Winter chafes the Deep, the Summer burns
With fell disease: less fell th' Iberian sword.
Dire Pestilence spreads;--on funerals funerals swell:
Nor does one death at once extirpate all.
Why, Fortune! linger? why our souls detain
With blood immingled? Who, the Foe extinct,
Who, dying, shall these sepulchres possess,
And in this sterile dust the conflict close?
W.S.
March 28,1826.
[Sidenote: CHAP. III. 1597-1610.]
These verses produced a great sensation in the literary world: they were
ascribed by many to Scaliger, as the best Latin poet of the age; the
only person considered to be capable of writing them. The celebrated
Peyresck hinted this to that learned man: Scaliger answered, that "he
was too old not to be the aversion of the virgins of Helicon," and
announced that the verses were written by Grotius. They were translated
into French by Du Vair, afterwards the keeper of the seals; by Rapin,
grand-provost of the Constabulary of France; by Stephen Pasquier, and by
Malherbes: Casaubon translated them into Greek.[013]
[Sidenote: The Poems of Grotius.]
Three Generals had successively been entrusted with the siege of Ostend;
nine commanders had successively been entrusted with its defence: the
siege had cost the besiegers and besieged 100,000 lives: all the
historians of the times agree, that few important consequences were
derived to either side by the success of the Spaniards. The Archduke and
Infanta, had the curiosity to view the city, after it was taken. They
found in it nothing but heaps of ruins: little that shewed the former
state of the town; its ditches were filled, its fortifications
overthrown, its buildings, and the works of attack and defence, were
levelled with the ground. Spinola led them to the spots in which the
most remarkable events had taken place; and, finally to that, in which
the forces of the besieged had made their last stand; had, for want of
space, found themselves unable to raise military works, and had, on that
account, found themselves forced to surrender. The Archduke and the
Infanta were moved to tears at the melancholy sight; and declared that
such a victory was not worth its cost.
[Sidenote: CHAP. III. 1597-1610.]
The success of the siege of Ostend covered Spinola with glory: his reply
to a person, who asked him,--who, in his opinion was the greatest
general of the age,--is generally known: "Prince Maurice," he said, "is
the second."[014]
The principal poetical performances of Grotius in the collection we have
mentioned, are--_three tragedies_, "Adam in Banishment," "Christ
Suffering," and "Sophomphaneos," which signifies in the language of
Egypt, "the Saviour of the world:" it exhibits the story of Joseph.
Sandys translated it into English verse, and dedicated his translation
to Charles I. From the second of these tragedies, Lauder transcribed
many of the verses, upon which he founded the charge of plagiarism
against Milton.
An eminent rank among modern Latin poets, has always been assigned to
Grotius: his diction is always classical, his sentiments just. But those
who are accustomed to the _wood notes_ of the Bard of Avon, will not
admire the scenic compositions, however elegant or mellifluous, of the
Batavian Bard.