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-The Project Gutenberg EBook of Essays on Taste, by John Gilbert Cooper
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Essays on Taste
-
-Author: John Gilbert Cooper, John Armstrong, Ralph Cohen
-
-Release Date: September 15, 2004 [EBook #13464]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK ESSAYS ON TASTE ***
-
-
-
-
-Produced by S.R.Ellison, David Starner, and the Online Distributed
-Proofreading Team.
-
-
-
-
-
-
-  The Augustan Reprint Society
-
-       ESSAYS ON TASTE
-
-            from
-
-
-     John Gilbert Cooper
-
-  _Letters Concerning Taste_
-
-     Third Edition (1757)
-
-
-             &
-
-
-       John Armstrong
-
-       _Miscellanies_
-
-           (1770)
-
-
-   With an Introduction by
-
-         Ralph Cohen
-
-
-
-Publication Number 30
-
-Los Angeles
-
-William Andrews Clark Memorial Library
-
-University of California
-
-
-
-
-  _GENERAL EDITORS_
-  H. RICHARD ARCHER,    _Clark Memorial Library_
-  RICHARD C. BOYS.,     _University of Michigan_
-  EDWARD NILES HOOKER,  _University of California, Los Angeles_
-  JOHN LOFTIS,          _University of California, Los Angeles_
-
-  _ASSISTANT EDITOR_
-  W. EARL BRITTON,      _University of Michigan_
-
-  _ADVISORY EDITORS_
-  EMMETT L. AVERY,      _State College of Washington_
-  BENJAMIN BOYCE,       _Duke University_
-  LOUIS I. BREDVOLD,    _University of Michigan_
-  CLEANTH BROOKS,       _Yale University_
-  JAMES L. CLIFFORD,    _Columbia University_
-  ARTHUR FRIEDMAN,      _University of Chicago_
-  LOUIS A. LANDA,       _Princeton University_
-  SAMUEL H. MONK,       _University of Minnesota_
-  ERNEST MOSSNER,       _University of Texas_
-  JAMES SUTHERLAND,     _Queen Mary College, London_
-  H.T. SWEDENBERG, JR., _University of California, Los Angeles_
-
-
-
-
-INTRODUCTION
-
-
-The essays on taste taken from the work of John Gilbert Cooper and
-John Armstrong and reprinted in this issue are of interest and value
-to the student of the eighteenth century because they typify the
-shifting attitudes toward taste held by most mid-century poets and
-critics. Cooper, who accepts the Shaftesbury-Hutchesonian thesis of
-the internal sense, emphasizes the personal, ecstatic effect of taste.
-Armstrong, while accepting the rationalist notions of clarity
-and simplicity, attacks methodized rules and urges reliance on
-individuality.
-
-Following Shaftesbury and Hutcheson closely, Cooper treats taste as an
-immediate, prerational response of an internal sense to the proportion
-and harmony in nature, a response from an internal harmony of the
-senses, imagination, and understanding to a similar harmony in
-external nature. Cooper defines the effect of good taste as a "Glow
-of Pleasure which thrills thro' our whole Frame." This "Glow" is
-characterized by high emotional sensibility, and it thus minimizes the
-passivity which Hutcheson attributes to the internal sense.
-
-Armstrong's sources are more eclectic than Cooper's. Armstrong shows
-similarities to Pope in his rationalism, to Dennis in his treatment
-of poetry as an expression of the passions, and to Hutcheson in his
-emphasis on benevolence and the psychological basis of perception.
-But to these views, he frequently adds personal eccentricities. For
-example, _Taste: An Epistle to a Young Critic_ reveals its Popean
-descent in its tone and form; however, its gastronomic ending displays
-Armstrong's interest, as a physician, in the relation of diet to
-literary taste. If Armstrong's boast that "I'm a shrewd observer,
-and will guess What books you doat on from your fav'rite mess," is
-a personal eccentricity, his attack on false criticism and his
-exhortation to judge for oneself are typical harbingers of late
-eighteenth-century individualism and confidence in the "natural" man.
-
-    An honest farmer, or shepherd [writes Armstrong in "Of
-    Taste"], who is acquainted with no language but what is
-    spoken in his own county, may have a much truer relish of the
-    _English_ writers than the most dogmatical pedant that ever
-    erected himself into a commentator, and from his _Gothic_
-    chair, with an ill-bred arrogance, dictated false criticism to
-    the gaping multitude.[1]
-
-[Footnote 1: John Armstrong, _Miscellanies_ (London, 1770), II, 137.]
-
-Cooper and Armstrong both hold a historically intermediate position
-in their attitudes toward taste, accepting early eighteenth-century
-assumptions and balancing them with late eighteenth-century emphases.
-Neither of them abandons the moral assumption of art which, as
-Armstrong explains it, is a belief in "a standard of right and wrong
-in the nature of things, of beauty and deformity, both in the natural
-and moral world."[2] Cooper, who defines taste as a thrilling response
-to art, falls back upon Hutcheson in minimizing the importance of
-art and making it secondary to moral knowledge. Armstrong, while
-describing taste as the sensitive discrimination of degrees of beauty
-and deformity, bases this discrimination not on artistic, but on moral
-qualities.
-
-[Footnote 2: _Ibid._, II, 134.]
-
-The complete transition from classic to romantic premises of taste is
-characterized by the separation of art from morals. This step neither
-Cooper nor Armstrong takes. But they do exhibit tendencies which
-explain how the shift was made possible. Both writers insist on a felt
-response to a work of art. Cooper emphasizes that this response must
-be to the whole work. This assumption implies that a work of art is
-an entity complete in itself; it makes possible the argument that
-art conveys artistic, not moral knowledge. Cooper, by stressing
-sensibility as an effect of taste, suggests the Wordsworthian notion
-that the poet is more sensitive than other people.
-
-Armstrong, in addition to his hostility to formal criticism and his
-confidence in the natural man, reveals three other tendencies which
-later eighteenth-century critics elaborated. Like Edward Young in his
-_Conjectures on Original Composition_, 1759, Armstrong opposes slavish
-imitation of ancient models and declares that the writer should "catch
-their graces without affecting it [them]" so that his "own original
-characteristical manner will still distinguish itself."[3] Armstrong
-emphasizes exquisiteness of perception as the basis for taste: the
-more exquisite the mind, the more is it able to discriminate among
-the various degrees of the beautiful and the deformed. Although later
-critics repudiate Armstrong's moral discrimination, they transform
-it into a refined discrimination of aesthetic qualities. Finally, by
-suggesting that the man of genius differs from the man of taste by
-his ability to handle a medium, Armstrong implies the possibility of
-a technical criticism in terms of the writer's craft, apart from moral
-judgment.
-
-[Footnote 3: _Ibid._, II, 168.]
-
-Although the works of Cooper and Armstrong elicited contrasting
-popular reactions--_Letters concerning Taste_ running into four
-editions from 1755 to 1771 and Armstrong's writings, with the
-exception of _The Art of Preserving Health_, never winning much public
-favor--neither writer exerted a strong critical influence. Cooper did
-not reassess or change significantly the assumptions of Shaftesbury
-and Hutcheson. His work was primarily a popularization of their ideas,
-and, in its enthusiastic language, its emphasis on sensibility,
-and its epistolary form, it seems directed at flattering a female
-audience. Armstrong's remarks on taste, written in imitation of
-the simplicity and clarity of the rational tradition, are personal
-assertions and opinions rather than well-defined or clearly
-thought-out critical positions. They are random thoughts rather than a
-coherent critical theory.
-
-The significance of Cooper and Armstrong rests, therefore, on certain
-representative attitudes toward taste which exhibit the change
-"from classic to romantic." On the one hand, they accept the moral
-postulates of art, and, on the other, they emphasize the emotional
-basis of taste. Cooper treats art as a secondary form of knowledge,
-yet emphasizes the thrill that art gives. Armstrong accepts
-the standards of clarity and simplicity, while emphasizing the
-individuality of response and the need for discriminating particular,
-rather than general, qualities. Though Cooper and Armstrong fail to
-revaluate the traditions they accept, they exemplify trends which
-led others to perform this revaluation and to transform the moral
-assumptions into aesthetic criteria.
-
-
-Bibliographical Note
-
-The two reprints from the twenty letters of John Gilbert Cooper's
-_Letters concerning Taste. To which are added Essays on similar and
-other Subjects_ are from the third edition, dated 1757; the first
-edition was published in 1755 as _Letters concerning Taste_.
-The selections by John Armstrong are taken from the two-volume
-_Miscellanies_ published in 1770. "The Taste of the Present Age"
-received its first publication in this edition, but the other prose
-had previously been published in 1758 under the pseudonym of Launcelot
-Temple in the first volume of _Sketches: or Essays on Various
-Subjects_. The poem _Taste: An Epistle to a Young Critic_ was first
-published in 1753.
-
-  Ralph Cohen
-
-
-
-
-LETTERS CONCERNING TASTE.
-
-
-
-
-LETTER I.
-
-To EUPHEMIUS.
-
-
-Whence comes it, EUPHEMIUS, that you, who are _feelingly_ alive to
-each fine Sensation that Beauty or Harmony gives the Soul, should so
-often assert, contrary to what you daily experience, _that_ TASTE _is
-governed by Caprice, and that_ BEAUTY _is reducible to no Criterion?_
-I am afraid your Generosity in this Instance is greater than your
-Sincerity, and that you are willing to compliment the circle of your
-Friends, in giving up by this Concession that envied Superiority you
-might claim over them, should it be acknowledged that those uncommon
-Emotions of Pleasure, which arise in your Breast upon the Observation
-of moral or natural Elegance, were caused by a more ready and intimate
-Perception of that universal TRUTH, which the all-perfect CREATOR
-of this harmonious System ordained to be the VENUS of every Object,
-whether in the Material World; in the imitative Arts; or in living
-Characters and Manners. How irreconcileable are your Doctrines to the
-Example you afford us! However, since you press me to justify your
-Practice against your Declarations, by giving a Definition of what is
-meant by TASTE, I shall not avoid the invidious Office of pointing out
-your superior Excellence to others, by proving that TRUTH and BEAUTY
-are coincident, and that the warmest Admirers of these CELESTIAL
-TWINS, have consequently Souls more nearly allied to ætherial Spirits
-of a higher Order. The effect of a _good_ TASTE is that instantaneous
-Glow of Pleasure which thrills thro' our whole Frame, and seizes upon
-the Applause of the Heart, before the intellectual Power, Reason, can
-descend from the Throne of the Mind to ratify it's Approbation, either
-when we receive into the Soul beautiful Images thro' the Organs
-of bodily Senses; or the Decorum of an amiable Character thro' the
-Faculties of moral Perception; or when we recall, by the imitative
-Arts, both of them thro' the intermediate Power of the Imagination.
-Nor is this delightful and immediate Sensation to be excited in an
-undistempered Soul, but by a Chain of Truths, dependent upon one
-another till they terminate in the hand of the Divine COMPOSER of the
-whole. Let us cast our Eyes first upon the Objects of the Material
-World. A rural Prospect upon the very first Glance yields a grateful
-Emotion in the Breast, when in a Variety of Scenes there arises from
-the whole ONE Order, whose different Parts will be found, by the
-critical Eye of Contemplation, to relate mutually to one another,
-and each examined apart, to be productive of the Necessaries, the
-Conveniencies, and Emoluments of Life. Suppose you was to behold from
-an Eminence, thro' a small range of Mountains covered with Woods,
-several little Streams gushing out of Rocks, some gently trickling
-over Pebbles, others tumbling from a Precipice, and a few gliding
-smoothly in Willow-shaded Rivulets thro green Meadows, till their
-tributary Waters are all collected by some River God of a larger Urn,
-who at some few Miles distance is lost in the Ocean, which heaves
-it's broad Bosom to the Sight, and ends the Prospect with an immense
-Expanse of Waters. Tell me, EUPHEMIUS, would not such a Scene
-captivate the Heart even before the intellectual Powers discover
-Minerals in the Mountains; future Navies in the Woods; Civil and
-Military Architecture in the Rocks; healing Qualities in the smaller
-Streams; Fertility, that the larger Waters distribute along their
-serpentising Banks; Herbage for Cattle in the Meadows; and lastly,
-the more easy Opportunities the River affords us to convey to other
-Climates the Superfluities of our own, for which the Ocean brings us
-back in Exchange what we stand in need of from theirs. Now to heighten
-this beautiful Landscape, let us throw in Corn Fields, here and there
-a Country Seat, and, at proper Distances, small Hamlets, together with
-Spires and Towers, as MILTON describes them,
-
-    "bosom'd high in tufted Trees."
-
-Does not an additional Rapture flow in from this Adjunct, of which
-Reason will afterwards discover the latent Cause in the same manner
-as before. Your favourite Architecture will not fail to afford less
-remarkable Instances, that Truth, Beauty, and Utility are inseparable.
-You very well know that every Rule, Canon, and Proportion in building
-did not arise from the capricious Invention of Man, but from the
-unerring Dictates of Nature, and that even what are now the ornamental
-Parts of an Edifice, originally were created by Necessity; and are
-still displeasing to the Sight, when they are disobedient, if I may
-use that moral Expression, to the Order, which Nature, whose Laws
-cannot be repealed, first gave to supply that Necessity. Here I appeal
-to your own Breast, and let me continue the Appeal by asking you
-concerning another Science analogous to this, which is founded upon as
-invariable Principles: I mean the Science of living well, in which
-you are as happily learned as in the former. Say then, has not every
-amiable Character, with which you have been enamoured, been proved by
-a cool Examination to contain a _beautiful_ Proportion, in the Point
-it was placed in, relative to Society? And what is it that constitutes
-Moral Deformity, or what we call Vice, but the Disproportion which any
-Agent occasions, in the Fabric of Civil Community, by a Non-compliance
-to the general _Order_ which should prevail in it?
-
-As the Arts of Painting, Sculpture, and Poetry are imitative of these,
-their Excellence, as ARISTOTLE observes, consists in Faithfulness to
-their Original: nor have they any _primary_ Beauty in themselves, but
-derive their shadowy Existence in a mimetic Transcript from Objects
-in the Material World, or from Passions, Characters, and Manners.
-Nevertheless that _internal Sense_ we call TASTE (which is a Herald
-for the whole human System, in it's three different Parts, the
-refined Faculties of Perception, the gross Organs of Sense, and the
-intermediate Powers of Imagination) has as quick a Feeling of this
-secondary Excellence of the Arts, as for the primary Graces; and
-seizes the Heart with Rapture long before the Senses, and Reason in
-Conjunction, can _prove_ this Beauty by collating the Imitations with
-their Originals.
-
-If it should be asked _why_ external Objects affect the human Breast
-in this Manner, I would answer, that the ALMIGHTY has in this, as well
-as in all his other Works, out of his abundant Goodness and Love to
-his Creatures, so _attuned_ our Minds to Truth, that all Beauty from
-without should make a responsive Harmony vibrate within. But should
-any of those more curious Gentlemen, who busy themselves With
-Enquiries into Matters, which the Deity, for Reasons known only to
-himself, has placed above our limited Capacities, demand _how_ he has
-so formed us, I should refer them, with proper Contempt, to their more
-aged Brethren, who may justly in Derision be stiled _the Philosophers
-of ultimate Causes_. To you, my dear Friend, whose truly philosophical
-and religious Taste concludes that whatever GOD ordains is right,
-it is sufficient to have proved that _Truth_ is the Cause of all
-_Beauty_, and that Truth flows from the Fountain of all Perfection, in
-whose unfathomable Depth finite Thought should never venture with
-any other Intention than to wonder and adore. But I find I have been
-imperceptibly led on from Thought to Thought, not only to trespass
-upon the common Stile of a Letter, by these abstruse Reasonings and
-religious Conclusions, but upon the ordinary length of one likewise;
-therefore shall conclude by complimenting my own Taste in Characters,
-when I assure you that I am,
-
-  _Your most affectionate Friend_, &c.
-
-
-
-
-LETTER II.
-
-To the SAME.
-
-
-It gave me no small Pleasure to find, by your Answer to my last
-Letter, that you now allow BEAUTY to be the Daughter of TRUTH; and I
-in my turn will make a Concession to you, by confessing that BEAUTY
-herself may have _acquired_ Charms, but then they are altogether such
-as are consistent with her divine Extraction. What you observe is
-very true, that the human Form (the most glorious Object, as you are
-pleased to call it, in the Creation) let it be made with the most
-accurate Symmetry and Proportion, may receive _additional_ Charms from
-Education, and steal more subtily upon the Soul of the Beholder from
-some adventitious Circumstances of easy Attitudes or Motion, and an
-undefineable Sweetness of Countenance, which an habitual Commerce with
-the more refined Part of Mankind superadds to the Work of Nature. This
-the ancient _Grecian_ Artists would have represented mythologically
-in Painting by the GRACES crowning VENUS. We find how much LELY has
-availed himself in his shadowy Creations of transcribing from Life
-this adventitious Charm into all his Portraits. I mean, when he
-_stole_ upon his _animated Canvas_, as POPE poetically expresses it,
-
-  "The sleepy Eye that spoke the melting Soul."
-
-You will ask me, perhaps, how I can prove any Alliance in this
-particular Circumstance of a single Feature to Truth; Or rather
-triumphantly push the Argument farther, and say, Is not this
-additional Charm, as you call it, inconsistent with the Divine
-Original of Beauty, since it deadens the fiery Lustre of that
-penetrating Organ? I chuse to draw my Answer from the Schools of the
-antient ETHOGRAPHI, who by their enchanting Art so happily conveyed,
-thro' the Sight, the Lessons of Moral Philosophy. These Sages would
-have told you, that our Souls are attuned to one another, like the
-Strings of musical Instruments, and that the Chord of one being
-struck, the _Unison_ of another, tho' untouched, will vibrate to it.
-The Passions therefore of the human Heart, expressed either in the
-living Countenance, or the mimetic Strokes of Art, will affect the
-Soul of the Beholder with a similar and responsive Disposition. What
-wonder then is it that Beauty, borrowing thus the Look of softening
-Love, whose Power can lull the most watchful of the Senses,
-should cast that sweet _Nepenthe_ upon our Hearts, and enchant our
-corresponding Thoughts to rest in the Embraces of Desire? Sure then
-I am, that you will always allow Love to be the Source and End of our
-Being, and consequently consistent with Truth. It is the Superaddition
-of such Charms to Proportion, which is called _Taste_ in Musick,
-Painting, Poetry, Sculpture, Gardening and Architecture. By which is
-generally meant that happy Assemblage which excites in our Minds, by
-Analogy, some pleasurable Image. Thus, for Instance, even the Ruins
-of an old Castle properly disposed, or the Simplicity of a rough hewn
-Hermitage in a Rock, enliven a Prospect, by recalling the Moral Images
-of _Valor_ and _Wisdom_; and I believe no Man will contend, that Valor
-exerted in the Defence of one's Country, or Wisdom contemplating in
-Retirement for the Welfare of Mankind, are not truly amiable Images,
-belonging to the Divine Family of Truth. I think I have now reconciled
-our two favorite Opinions, by proving that these _additional_ Charms,
-if they must be called so, have their Origin in Nature as much as
-Proportion itself.--I am very glad the Prints I sent afforded you so
-much Pleasure, not only as I wish every thing which comes from me may
-be favorably received by you, but as they are likewise a Confirmation
-of my Arguments; for the Man who drew them is no very great Artist,
-but being a faithful Disciple of Nature, having delineated every
-Object in a _Camera Obscura_, he has not failed of gaining the
-uncontested Applause, which the Followers of that unerring Mistress
-will ever receive from Mankind. My EUDOCIA calls me to administer
-with her Comfort to a little fatherless Family in the District of our
-Hamlet, therefore must conclude myself,
-
-_Your sincere Friend_, &c.
-
-LETTER
-
-
-
-      TASTE:
-
-       AN
-
-    EPISTLE
-
-     TO A
-
-  YOUNG CRITIC.
-
-
-  Range from Tower-hill all London to the Fleet,
-  Thence round the Temple, t'utmost Grosvenor-street:
-  Take in your route both Gray's and Lincoln's Inn;
-  Miss not, be sure, my Lords and Gentlemen;
-  You'll hardly raise, as I with[A] _Petty_ guess,   }  5
-  Above twelve thousand men of taste; unless         }
-  In desperate times a _Connoisseur_ may pass.       }
-
-    "A Connoisseur! What's that?" 'Tis hard to say:
-  But you must oft amidst the fair and gay
-  Have seen a wou'd-be rake, a fluttering fool,              10
-  Who swears he loves the sex with all his soul.
-  Alas, vain youth! dost thou admire sweet Jones?
-  Thou be gallant without or blood or bones!
-  You'd split to hear th' insipid coxcomb cry
-  Ah charming Nanny! 'tis too much! I die!--                 15
-  Die and be d--n'd, says one; but let me tell ye
-  I'll pay the loss if ever rapture kill ye.
-
-  [Footnote A: Sir William Petty, author of the _Political Arithmetic_.]
-
-    'Tis easy learnt the art to talk by rote:
-  At Nando's 'twill but cost you half a groat;
-  The Redford school at three-pence is not dear, Sir;
-  At White's--_the stars instruct you_ for a tester.    21
-  But he, whom nature never meant to share
-  One spark of taste, will never catch it there:--
-  Nor no where else; howe'er the booby beau
-  Grows great with Pope, and Horace, and Boileau.
-
-    Good native Taste, tho' rude, is seldom wrong,
-  Be it in music, painting, or in song.
-  But this, as well as other faculties,
-  Improves with age and ripens by degrees.
-  I know, my dear; 'tis needless to deny 't,                 30
-  You like Voiture, you think him wondrous bright;
-  But seven years hence, your relish more matur'd,
-  What now delights will hardly be endur'd.
-  The boy may live to taste Racine's fine charms,
-  Whom Lee's bald orb or Rowe's dry rapture warms:
-  But he, enfranchis'd from his tutor's care,                36
-  Who places Butler near Cervantes' chair;
-  Or with Erasmus can admit to vie
-  Brown of Squab-hall _of merry memory_;
-  Will die a Goth: and nod at [A]Woden's feast,              40
-  Th' eternal winter long, on [B]Gregory's breast.
-
-    Long may he swill, this patriarch of the dull,
-  The drowsy Mum--But touc not Maro's skull!
-  His holy barbarous dotage sought to doom,
-  Good heaven! th' immortal classics to the tomb!--
-  Those sacred lights shall bid new genius rise              45
-  When all Rome's saints have rotted from the skies.
-  Be these your guides, if at the ivy crown
-  You aim; each country's classics, and your own.
-  But chiefly with the ancients pass your prime,             50
-  And drink Castalia at the fountain's brim.
-  The man to genuine Burgundy bred up,
-  Soon starts the dam of Methuen in his cup.
-
-  [Footnote A: Alluding to the Gothic heaven, Woden's hall; where the
-  happy are for ever employed in drinking beer, mum, and other
-  comfortable liquors out of the skulls of those whom they had
-  slain in battle.]
-
-  [Footnote B: Pope Gregory the VIth, distinguished by the name of St.
-  Gregory; whose pious zeal, in the cause of barbarous ignorance
-  and priestly tyranny, exerted itself in demolishing, to the
-  utmost of his power, all the remains of heathen genius.]
-
-    Those sovereign masters of the Muses skill
-  Are the true patterns of good writing still,               55
-  Their ore was rich and seven times purg'd of lead;
-  Their art seem'd nature, 'twas so finely hid.
-  Tho' born with all the powers of writing well,
-  What pains it cost they did not blush to tell.
-  Their ease (my Lords!) ne'er lowng'd for want of fire,
-  Nor did their rage thro' affectation tire.                 61
-  Free from all tawdry and imposing glare
-  They trusted to their native grace of air.
-  Rapt'rous and wild the trembling soul they seize,  }
-  Or sly coy beauties steal it by degrees;           }       65
-  The more you view them still the more they please. }
-
-    Yet there are thousands of scholastic merit
-  Who worm their sense out but ne'er taste their spirit.
-  Witness each pedant under Bentley bred;
-  Each commentator that e'er commented.                      70
-  (You scarce can seize a spot of classic ground,
-  With leagues of Dutch morass so floated round.)
-  Witness--but, Sir, I hold a cautious pen,
-  Lest I should _wrong_ some _honourable men_.
-  They grow enthusiasts too--_'Tis true! 'tis pity!_      75
-  But 'tis not every lunatic that's witty.
-  Some have run Maro--and some Milton--mad,
-  Ashley once turn'd a solid barber's head:
-  Hear all that's said or printed if you can,
-  Ashley has turn'd more solid heads than one.               80
-
-    Let such admire each great or specious name;
-  For right or wrong the joy to them's the same.
-  "Right!" Yes a thousand times.--Each fool has heard
-  That Homer was a wonder of a bard.
-  Despise them civilly with all my heart--                   85
-  But to convince them is a desperate part,
-  Why should you teize one for what secret cause
-  One doats on Horace, or on Hudibras?
-  'Tis cruel, Sir, 'tis needless, to endeavour
-  To teach a sot of Taste he knows no flavour,               90
-  To disunite I neither wish nor hope
-  A stubborn blockhead from his fav'rite fop.
-  Yes--fop I say, were Maro's self before 'em:
-  For Maro's self grows dull as they pore o'er him.
-
-    But hear their raptures o'er some specious rhime
-  Dub'd by the musk'd and greasy mob sublime.                96
-  For spleen's dear sake hear how a coxcomb prates
-  As clam'rous o'er his joys as fifty cats;
-  _"Music has charms to sooth a savage breast,
-  To soften rocks, and oaks"_--and all the rest:          100
-  _"I've heard"_--Bless these long ears!--"Heav'ns what a strain!
-  Good God! What thunders burst in this _Campaign_!
-  Hark Waller warbles! Ah! how sweetly killing!
-  Then that inimitable Splendid Shilling!
-  Rowe breathes all Shakespear here!--That ode of Prior      105
-  Is Spencer quite! egad his very fire!--
-  As like"--Yes faith! as gum-flowers to the rose,
-  Or as to Claret flat Minorca's dose;
-  As like as (if I am not grosly wrong)
-  Erle Robert's Mice to aught e'er Chaucer sung.             110
-
-    Read boldly, and unprejudic'd peruse
-  Each fav'rite modern, ev'n each ancient muse.
-  With all the comic salt and tragic rage
-  The great stupendous genius of our stage,
-  Boast of our island, pride of human-kind,                  115
-  Had faults to which the boxes are not blind.
-  His frailties are to ev'ry gossip known:
-  Yet Milton's pedantries not shock the town.
-  Ne'er be the dupe of Names, however high;
-  For some outlive good parts, some misapply.                120
-  Each elegant Spectator you admire;
-  But must you therefore swear by Cato's fire?
-  Masques for the court, and oft a clumsey jest,
-  Disgrac'd the muse that wrought the Alchemist.
-  "But to the ancients."--Faith! I am not clear,             125
-  For all the smooth round type of Elzevir,
-  That every work which lasts in prose or song,
-  Two thousand years, deserves to last so long.
-  For not to mention some eternal blades
-  Known only now in th' academic shades,                     130
-  (Those sacred groves where raptur'd spirits stray,
-  And in word-hunting waste the live-long day)
-  Ancients whom none but curious critics scan,
-  Do, read[A] Messala's praises if you can.
-  Ah! who but feels the sweet contagious smart               135
-  While soft Tibullus pours his tender heart?
-  With him the Loves and Muses melt in tears;
-  But not a word of some hexameters.
-  "You grow so squeamish and so dev'lish dry,
-  You'll call Lucretius vapid next." Not I.                  140
-  Some find him tedious, others think him lame:
-  But if he lags his subject is to blame.
-  Rough weary roads thro' barren wilds he tried,
-  Yet still he marches with true Roman pride:
-  Sometimes a meteor, gorgeous, rapid, bright,               145
-  He streams athwart the philosophic night.
-  Find you in Horace no insipid Odes?--
-  He dar'd to tell us Homer sometimes nods;
-  And but for such a aide's hardy skill
-  Homer might slumber unsuspected still.                     150
-
-  [Footnote A: A poem of Tibullus's in hexameter verse; as yawning and
-  insipid as his elegies are tender and natural.]
-
-    Tasteless, implicit, indolent and tame,
-  At second-hand we chiefly praise or blame.
-  Hence 'tis, for else one knows not why nor how,
-  Some authors flourish for a year or two:
-  For many some, more wond'rous still to tell;               155
-  Farquhar yet lingers on the brink of hell.
-  Of solid merit others pine unknown;             }
-  At first, tho'[A] Carlos swimmingly went down,  }
-  Poor Belvidera fail'd to melt the town.         }
-  Sunk in dead night the giant Milton lay                    160
-  'Till Sommer's hand produc'd him to the day.
-  But, thanks to heav'n and Addison's good grace
-  Now ev'ry fop is charm'd with Chevy Chace.
-
-  [Footnote A: Don Carlos, a tragedy of Otway's, now long and justly
-  forgotten, went off with great applause; while his Orphan, a
-  somewhat better performance, and what is yet more strange, his
-  Venice Preserved, according to the theatrical anecdotes of those
-  times, met with a very cold reception.]
-
-    Specious and sage, the sovereign of the flock
-  Led to the downs, or from the wave-worn rock               165
-  Reluctant hurl'd, the tame implicit train
-  Or crop the downs, or headlong seek the main.
-  As blindly we our solemn leaders follow,
-  And good, and bad, and execrable swallow.
-
-    Pray, on the first throng'd evening of a play            170
-  That wears the[A] _facies hippocratica_,
-  Strong lines of death, signs dire of reprobation;
-  Have you not seen the angel of salvation
-  Appear sublime; with wise and solemn rap
-  To teach the doubtful rabble where to clap?--              175
-  The rabble knows not where our dramas shine;
-  But where the cane goes pat--_by G-- that's fine_!
-
-  [Footnote A: The appearance of the face in the last stage
-  of a consumption, as it is described by Hippocrates.]
-
-    Judge for yourself; nor wait with timid phlegm
-  Till some illustrious pedant hum or hem.                   179
-  The lords who starv'd old Ben were learn'dly fond
-  Of Chaucer, whom with bungling toil they conn'd,
-  Their sons, whose ears bold Milton could not seize,    }
-  Would laugh o'er Ben like mad, and snuff and sneeze,   }
-  And swear, and seem as tickled as you please.          }
-  Their spawn, the pride of this sublimer age,               185
-  Feel to the toes and horns grave Milton's rage.
-  Tho' liv'd he now he might appeal with scorn
-  To Lords, Knights, 'Squires and Doctors, yet unborn;
-  Or justly mad to Moloch's burning fane
-  Devote the choicest children of his brain.                 190
-  Judge for yourself; and as you find report.
-  Of wit as freely as of beef or port.
-  Zounds! shall a pert or bluff important wight,
-  Whose brain is fanciless, whose blood is white;
-  A mumbling ape of taste; prescribe us laws                 195
-  To try the poets, for no better cause
-  Than that he boasts _per ann._ ten thousand clear,
-  Yelps in the House, or barely sits a Peer?
-  For shame! for shame! the liberal British soul
-  To stoop to any stale dictator's rule!                     200
-
-    I may be wrong, and often am no doubt,
-  But right or wrong with friends with foes 'twill out.
-  Thus 'tis perhaps my fault if I complain
-  Of trite invention and a flimsy vein,
-  Tame characters, uninteresting, jejune,                    205
-  And passions drily copied from [A]Le Brun.
-  For I would rather never judge than wrong
-  That friend of all men, generous Fenelon.
-  But in the name of goodness, must I be                     210
-  The dupe of charms I never yet could see?
-  And then to flatter where there's no reward--
-  Better be any patron-hunting bard,
-  Who half our Lords with filthy praise besmears,
-  And sing an Anthem to ALL MINISTERS:
-  Taste th' Attic salt in ev'ry Peer's poor rebus,           215
-  And crown each Gothic idol for a Phoebus.
-
-[Footnote A: First painter to Lewis XIV. who, to speak in fashionable
-French English, _called himself_ LEWIS THE GREAT. Our sovereign lords
-the passions, Love, Rage, Despair, &c. were graciously pleased to
-sit to him in their turns for their portraits: which he was generous
-enough to communicate to the public; to the great improvement, no
-doubt, of history-painting. It was he who they say poison'd Le Sueur;
-who, without half his advantages in many other respects, was so
-unreasonable and provoking as to display a genius with which his own
-could stand no comparison. It was he and his Gothic disciples, who,
-with sly scratches, defac'd the most masterly of this Le Sueur's
-performances, as often as their barbarous envy could snugly reach
-them. Yet after all these atchievements he died in his bed! A
-catastrophe which could not have happened to him in a country
-like this, where the _fine arts_ are as zealously and judiciously
-patronised as they are well understood.]
-
-    Alas! so far from free, so far from brave,
-  We dare not shew the little Taste we have.
-  With us you'll see ev'n vanity controul
-  The most refin'd sensations of the soul.                   220
-  Sad Otway's scenes, great Shakespear's we defy:
-  "Lord, Madam! 'tis so unpolite to cry!--
-  For shame, my dear! d'ye credit all this stuff?--
-  I vow--well, this is innocent enough?"
-  At Athens long ago, the Ladies--(married)                  225
-  Dreamt not they misbehav'd tho' they miscarried,
-  When a wild poet with licentious rage
-  Turn'd fifty furies loose upon the stage.
-
-    They were so tender and so easy mov'd,
-  Heav'ns! how the Grecian ladies must have lov'd!
-  For all the fine sensations still have dwelt,              231
-  Perhaps, where one was exquisitely felt.
-  Thus he who heavenly Maro truly feels
-  Stands fix'd on Raphael, and at Handel thrills.
-  The grosser senses too, the taste, the smell,    }         235
-  Are likely truest where the fine prevail:        }
-  Who doubts that Horace must have cater'd well?   }
-  Friend, I'm a shrewd observer, and will guess
-  What books you doat on from your fav'rite mess,
-  Brown and L'Estrange will surely charm whome'er
-  The frothy pertness strikes of weak small-beer.
-  Who steeps the calf's fat loin in greasy sauce
-  Will hardly loathe the praise that bastes an ass.
-  Who riots on Scotcht Collops scorns not any
-  Insipid, fulsome, trashy miscellany;                       245
-  And who devours whate'er the cook can dish up,
-  Will for a classic consecrate each[A] bishop.
-
-  [Footnote A: See Felton's Classics.]
-
-    But I am sick of pen and ink; and you
-  Will find this letter long enough. Adieu!
-
-
-
-
-OF GENIUS
-
-
-There is a standard of right and wrong in the nature of things, of
-beauty and deformity, both in the natural and moral world. And as
-different minds happen to be more or less exquisite, the more or less
-sensibly do they perceive the various degrees, of good and bad, and
-are the more or less susceptible of being charmed with what is right
-or beautiful, and disgusted with what is wrong or deformed. It is
-chiefly this sensibility that constitutes genius; to which a sound
-head and a good heart are as effectual as a lively imagination. And a
-man of true genius must necessarily have as exquisite a feeling of the
-moral beauties, as of whatever is great or beautiful in the works
-of nature; or masterly in the arts which imitate nature, in poetry,
-painting, statuary, and music.
-
-On the other side, where the heart is very bad, the genius and taste,
-if there happen to be any pretensions to them, will be found shocking
-and unnatural. NERO would be nothing less than a poet; but his
-verses were what one may call most _villainously_ bad. His taste
-of magnificence and luxury was horribly glaring, extravagant and
-unnatural to the last degree.
-
-CALIGULA's taste was so outragiously wrong, that he detested the works
-of the sweet MANTUAN poet more passionately than ever MOECENAS admired
-them; and if VIRGIL had unfortunately lived down to those times in
-which that monster appeared, he would probably have been tortured
-to death for no other crime but that he wrote naturally, and like an
-honest man.
-
-True genius may be said to consist of a perfect polish of soul, which
-receives and reflects the images that fall upon it, without warping
-or distortion. And this fine polish of soul is, I believe, constantly
-attended with what philosophers call the moral truth.
-
-There are minds which receive objects truly, and feel the impressions
-they ought naturally to make, in a very lively manner, but want the
-faculty of reflecting them; as there are people who, I suppose, feel
-all the charms of poetry without being poets themselves.
-
-
-
-
-OF TASTE.
-
-
-Our notion of taste may be easily understood by what has been said
-upon the subject of genius; for mere good taste is nothing else but
-genius without the power of execution.
-
-It must be born; and is to be improved chiefly by being accustomed,
-and the earlier the better, to the most exquisite objects of taste in
-its various kinds. For the taste in writing and painting, and in every
-thing else, is insensibly formed upon what we are accustomed to; as
-well as taste in eating and drinking. One who from his youth has been
-used to drink nothing but heavy dismal port, will not immediately
-acquire a relish for claret or burgundy.
-
-In the most stupid ages there is more good taste than one would at
-first sight imagine. Even the present, abuse it with what contemptuous
-epithets you please, cannot be totally void of it. As long as there
-are noble humane and generous dispositions amongst mankind, there must
-be good taste. For in general, I do not say always, the taste will be
-in proportion to those moral qualities and that sensibility of mind
-from which they take their rise. And while many, amongst the great and
-the learned, are allowed to have taste for no better reason than that
-it is their own opinion, it is often possessed by those who are not
-conscious of it, and dream as little of pretending to it as to a star
-and garter. An honest farmer, or shepherd, who is acquainted with no
-language but what is spoken in his own county, may have a much truer
-relish of the _English_ writers than the most dogmatical pedant that
-ever erected himself into a commentator, and from his _Gothic_ chair,
-with an ill-bred arrogance, dictated false criticism to the gaping
-multitude.
-
-But even those who are endued with good natural taste, often judge
-implicitly and by rote, without ever consulting their own taste.
-Instances of this passive indolence, or rather this unconsciousness of
-one's own faculties, appear every day; not only in the fine arts, but
-in cases where the mere _taste_, according to the original meaning
-of the word, is alone concerned. For I am positive there are many
-thousands who, if they were to bring their own palate to a severe
-examination, would discover that they really find a more delicious
-flavour in mutton than in venison, in flounder than in turbut, and yet
-prefer middling or bad venison to the best mutton; that is, what is
-scarcest and dearest, and consequently what is, from the folly of
-mankind, the most in vogue, to what is really the most agreeable to
-their own private taste.
-
-In matter of taste, the public, for the most part, suffers itself to
-be led by a few who perhaps are really no judges; but who, under the
-favour of some advantages of title, place, or fortune, set up for
-judges, and are implicitly followed even by those who have taste.
-These washy dictators have learnt at school to admire such authors as
-have for ages been possessed of an indisputed renown: but they would
-never have been the first to have discovered strokes of true genius in
-a co-temporary writer, though they had lived at the court of AUGUSTUS
-or of Q. ELIZABETH.
-
-So undistinguishing is our taste, that if the most torpid dunce this
-fruitful age can boast of, could by some artful imposture prepossess
-the public, that the most insipid of all his own bread-sauce
-compositions, to be published next winter, was a piece MILTON's, or
-any other celebrated author, recovered from dust and obscurity, it
-would be received with universal applause; and perhaps be translated
-into _French_ before the town had doated six weeks upon it. One might
-venture to say too, that if a work of true spirit and genius was to
-be introduced into the world, under the name of some writer of low
-reputation, it would be rejected even by the greatest part of those
-who pretend to lead the taste. And no wonder, while an eminent vintner
-has mistaken his own old hock at nine shillings the bottle for that at
-five.
-
-
-
-
-OF WRITING TO THE TASTE OF THE AGE.
-
-
-Whatever some have pretended, one may reasonably enough doubt whether
-ever an author wrote much below himself from any cause but the
-necessity of writing too fast. When this happens to a writer who,
-with the advantages of leisure and easy circumstances, is capable of
-producing such works as might charm succeeding ages, it is a disgrace
-to the nation and the times wherein such a genius had the misfortune
-to appear.
-
-It belongs to true genius to indulge its own humour; to give a loose
-to its own sallies; and to be curbed, restrained and directed by that
-sound judgment alone which necessarily attends it. It belongs to it
-to improve and correct the public taste; not to humour or meanly
-prostitute itself to the gross or low taste which it finds. And
-you may depend upon it, that whatever author labours to accommodate
-himself to the taste of his age--suppose it, if you please, this
-present age--the sickly wane, the impotent decline of the eighteenth
-century: which from a hopeful boy became a most insignificant man;
-and for any thing that appears at present will die a very fat drowsy
-block-head, and be damned to eternal infamy and contempt: every such
-author I say, though he may thrive as far as an author can in the
-present age, will by degrees languish into obscurity in the next.
-For though naked and bare-faced vanity; though an active exertion of
-little arts, and the most unremitting perseverance in them; though
-party, cabal, and intrigue; though accidental advantages, and even
-whimsical circumstances; may conspire to make a very moderate genius
-the idol of the implicit multitude: works that lean upon such fickle
-props, that stand upon such a false foundation, will not be long able
-to support themselves against the injuries of time. Such buildings
-begin to totter almost as soon as their scaffolding is struck.
-
-But if you find it necessary to comply with the humour of your age;
-the writing best calculated to please a false taste is what has
-something of the air of good writing, without being really so. For
-to the vulgar eye the specious is more striking than the genuine. The
-best writing is apt to be too plain, too simple, too unaffected, and
-too delicate to stir the callous organs of the generality of critics,
-who see nothing but the tawdry glare of tinsel; and are deaf to every
-thing but what is shockingly noisy to a true ear. They are struck
-with the fierce glaring colours of old _Frank_; with attitudes and
-expressions violent, distorted, and unnatural: while the true, just
-and easy, the graceful, the moving, the sublime representations of
-_Raphael_ have not the least power to attract them. The bullying,
-noisy march in _Judas Macchabeus_ has perhaps more sincere admirers
-than that most pathetic one in _Saul_: and in conversation pertness
-and mere vivacity is more felt by the general run of company than easy
-unaffected wit; as flashy, bouncing, flatulent cyder boasts of more
-spirit than the still vigour of reserved _Madeira_.
-
-But the easiest, as well as the most effectual way of writing to the
-bad taste of your age, is to set out while your genius is yet upon a
-level with it. Accordingly, if you have a son who begins to display
-a hopeful bloom of imagination, be sure to publish, with all the
-advantages that can be procured, the very first essays of his genius.
-They will hardly be too good to please; and besides, they have a
-chance to be received with particular favour and admiration as the
-productions of a young muse. When he has thus taken possession of the
-public ear, he may venture, as his genius ripens, to do his best; he
-may write as well as he can, perhaps without much danger of sinking in
-reputation. The renown of his first crude essays will be sufficient
-to prejudice the mobility, great and small, in favour of the most
-exquisite pieces he can produce afterwards. But if he must live by his
-wit, the best thing you can do for him is to transplant him, as
-early as possible, to PARIS; where in the worst of days, in the most
-_Gothic_ muse-detesting age, there is still some shelter afforded to
-the most delicate as well as the most uncommon flower that blossoms
-in the human mind. In that gay serene and genial climate the muses
-are still more or less cultivated, though not with the same ardour and
-passion in every age; as appears from the following passage translated
-from a[A] _French_ author, who wrote about the beginning of the
-present century. "Almost all the arts have in their turns experienced
-that disgust and love of change which is natural to mankind. But I
-don't know that any one of them has felt it more than Poetry; which
-in some ages has been exalted to a triumphal heighth, in others
-neglected, discouraged and despised. About sixty years ago, under
-the administration of one of the greatest geniuses that ever _France_
-produced, poetry found itself amongst us at its highest pitch of
-glory. Those who cultivated the muses were regarded with particular
-favour: this art was the road to fortune and dignified stations. But
-in these days this ardour seems to be considerably abated. We do not
-appear to be extremely sensible to poetical merit, &c."
-
-[Footnote A: Defense de la Poesie; par M. l'Abbé _Messieu. Memoíres de
-Literature, Tome_ 2de.]
-
-
-
-
-THE TASTE OF THE PRESENT AGE.
-
-
-Amongst many other distinguishing marks of a stupid age, a bad crop of
-men, I have been told that the taste in writing was never so false
-as at present. If it is really so, it may perhaps be owing to a
-prodigious swarm of insipid trashy writers: amongst whom there are
-some who pretend to dictate to the public as critics, though they
-hardly ever fail to be mistaken. But their dogmatic impudence, and
-something like a scientific air of talking the most palpable
-nonsense, imposes upon great numbers of people, who really possess a
-considerable share of natural Taste; of which at the same time they
-are so little conscious as to suffer themselves passively to be misled
-by those blundering guides.
-
-A Taste worth cultivating is to be improved and preserved by reading
-_only_ the best writers. But whoever, after perusing a satire of
-Horace, even in the dullest English translation, can relish the
-stupid abuse of a blackguard rhymster, may as well indulge the natural
-depravity of his Taste, and riot for life upon distiller's grains.
-
-But the Taste in writing is not, cannot be worse, than it is in music,
-as well as in all theatrical entertainments. In architecture indeed
-there are some elegant and magnificent works arising, at a very proper
-time to restore the nation to some credit with its neighbours in this
-article; after its having been exposed to such repeated disgraces by
-a triumvirate of awkward clumsey piles, that are not ashamed to shew
-their stupid heads in the neighbourhood of Whitehall: and one more,
-that ought to be demolished; if it was for no other reason but to
-restore the view of an elegant church, which has now for many years
-been buried alive behind the Mansion-house.
-
-It is indeed some comfort, that while Taste and Genius happen to be
-very false and impotent in most of the fine arts, they are not so in
-all. The arts of Gardening particularly, and the elegant plan of
-a farm, have of late years displayed themselves in a few spots to
-greater advantage in England, than perhaps ever before in any part
-of Europe. This is indeed very far from being universal; and some
-gardens, admired and celebrated still, are so smoothly regular, so
-over-planted, and so crowded with affected, impertinent, ridiculous
-ornaments of temples, ruins, pyramids, obelisks, statues, and a
-thousand other contemptible whims, that a continuation of the same
-ground in its rude natural state, is infinitely more delightful. You
-must often have seen fine situations ruined with costly pretences to
-_improvement_. The most noble and romantic situation of any gardens
-I have seen, is near Chepstow; and the gentleman who possesses
-that delightful spot, has shewn great judgment and a true taste, in
-meddling so little with Nature where she wanted so little help.
-
-This is one happy instance of an admirable situation, where Nature
-is modestly and judiciously improved, not hurt, by art. An opposite
-instance of what art, skill, and taste may produce, without any
-particular advantages of ground or situation, is most agreeably
-displayed in the royal gardens at Kew. There you find an extent of
-flat ground, so easily, agreeably, and unaffectedly broken, that
-you would think it impossible to alter it but to the worse. To
-pass without any notice the agreeable and the elegant pieces of
-architecture, which without crowding adorn those delightful gardens;
-perhaps there is not a physick garden in Europe where any botanist can
-be more agreeably entertained, as to the variety of curious plants.
-But there is something new as far as I know, and particularly
-ingenious here in the disposition and management of them. Those that
-naturally delight in the rocks, and the dry hungry soil, are here
-planted upon ridges of artificial rock-work; where they shew all
-the luxuriance of vegetation that they could amongst the Alps, the
-Pyrenees or the Andes. While a very different tribe, the Aquatics,
-display themselves in a large cistern, where they are constantly
-supplied with their best and most natural nourishment the rain water,
-conveyed to them from the eves of the richest greenhouse I have ever
-seen.
-
-
-
-
-William Andrews Clark Memorial Library: University of California
-
-THE AUGUSTAN REPRINT SOCIETY
-
-_General Editors_
-
-  H. RICHARD ARCHER
-    William Andrews Clark Memorial Library
-
-  R.C. BOYS
-    University of Michigan
-
-  E.N. HOOKER
-    University of California, Los Angeles
-
-  JOHN LOFTIS
-    University of California, Los Angeles
-
-
-The society exists to make available inexpensive reprints (usually
-facsimile reproductions) of rare seventeenth and eighteenth century
-works.
-
-The editorial policy of the Society continues unchanged. As in the
-past, the editors welcome suggestions concerning publications.
-
-All correspondence concerning subscriptions in the United States
-and Canada should be addressed to the William Andrews Clark
-Memorial Library, 2205 West Adams Blvd., Los Angeles 18, California.
-Correspondence concerning editorial matters may be addressed to any of
-the general editors. Membership fee continues $2.50 per year. British
-and European subscribers should address B.H. Blackwell, Broad Street,
-Oxford, England.
-
-
-Publications for the fifth year [1950-1951]
-
-(_At least six items, most of them from the following list, will be
-reprinted_.)
-
-FRANCES REYNOLDS (?): _An Enquiry Concerning the Principles of Taste,
-and of the Origin of Our Ideas of Beauty, &c._ (1785). Introduction by
-James L. Clifford.
-
-THOMAS BAKER: _The Fine lady's Airs_ (1709). Introduction by John
-Harrington Smith.
-
-DANIEL DEFOE: _Vindication of the Press_ (1718). Introduction by Otho
-Clinton Williams.
-
-JOHN EVELYN: _An Apologie for the Royal Party_ (1659); _A Panegyric to
-Charles the Second_ (1661). Introduction by Geoffrey Keynes.
-
-CHARLES MACKLIN: _Man of the World_ (1781). Introduction by Dougald
-MacMillan.
-
-_Prefaces to Fiction_. Selected and with an Introduction by Benjamin
-Boyce.
-
-THOMAS SPRAT: _Poems_.
-
-SIR WILLIAM PETTY: _The Advice of W.P. to Mr. Samuel Hartlib for the
-Advancement of some particular Parts of Learning_ (1648).
-
-THOMAS GRAY: _An Elegy Wrote in a Country Church Yard_ (1751).
-(Facsimile of first edition and of portions of Gray's manuscripts of
-the poem).
-
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-  2205 West Adams Boulevard
-  Los Angeles 18, California_
-
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-
-NOTE: _All income of the Society is devoted to defraying cost of
-printing and mailing_.
-
-
-
-
-PUBLICATIONS
-
-
-First Year (1946-1947)
-
-1. Richard Blackmore's _Essay upon Wit_ (1716), and Addison's
-_Freeholder_ No. 45 (1716).
-
-2. Samuel Cobb's _Of Poetry_ and _Discourse on Criticism_ (1707).
-
-3. _Letter to A.H. Esq.; concerning the Stage_ (1698), and Richard
-Willis' _Occasional Paper No. IX_ (1698). (OUT OF PRINT)
-
-4. _Essay on Wit_ (1748), together with Characters by Flecknoe, and
-Joseph Warton's _Adventurer_ Nos. 127 and 133. (OUT OF PRINT)
-
-5. Samuel Wesley's _Epistle to a Friend Concerning Poetry_ (1700) and
-_Essay on Heroic Poetry_ (1693).
-
-6. _Representation of the Impiety and Immorality of the Stage_(1704)
-and _Some Thoughts Concerning the Stage_ (1704).
-
-
-Second Year (1947-1948)
-
-7. John Gay's _The Present State of Wit_ (1711); and a section on Wit
-from _The English Theophrastus_ (1702).
-
-8. Rapin's _De Carmine Pastorali_, translated by Creech (1684).
-
-9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736).
-
-10. Corbyn Morris _Essay towards Fixing the True Standards of Wit,
-etc_. (1744).
-
-11. Thomas Purney's _Discourse on the Pastoral_ (1717).
-
-12. Essays on the Stage, selected, with an Introduction by Joseph Wood
-Krutch.
-
-
-Third Year (1948-1949)
-
-13. Sir John Falstaff (pseud.), _The Theatre_ (1720).
-
-14. Edward Moore's _The Gamester_ (1753).
-
-15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_
-(1712); and Arthur Mainwaring's _The British Academy_ (1712).
-
-16. Nevil Payne's _Fatal Jealousy_ (1673).
-
-17. Nicholas Rowe's _Some Account of the Life of Mr. William
-Shakespear_ (1709).
-
-18. Aaron Hill's Preface to _The Creation_; and Thomas Brereton's
-Preface to _Esther_.
-
-
-Fourth Year (1949-1950)
-
-19. Susanna Centlivre's _The Busie Body_ (1709).
-
-20. Lewis Theobald's _Preface to The Works of Shakespeare_ (1734).
-
-21. _Critical Remarks on Sir Charles Gradison, Clarissa, and Pamela_
-(1754).
-
-22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two
-_Rambler_ papers (1750).
-
-23. John Dryden's _His Majesties Declaration Defended_ (1681).
-
-24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which
-from Settled Principles is Rendered the Grounds for Choosing and
-Rejecting Epigrams_, translated by J.V. Cunningham.
-
-
-
-
-
-End of the Project Gutenberg EBook of Essays on Taste, by John Gilbert Cooper
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