Abel Boyer, a Huguenot who settled in London in 1689, devoted himself to language, history, and literature. As a linguist, he tutored Allen Bathurst and the Duke of Gloucester in French, prepared a textbook for English students of French, compiled a French and English dictionary, and endeavored to promote a better understanding between France and England by translating works of each nation into the language of the other. As a historian, he recorded the principal events of English national life from 1688 to 1729. As a literary figure, he wrote a play that was approved by Dryden and published two collections of characters.
Coming in on the great flood of character books which reached its crest in the seventeenth century, Boyer's collections were part of the final surge before the character was taken over by Steele and handed on to the novelists. The first was _Characters of the Virtues and Vices of the Age; or, Moral reflections, maxima, and thoughts upon men and manners. Translated from the most refined French wits ... and extracted from the most celebrated English writers.... Digested alphabetically under proper titles_ (1695). The second, resembling the first in design but considerably enlarged, was published in 1702 under the title _The English Theophrastus: Or The Manners of the Age. Being the Modern Characters Of The Court, the Town, and the City_. No author is given on the title page, but the work is usually ascribed to Boyer because his name appears beneath the dedication.
That Boyer's purpose in preparing _The English Theophrastus_ was moral is evident in the preface, where he describes the subject of his book as the "Grand-Lesson, _deliver'd by the_ Delphian _Oracle_, Know thy Self: _Which certainly is the most important of a Man's Life_." Distempers of the mind, he continues, like those of the body, are half cured when well known. Although philosophers of all ages have agreed in their aim to expose human imperfections in order to rectify them, their methods have differed. Those moralists who have inveighed magisterially against man's vices generally have been "_abandon'd to the ill-bred Teachers of Musty Morals in Schools, or to the sowr Pulpit-Orators_." Those who, by "_nipping Strokes of a Side-wind Satyr, have endeavour'd to tickle Men out of their Follies_," have been welcomed and caressed by the very people who were most abused. Since self-love waves the application, satire, unless bluntly direct, can fail as completely as reprehension.
Modern moralists, according to Boyer, have pursued a third course and cast their observations on men and manners into the entertaining form employed by Theophrastus, Lucian, Plutarch, and Diogenes Laertius. Among the moderns, La Rochefoucauld, Saint-Evremond, and La Bruyère are admired by all judicious readers. From these French writers Boyer has selected materials for the groundwork of his collection. He has added passages from Antoninus, Pascal, and Gratian; from the English authors Bacon, Cowley, L'Estrange, Raleigh, Temple, Dryden, Wycherley, Brown and others; and from his own pen. They range from a single line to a passage of several pages. Those of English origin are distinguished by "_an_ Asterism," his own remarks by inverted commas. Other matter is unmarked.
Although Boyer has used as his title _The English Theophrastus_, examination of the sections here reprinted will show that he has departed from the way of the Greek master. Instead of sharply defined portraits, Boyer offers maxims, reflections, and manners, after the French pattern. Gathered from a variety of sources, these observations are sometimes related to one another only by their common subject matter, but often they have been altered and rearranged by Boyer for sharper focus and unity. A few examples will make his method clear.
Of the paragraphs that begin on page eight of the first selection, the second and fourth are taken from _An Essay in Defence of the Female Sex_ (1696), perhaps the work of Mrs. Judith Drake. The first of these is the last half of a paragraph from Drake, but minus her concluding figure, "as Fleas are said to molest those most, who have the tenderest _Skins_, and the sweetest _Blood_" (p. 78). Into the first line of the second paragraph from Drake, "Of these the most voluminous Fool is the Fop Poet," Boyer inserts a reference to Will's. Thereafter, he follows Drake rather closely, but replaces the final portion of the paragraph with two or three sentences from other parts of her essay. The Drake material ends at the paragraph break on page nine. Between these two paragraphs Boyer places the single statement, "There's somewhat that borders upon _Madness_ in every exalted _Wit_," which may be his own version of Dryden's line, "Great Wits are sure to Madness near allied" (_Absalom and Achitophel_, l. 248). By means of these alterations in his sources, Boyer has compiled a passage that has focus and direction, and gives little evidence of its patchwork origin.
In other instances Boyer adheres more closely to the original form of the material he borrows. The long passage from the middle of page twenty to the middle of twenty-five is taken from "Des Ouvrages de L'Esprit" of La Bruyère's _Les Caractères_. Though retaining the sequence of these observations, he has deleted certain paragraphs. In most cases he has translated the French faithfully, but here and there he has paraphrased a passage or added a brief remark of his own. There was little he could do, of course, with La Rochefoucauld, from whose _Maximes_ all of page 282 and about half of 283 of the second selection are taken. Boyer was content to translate almost literally these remarks upon wit and judgment which he collected from widely scattered sections of the _Maximes_.
Boyer's own contribution to his collection was slight, covering, all told, little more than fifteen of the 383 pages. Distinguished neither by originality of conception nor individuality of style, it is, nevertheless, marked by good sense. A moderate man in his pronouncements, Boyer was less clever than reasonable.
Boyer's remarks on wit are in keeping with his character. Like many of his contemporaries, he has something to say on the subject, but uses the term rather loosely. He would seem, though, to identify wit with genius, which gives evidence of itself in literary utterance. But judgment is a necessary concomitant of good wit. Conversely, the would-be wit lacks genius, expression, and judgment, and therefore turns critic, that he may denounce in others what is not to be found in himself. Hence the word critic has come to mean a fault finder rather than a man of sound judgment.
The following selections are reproduced, with permission, from a copy of _The English Theophrastus_ in the library of the University of Michigan.
W. Earl Britton
University of Michigan