rebels. Croxall was a contributor to Garth's handsome folio edition of Ovid's ‘Metamorphoses,’ translated into English ‘by the most eminent hands.’ In 1720 there appeared a work which has added an unpleasing notoriety to his name. This was ‘The Fair Circassian,’ a poetical adaptation of the Song of Solomon, which too closely copies the oriental warmth of the original. The authorship is not indicated on the first or subsequent title-pages. The book is dedicated to ‘Mrs. Anna Maria Mordaunt,’ by R. D. (the initials were afterwards dropped), in terms of extravagant or even burlesque adoration. There are slight textual differences between the first and subsequent editions. Part of the fourth canto (somewhat varied) was published in Steele's ‘Miscellanies’ (1714, 12mo, pp. 239–43), without the author's name. In the preface, dated ‘Oxon., 25 March 1720,’ a supposed tutor states that the writer died in the course of the previous winter. The ‘Fair Circassian’ was strongly reprehended by James Craig in his ‘Spiritual Life: Poems’ (1751), but this did not prevent it running through many editions. Croxall edited for J. Watts between 1720 and 1722 a ‘Select Collection of Novels,’ in six duodecimo volumes, consisting of interesting short stories, translated for the most part from Italian, French, and Spanish. Each volume is dedicated to a different lady, the sixth to ‘Miss Elizabeth Lucy Mordaunt,’ probably a sister of the lady mentioned above. Croxall speaks of having been entertained at the house of her father (a man of good family) during a whole year. The novels were reprinted in 1729; a selection was also issued. In 1722 appeared the well-known ‘Fables of Æsop and others.’ The quaint woodcuts of the first edition have been familiar to many generations of the young. The remarkable popularity of these fables, of which editions are still published, is to be accounted for by their admirable style. They are excellent examples of naïve, clear, and forcible English. They were written especially for children and schools, but in their original form some at least may shock modern ideas of decency.
Croxall was made D.D. in 1728 (Graduati Cantab. 1823, p. 125), and preached before the House of Commons 30 Jan. 1729, the anniversary of the execution of Charles I. The sermon was printed, and with others on the same occasion was criticised by Orator John Henley in ‘Light in a Candlestick’ (1730, 8vo). Croxall obtained the friendship of the Hon. Henry Egerton, bishop of Hereford, and preached at his consecration in 1724. He was collated to the prebend of Hinton attached to Hereford Cathedral 7 Aug. 1727, and to the prebend of Moreton Magna 1 May 1730, was made treasurer of the diocese 27 July 1731, archdeacon of Salop 1 July 1732, and chancellor of Hereford 22 April 1738 (Le Neve, i. 484, 491, 494, 508, 516). He was also canon resident and portionist at Hereford. His connection with the cathedral has rendered his memory unloved by antiquaries. In a note to ‘Select Collection of Poems’ (vii. 346) Nichols states: ‘Dr. Croxall, who principally governed the church during the old age of the bishop, pulled down an old stone building of which the Antiquary Society had made a print [in 1738, see Vetusta Monumenta, i. plate 49], and with the materials built part of a house for his brother Mr. Rodney Croxall.’ A brief description of this ‘very curious antient chapel’ is to be found in J. Britton's ‘Cathedral Church of Hereford’ (1831, 4to, p. 34). He was instituted, February 1731, to the united parishes of St. Mary Somerset and St. Mary Mounthaw in London, which, with the vicarage of Hampton, he held until his death. He was also presented to the vicarage of Sellack in Herefordshire in 1734. His chief prose work, ‘Scripture Politics,’ was published in 1735. On 2 Sept. 1741 he preached on ‘The Antiquity, Dignity, and Advantages of Music’ at the meeting of the three choirs at Hereford, and died at an advanced age 13 Feb. 1752 (Gent. Mag. 1752, xxii. 92). His library was sold in 1756 (Nichols, Lit. Anecd. iii. 655). His portrait, after Bonawitz, engraved by Clark and Pine (1719), is given by Jacob (Poetical Register, ii. 40).
Croxall's position as a divine was unimportant, and he owed his numerous preferments to political services and personal insinuation. His verse has smoothness and harmony, merits which in prose helped to gain for his ‘Fables’ their long popularity. Nichols speaks of his ‘many excellent poems, which I hope at some future period to find leisure to collect into a volume’ (Select Collection, vii. 346).
His brother, Rodney Croxall, mentioned above, ‘a cypher … the very reverse of his brother Sam’ (Nichols, Lit. Anecd. iv. 600), was collated to the prebend of Moreton Parva at Hereford 10 Nov. 1732, and was treasurer 30 Jan. 1744–5 (Le Neve, i. 517, 491).
Samuel Croxall's writings are: 1. ‘An Original Canto of Spencer (sic), design'd as part of his Fairy Queen, but never printed, now made publick by Nestor Ironside,’ London, 1713, 1714, 4to. 2. ‘The Examiner examin'd in a Letter to the Englishman occasioned by the Examiner of Friday, Dec. 18, 1713, upon the Canto of Spencer,’ London, 1713, 4to. 3. ‘An Ode humbly inscrib'd to the King, occasion'd
