CROLY, George (1785-1860), a distinguished literary divine of the Church of England, was born in Dublin about 1785, and received his education at Trinity College there. Croly, although a staunch unbending Tory, owed to Lord Brougham his promotion to the living of St Stephen’s, Walbrook, London. The appointment conferred honour on Brougham, as the presentee was a keen partisan, and had zealously served his political friends with his pen. He was neglected by the Tories very much as Sydney Smith was by the Whigs. Croly was a great pulpit orator, and continued, not unworthily, the illustrious school of Irish eloquence, which boasts such names as Burke, Sheridan, and Grattan. He was also a ripe classical scholar, and in early life showed no common aptitude for music. He died on November 24, 1860. Croly was a man of restless energy, and won laurels in many fields. It is as a literary man, however, that he claims attention. And here the first thing that strikes us is his extraordinary versatility. Poems, biographies, dramas, sermons, novels, satires, magazine articles, newspaper leaders, and theological works were dashed off by his facile pen; and, according to Hogg, the Ettrick shepherd, he was great in conversation. While a young man, Croly wrote dramatic criticism for a short-lived paper called the New Times. His genuine satiric vein was seen in one of his earliest works, The Times, and in one of his latest, the Modern Orlando, which appeared in 1854. His poems were first issued in a collected form by Henry Colburn and Richard Bentley, in 1830. The principal are— Paris in 1815, which embodies a description of the works of art then to be found in the Louvre; The Angel of the World, an Arabian tale; a collection of short poems, with corresponding engravings, entitled Gems ...from the Antique; Catiline, a tragedy; and Sebastian, a Spanish tale. Pride shall have a Fall, a comedy, is not included in this edition. His poetry, although of a high order, suffered from being contemporaneous with that singularly rich outburst of song in virtue of which the early years of the present century almost rival the Elizabethan era. The pieces, too, are remarkable rather for fine passages than for sustaining the interest of the reader throughout. Paris in 1815, however, achieved a temporary popularity; some of his lyrics inspire enthusiasm; and he is particularly successful in his conception of Catiline’s character. Croly’s prose writings cover a wide field. He was one of the earliest contributors to Blackwood’s Magazine; he edited the Universal Review, and wrote a number of leaders for the Britannia, a Conservative organ, which supported the system of protection. To theology he contributed, in 1827, The Apocalypse of St John, a new Interpretation'; and volumes of sermons were issued by him from time to time. He is the author, too, of a number of sketches, a Life of Edmund Burke, a character of Curran, a history of King George IV., and an able review of Napoleon’s career. Croly, however, was most successful as a novelist. His chief fictions are— Tales of the Great St Bernard; Marston, or the Soldier and Statesman; and his masterpiece, Salathiel, The Immortal. Salathiel is the character better known as the Wandering Jew. This legend has been treated poetically by various writers, including A. W. von Schlegel, Schubert, Goethe, and Mrs Norton, and is the subject of Eugène Sue’s famous work, Le Juif errant. Croly’s book gives us vivid pictures of scenery in the East, and is full of striking imagery and noble bursts of eloquence. Indeed the language, as well as the scenery, is Asiatic in character; and its Oriental luxuriance sometimes passes into extravagance. Croly’s works, as a whole, exhibit strong sense, a fertile imagination, and a genuine, if somewhat too showy, eloquence. He is a signal instance of great professional success, joined to high distinction in other fields.
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