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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: An Apology For The Study of Northern Antiquities + +Author: Elizabeth Elstob + +Commentator: Charles Peake + +Release Date: March 11, 2005 [EBook #15329] +Posting Date: July 19, 2009 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK NORTHERN ANTIQUITIES *** + + + + +Produced by David Starner, Louise Hope and the Online Distributed + + + + + +</pre> + +<br> +<div class = "mynote"> + +<p><a name = "start" id = "start">This text</a> uses UTF-8 (Unicode) +file encoding. If the apostrophes and quotation marks in this paragraph +appear as garbage, you may have an incompatible browser or unavailable +fonts. First, make sure that your browser’s “character set” or “file +encoding” is set to Unicode (UTF-8). You may also need to change the +default font.</p> + +<p>The primary text includes a number of brief citations from languages +other than English, and in scripts other than Roman. Text printed in +blackletter type—German, Middle English, Old French—is shown +<span class = "fraktur">like this</span> (boldface, sans-serif). All +passages in non-Roman scripts include <span class = "greek" title = +"like this">mouse-hover transliterations</span>. Note that font support +for Gothic and Saxon is limited, so your browser may not be able to +display these texts as printed.</p> + +<p>Changes or corrections to the text are shown with <ins class = +"correction" title = "like this">mouse-hover popups</ins>.</p> + +<p class = "center"> +<a href = "#intro">Introduction</a><br> +<a href = "#apology">An Apology...</a><br> +<a href = "#notes">Footnotes</a><br> +<a href = "#ARSpubs">Augustan Reprints</a> +</div> + + +<div class = "titlepage"> + +<h1 class = "smallcaps">The Augustan Reprint Society</h1> + +<p> <br> </p> + +<h3>ELIZABETH ELSTOB<br> +<i>An Apology for the Study of<br> +Northern Antiquities</i><br> +(1715)</h3> + +<p> </p> + +<h4>Introduction by<br> +Charles Peake</h4> + +<p> <br> </p> + +<h6>Publication Number 61</h6> + +<p> <br> </p> + +<h6>Los Angeles<br> +William Andrews Clark Memorial Library<br> +University of California<br> +1956</h6> + +</div> + +<hr> + +<div class = "center"> +<h5>GENERAL EDITORS</h5> + +<p><span class = "smallcaps">Richard C. Boys</span>, <i>University of +Michigan</i><br> +<span class = "smallcaps">Ralph Cohen</span>, <i>University of +California, Los Angeles</i><br> +<span class = "smallcaps">Vinton A. Dearing</span>, <i>University of +California, Los Angeles</i><br> +<span class = "smallcaps">Lawrence Clark Powell</span>, <i>Clark +Memorial Library</i></p> + +<h5>ASSISTANT EDITOR</h5> + +<p><span class = "smallcaps">W. Earl Britton</span>, +<i>University of Michigan</i></p> + +<h5>ADVISORY EDITORS</h5> + +<p><span class = "smallcaps">Emmett L. Avery</span>, <i>State College of +Washington</i><br> +<span class = "smallcaps">Benjamin Boyce</span>, <i>Duke +University</i><br> +<span class = "smallcaps">Louis Bredvold</span>, <i>University of +Michigan</i><br> +<span class = "smallcaps">John Butt</span>, <i>King’s College, +University of Durham</i><br> +<span class = "smallcaps">James L. Clifford</span>, <i>Columbia +University</i><br> +<span class = "smallcaps">Arthur Friedman</span>, <i>University of +Chicago</i><br> +<span class = "smallcaps">Edward Niles Hooker</span>, <i>University of +California, Los Angeles</i><br> +<span class = "smallcaps">Louis A. Landa</span>, <i>Princeton +University</i><br> +<span class = "smallcaps">Samuel H. Monk</span>, <i>University of +Minnesota</i><br> +<span class = "smallcaps">Ernest C. Mossner</span>, <i>University of +Texas</i><br> +<span class = "smallcaps">James Sutherland</span>, <i>University +College, London</i><br> +<span class = "smallcaps">H. T. Swedenberg, Jr.</span>, +<i>University of California, Los Angeles</i></p> + +<h5>CORRESPONDING SECRETARY</h5> + +<p><span class = "smallcaps">Edna C. Davis</span>, <i>Clark Memorial +Library</i></p> + +</div> + +<hr> + +<div class = "intro"> + +<span class = "pagenum">i</span> + +<h4><a name = "intro" id = "intro">INTRODUCTION</a></h4> + +<p>The answerers who rushed into print in 1712 against Swift’s +<i>Proposal for Correcting, Improving and Ascertaining the English +Tongue</i> were so obviously moved by the spirit of faction that, apart +from a few debating points and minor corrections, it is difficult to +disentangle their legitimate criticisms from their political prejudices. +As Professor Landa has written in his introduction to Oldmiron’s +<i>Reflections on Dr. Swift’s Letter to Harley</i> and Mainwaring’s +<i>The British Academy</i> (<ins class = "correction" title = "text reads ‘Auguston’">Augustan</ins> Reprint Society, 1948): “It is not as +literature that these two answers to Swift are to be judged. They are +minor, though interesting, documents in political warfare which cut +athwart a significant cultural controversy.”</p> + +<p>Elizabeth Elstob’s <i>Apology for the Study of Northern +Antiquities</i> prefixed to her <i>Rudiments of Grammar for the +English-Saxon Tongue</i> is an answer of a very different kind. It did +not appear until 1715; it exhibits no political bias; it agrees with +Swift’s denunciation of certain current linguistic habits; and it does +not reject the very idea of regulating the language as repugnant to the +sturdy independence of the Briton. Elizabeth Elstob speaks not for a +party but for the group of antiquarian scholars, led by Dr. Hickes, who +were developing and popularizing the study of the Anglo-Saxon origins of +the English language--a study which had really started in the +seventeenth century.</p> + +<p>What irritated Miss Elstob in the <i>Proposal</i> was not Swift’s +eulogy or Harley and the Tory ministry, but his scornful reference to +antiquarians as “laborious +<span class = "pagenum">ii</span> +men of low genius,” his failure to recognize that his manifest ignorance +of the origins of the language was any bar to his pronouncing on it or +legislating for it, and his repetition of some of the traditional +criticisms of the Teutonic elements in the language, in particular the +monosyllables and consonants. Her sense of injury was personal as well +as academic. Her brother William and her revered master Dr. Hickes were +among the antiquarians whom Swift had casually insulted, and she herself +had published an elaborate edition of <i>An English-Saxon Homily on the +Birthday of St. Gregory</i> (1709) and was at work on an Anglo-Saxon +homilarium. Moreover she had a particular affection for her field of +study, because it had enabled her to surmount the obstacles to learning +which had been put in her path as a girl, and which had prevented her, +then, from acquiring a classical education. Her <i>Rudiments</i>, the +first Anglo-Saxon grammar written in English, was specifically designed +to encourage ladies suffering from similar educational disabilities to +find an intellectual pursuit. Her personal indignation is shown in her +sharp answer to Swift’s insulting phrase, and in her retaliatory +classification of the Dean among the “light and fluttering wits.”</p> + +<p>As a linguistic historian she has no difficulty in exposing Swift’s +ignorance, and in establishing her claim that if there is any refining +or ascertaining of the English language to be done, the antiquarian +scholars must be consulted. But it is when she writes as a literary +critic, defending the English language, with its monosyllables and +consonants, as a literary medium, that she is most interesting.</p> + +<p>There was nothing new in what Swift had said of the character of the +English language; he was merely echoing criticisms which had been +expressed frequently since the early sixteenth century. The number of +English monosyllables was sometimes complained of, because to ears +trained on the classical languages they sounded harsh, barking, unfitted +for eloquence; sometimes because they were believed to impede the +metrical flow in poetry; sometimes because, being particularly +<span class = "pagenum">iii</span> +characteristic of colloquial speech, they were considered low; and often +because they were associated with the languages of the Teutonic tribes +which had escaped the full refining influence of Roman civilization. +Swift followed writers like Nash and Dekker in emphasizing the first and +last of these objections.</p> + +<p>There were, of course, stock answers to these stock objections. Such +criticism of one’s mother tongue was said to be unpatriotic or +positively disloyal. If it was difficult to maintain that English was as +smooth and euphonious as Italian, it could be maintained that its +monosyllables and consonants gave it a characteristic and masculine +brevity and force. Monosyllables were also very convenient for the +formation of compound words, and, it was argued, should, when properly +managed, be an asset rather than a handicap to the English rhymester. By +the time Swift and Miss Elstob were writing, an increasing number of +antiquarian Germanophils (and also pro-Hanoverians) were prepared to +claim Teutonic descent with pride.</p> + +<p>Most of these arguments had been bandied backwards and forwards +rather inconclusively since the sixteenth century, and Addison in <i>The +Spectator</i> No. 135 expresses a typically moderate opinion on the +matter: the English language, he says, abounds in monosyllables,</p> + +<p class = "inset"> +which gives us an opportunity of delivering our thoughts in few sounds. +This indeed takes off from the elegance of our tongue, but at the same +time expresses our ideas in the readiest manner, and consequently +answers the first design of speech better than the multitude of +syllables, which make the words of other languages more tunable and +sonorous.</p> + +<p>It is likely that neither Swift nor Miss Elstob would have found much +to disagree with in that sentence. Swift certainly never proposed any +reduction in the number of English monosyllables, and the simplicity of +style which he described as “one of the greatest perfections in any +language,” which seemed to him best exemplified in the English Bible, +and which he himself practised so +<span class = "pagenum">iv</span> +brilliantly, has in English a very marked monosyllabic character.</p> + +<p>But in his enthusiasm to stamp out the practice of abbreviating, +beheading and curtailing polysyllables--a practice which seemed to him a +threat to both the elegance and permanence of the language--he described +it as part of a tendency of the English to relapse into their Northern +barbarity by multiplying monosyllables and eliding vowels between the +rough and frequent consonants of their language. His ignorance of the +historical origins of the language and his rather hackneyed remarks on +its character do not invalidate the general scheme of his +<i>Proposal</i> or his particular criticisms of current linguistic +habits, but they did lay him open to the very penetrating and decisive +attack of Elizabeth Elstob.</p> + +<p>In her reply to Swift she repeats all the stock defenses of the +English monosyllables and consonants, but, by presenting them in +combination, and in a manner at once scholarly and forceful, she makes +the most convincing case against Swift. Unlike most of her predecessors, +Miss Elstob is not on the defensive. She is always ready to give a sharp +personal turn to her scholarly refutations--as, for instance, when she +demonstrates the usefulness of monosyllables in poetry by illustrations +from a series of poets beginning with Homer and ending with Swift. There +can be little doubt that Swift is decisively worsted in this +argument.</p> + +<p>It is not known whether Swift ever read Miss Elstob’s +<i>Rudiments</i>, though it is interesting to notice a marked change of +emphasis in his references to the Anglo-Saxon language. In the +<i>Proposal</i> he had declared with a pretense of knowledge, that +Anglo-Saxon was “excepting some few variations in the orthography... the +same in most original words with our present English, as well as with +German and other northern dialects.” But in <i>An Abstract of the +History of England</i> (probably revised in 1719) he says that the +English which came in with the Saxons was “extremely different from what +it is now.” The two statements are not incompatible, +<span class = "pagenum">v</span> +but the emphasis is remarkably changed. It is possible that some friend +had pointed out to Swift that his earlier statement was too gross a +simplification, or alternatively that someone had drawn his attention to +Elizabeth Elstob’s <i>Rudiments</i>.</p> + +<p>All writers owe much to the labors of scholarship and are generally +ill-advised to scorn or reject them, however uninspired and uninspiring +they may seem. Moreover when authors do enter into dispute with +“laborious men of low genius” they frequently meet with more than their +match. Miss Elstob’s bold and aggressive defense of Northern antiquities +was remembered and cited by a later scholar, George Ballard, as a +warning to those who underestimated the importance of a sound knowledge +of the language. Indeed, he wrote, “I thought that the bad success Dean +Swift had met with in this affair from the incomparably learned and +ingenious Mrs. Elstob would have deterred all others from once venturing +in this affair.” (John Nichols, <i>Illustrations of the Literary History +of the Eighteenth Century</i>, +1822, IV, 212.)</p> + +<p class = "righthalf"> +Charles Peake<br> +University College, London</p> + +</div> +<!-- end div intro --> + + +<hr> +<hr> + +<div class = "titlepage"> + +<a name = "apology" id = "apology"> </a> + +<h5 class = "extended">THE</h5> + +<h2>RUDIMENTS</h2> + +<h5 class = "extended">OF</h5> + +<h1 class = "extended">GRAMMAR</h1> + +<h5 class = "extended">FOR THE</h5> + +<h1>English-Saxon Tongue,</h1> + +<h4>First given in <span class = "smallcaps">English</span>:</h4> + +<h6 class = "extended">WITH AN</h6> + +<h2 class = "extended">APOLOGY</h2> + +<h5>For the Study of</h5> + +<h3>NORTHERN ANTIQUITIES.</h3> + +<h5>Being very useful towards the understanding our ancient +<i>English</i> <span class = "smallcaps">Poets</span>, and other <span +class = "smallcaps">Writers</span>.</h5> + +<hr> + +<h3>By <span class = "smallcaps">Elizabeth Elstob</span>.</h3> + +<hr> + +<h6 class = "hanging"> +<i>Our Earthly Possessions are truly enough called a <span class = +"smallcaps">Patrimony</span>, as derived to us by the Industry of our +<span class = "smallcaps">Fathers</span>; but the Language that we speak +is our <span class = "smallcaps">Mother-Tongue</span>; And who so proper +to play the Criticks in this as the <span class = +"smallcaps">Females</span>.</i></h6> + +<h6 class = "right">In a Letter from a Right Reverend Prelate to the +Author.</h6> + +<hr> + +<h5 class = "extended"><i>LONDON.</i></h5> + +<h6>Printed by <i>W. Bowyer:</i> And Sold by <span class = +"smallcaps">J. Bowyer</span> at the <i>Rose</i> in +<i>Ludgate-street</i>, and <span class = "smallcaps">C. King</span> in +<i>Westminster-hall</i>, 1715.</h6> + +</div> + +<hr> + +<span class = "pagenum">i</span> +<span class = "folionum">B</span> + +<p class = "illustration"> +<img src = "images/headpiece_i.png" width = "375" height = "117" +alt = "decoration"></p> + +<h5 class = "extended">THE</h5> + +<h1 class = "extended">PREFACE</h1> + +<h5 class = "extended">TO THE</h5> + +<h3>Reverend Dr. <i>Hickes</i>.</h3> + +<p> <span class = "extended">SIR</span>,</p> + +<div class = "ital"> + +<p><img src = "images/capS.png" width = "131" height = "139" +align = "left" alt = "S">OON after the Publication of the Homily on St. +Gregory, I was engaged by the Importunity of my Friends, to make a Visit +to <em>Canterbury</em>, as well to enjoy the Conversations of my Friends +and Relations there, as for that Benefit which I hoped to receive from +Change of Air, and freer Breathing, which is the usual Expectation of +those, who are used to a sedentary Life and Confinement in the great +City, and which renders such an Excursion +<span class = "pagenum">ii</span> +now and then excusable. In this Recess, among the many Compliments and +kind Expressions, which their favourable Acceptance of my first Attempt +in <em>Saxon</em>, had obtained for me from the Ladies, I was more +particularly gratified, with the new Friendship and Conversation, of a +young Lady, whose Ingenuity and Love of Learning, is well known and +esteem’d, not only in that Place, but by your self: and which so far +indear’d itself to me, by her promise that she wou’d learn the <em>Saxon +Tongue</em>, and do me the Honour to be my <em>Scholar</em>, as to make +me think of composing an <em>English Grammar</em> of that Language for +her use. That Ladies Fortune hath so disposed of her since that time, +and hath placed her at so great distance, as that we have had no +Opportunity, of treating farther on this Matter, either by Discourse or +Correspondence. However though a Work of a larger Extent, and which hath +amply experienced your Encouragement, did for some time make me lay +aside this Design, yet I did not wholly reject it. For having re-assumed +this Task, and accomplish’d it in such manner at I was able, I now send +it to you, for your Correction, and that Stamp of Authority, it must +needs receive from a Person of such perfect and exact Judgement in these +Matters, in order to make it current, and worthy of Reception from the +Publick. Indeed I might well have spared my self the labour of such an +Attempt, after the elaborate Work of your rich and learned +<em>Thesaurus</em>, and the ingenious Compendium of it by Mr. +<em>Thwaites</em>; but considering the Pleasure I my self had reaped +from the Knowledge I have gained from this Original of our Mother +Tongue, and that others of my own Sex, might be capable of the same +Satisfaction: I resolv’d to give them the Rudiments of that Language in +an English Dress. However not ’till I +<span class = "pagenum">iii</span> +<span class = "folionum">B2</span> +had communicated to you my Design for your Advice, and had receiv’d your +repeated Exhortation, and Encouragement to the Undertaking.</p> + +<p>The Method I have used, is neither entirely new, out of a Fondness +and Affectation of Novelty: nor exactly the same with what has been in +use, in teaching the learned Languages. I have retain’d the old Division +of the Parts of Speech, nor have I rejected the other common Terms of +<em>Grammar</em>; I have only endeavour’d to explain them in such a +manner, as to hope they may be competently understood, by those whose +Education, hath not allow’d them an Acquaintance with the Grammars of +other Languages. There is one Addition to what your self and Mr. +<em>Thwaites</em> have done on this Subject, for which you will, I +imagine, readily pardon me: I have given most, if not all the +<em>Grammatical</em> Terms in true old <em>Saxon</em>, from +<em>Ælfrick</em>’s Translation of <em>Priscian</em>, to shew the +<em>polite</em> Men of our Age, that the Language of their Forefathers +is neither so barren nor barbarous as they affirm, with equal Ignorance +and Boldness. Since this is such an Instance of its Copiousness, as is +not to be found in any of the polite modern Languages; and the +<em>Latin</em> itself is beholden to the <em>Greek</em>, not only for +the Terms, but even the Names of Arts and Sciences, as is easily +discerned in the Words, <em>Philosophy</em>, <em>Grammar</em>, +<em>Logick</em>, <em>Rhetorick</em>, <em>Geometry</em>, +<em>Arithmetick</em>, &c. These Gentlemens ill Treatment of our +Mother Tongue has led me into a Stile not so agreeable to the Mildness +of our Sex, or the usual manner of my Behaviour, to Persons of your +Character; but the Love and Honour of one’s Countrey, hath in all Ages +been acknowledged such a Virtue, as hath admitted of a Zeal even +somewhat extravagant. <em>Pro Patria mori</em>, used to be one of the +great Boasts of +<span class = "pagenum">iv</span> +Antiquity; and even the so celebrated Magnanimity of <em>Cato</em>, and +such others as have been called Patriots, had wanted their Praise, and +their Admiration, had they wanted this Plea. The Justness and Propriety +of the Language of any Nation, hath been always rightly esteem’d a great +Ornament and Test of the good Sense of such a Nation; and consequently +to arraign the good Sense or Language of any Nation, is to cast upon it +a great Reproach. Even private Men are most jealous, of any Wound, that +can be given them in their intellectual Accomplishments, which they are +less able to endure, than Poverty itself or any other kind of Disgrace. +This hath often occasion’d my Admiration, that those Persons, who talk +so much, of the Honour of our Countrey, <em>of the correcting, improving +and ascertaining</em> of our Language, shou’d dress it up in a Character +so very strange and ridiculous: or to think of improving it to any +degree of Honour and Advantage, by divesting it of the Ornaments of +Antiquity, or separating it from the <em>Saxon</em> Root, whose Branches +were so copious and numerous. But it is very remarkable how Ignorance +will make Men bold, and presume to declare that unnecessary, which they +will not be at the pains to render useful. Such kind of Teachers are no +new thing, the Spirit of Truth itself hath set a mark upon them; +<em>Desiring to be Teachers of the Law, understanding neither what they +say, nor whereof they affirm, 1 <i>Tim.</i> 1. 7.</em> It had been well +if those wise <em>Grammarians</em> had understood this Character, who +have taken upon them to teach our Ladies and young Gentlemen, <em>The +whole System of an English Education</em>; they had not incurr’d those +Self-contradictions of which they are guilty; they had not mention’d +your self, and your incomparable Treasury of <em>Northern +Literature</em> in so cold +<span class = "pagenum">v</span> +and negligent a manner, as betrays too much of an invidious Pedantry: +But in those Terms of Veneration and Applause which are your just +Tribute, not only from the Learned of your own Countrey, but of most of +the other Northern Nations, whether more or less Polite: Who would any +of them have glory’d in having you their Native, who have done so much +Honour to the Original of almost all the Languages in Europe.</p> + +<p>But it seems you are not of so much Credit with these +<em>Gentlemen</em>, who question your Authority, and have given a very +visible Proof of their Ingenuity in an Instance which plainly discovers, +that they cannot believe their own Eyes.</p> + +<p class = "inset"> +“The <em>Saxons</em>, say they, if we may credit Dr. <em>Hickes</em>, +had various Terminations to their Words, at least two in every +Substantive singular: whereas we have no Word now in use, except the +personal Names that has so. Thus Dr. <em>Hickes</em> has made six +several <em>Declensions</em> of the <em>Saxon</em> Names: He gives them +three <em>Numbers</em>; a Singular, Dual, and Plural: We have no Dual +Number, except perhaps in <em>Both</em>: To make this plainer, we shall +transcribe the six Declensions from that Antiquary’s Grammar.”</p> + +<p>I would ask these Gentlemen, and why not credit Dr. <em>Hickes</em>? +Is he not as much to be believ’d as those Gentlemen, who have +transcribed so plain an Evidence of the six Declensions to shew the +positive Unreasonableness and unwarrantable Contradiction of their +Disbelief? Did he make those six Declensions? or rather, did he not find +them in the Language, and take so much pains to teach others to +distinguish them, who have Modesty enough to be taught? They are pleased +to say we have no Word now in use that admits of Cases or Terminations. +But let us ask them, what +<span class = "pagenum">vi</span> +they think of these Words, <em>God’s Word</em>, <em>Man’s Wisdom</em>, +the <em>Smith’s Forge</em>, and innumerable Instances more. For in +<em>God’s Word</em>, &c. is not the Termination <em>s</em> a plain +Indication of a Genitive Case, wherein the Saxon <em>e</em> is omitted? +For example, +<span class = "greek" title = "[Saxon] Godes Word">Go?e? ?o??</span>, +<span class = "greek" title = "[Saxon] Mannes Wisdom">Manne? +?i??om</span>, +<span class = "greek" title = "[Saxon] Smiðes Heorð">?miðe? +Heo?ð</span>. +Some will say, that were better supplied by <em>his</em>, or +<em>hers</em>, as Man <em>his</em> Thought, the Smith <em>his</em> +Forge; but this Mistake is justly exploded. Yet if these Gentlemen will +not credit Dr. <em>Hickes</em>, the <em>Saxon</em> Writings might give +them full Satisfaction. The <em>Gospels</em>, the <em>Psalms</em>, and a +great part of the <em>Bible</em> are in <em>Saxon</em>, so are the +<em>Laws</em> and <em>Ecclesiastical Canons</em>, and <em>Charters</em> +of most of our <em>Saxon Kings</em>; these one wou’d think might deserve +their Credit. But they have not had Learning or Industry enough to fit +them for such Acquaintance, and are forc’d therefore to take up their +Refuge with those Triflers, whose only Pretence to Wit, is to despise +their Betters. This Censure will not, I imagine, be thought harsh, by +any candid Reader, since their own Discovery has sufficiently declared +their Ignorance: and their Boldness, to determine things whereof they +are so ignorant, has so justly fix’d upon them the Charge of Impudence. +For otherwise they must needs have been ashamed to proceed in manner +following.</p> + +<p class = "inset"> +“We might give you various Instances more of the essential difference +between the old <em>Saxon</em> and modern <em>English</em> Tongue, but +these must satisfy any reasonable Man, that it is so great, that the +<em>Saxon</em> can be no Rule to us; and that to understand ours, there +is no need of knowing the <em>Saxon</em>: And tho’ Dr. <em>Hickes</em> +must be allow’d to have been a very curious Enquirer into those obsolete +Tongues, now out of use, and containing nothing valuable, yet it does by +no means follow (as is plain from what has been said) +<span class = "pagenum">vii</span> +that we are obliged to derive the Sense, Construction, or Nature of our +present Language from his Discoveries.”</p> + +<p>I would beseech my Readers to observe, the Candour and Ingenuity of +these Gentlemen: They tell us, <em>We might give you various Instances +more of the essential difference between the old <i>Saxon</i> and modern +<i>English</i> Tongue</em>; and yet have plainly made it appear, that +they know little or nothing of the old <em>Saxon</em>. So that it will +be hard to say how they come to know of any such <em>essential +difference, as <i>MUST</i> satisfy any reasonable Man</em>; and much +more that this <em>essential difference</em> is so <em>great, that the +<i>Saxon</i> can be no Rule to us, and that to understand ours, there is +no need of knowing the <i>Saxon</i>.</em> What they say, <em>that it +cannot be a Rule to them</em>, is true; for nothing can be a Rule of +Direction to any Man, the use whereof he does not understand; but if to +understand the Original and Etymology of the Words of any Language, be +needful towards knowing the Propriety of any Language, a thing which I +have never heard hath yet been denied; then do these Gentlemen stand +self-condemned, there being no less than four Words, in the Scheme of +Declensions they have borrowed from Dr. <em>Hickes</em>, now in use, +which are of pure <em>Saxon</em> Original, and consequently +<em>essential to the modern English</em>. I need not tell any English +Reader at this Day the meaning of <em>Smith</em>, <em>Word</em>, +<em>Son</em>, and <em>Good</em>; but if I tell them that these are Saxon +Words, I believe they will hardly deny them to be <em>essential to the +modern English</em>, or that they will conclude that the difference +between the old <em>English</em> and the modern is so great, or the +distance of Relation between them so remote, as that the former deserves +not to be remember’d: except by such Upstarts who having no Title to +<span class = "pagenum">viii</span> +a laudable Pedigree, are backward in all due Respect and Veneration +towards a noble Ancestry.</p> + +<p>Their great Condescension to Dr. <em>Hickes</em> in allowing him to +have been a very curious Inquirer into those <em>obsolete Tongues, now +out of use, and containing nothing valuable in them</em>, is a +Compliment for which I believe you, Sir, will give me leave to assure +them, that he is not at all obliged; since if it signifies any thing, it +imports, no less than that he has employ’d a great deal of Time, and a +great deal of Pains, to little purpose. But we must at least borrow so +much Assurance from them, as to tell them, that your Friends, who +consist of the most learned sort of your own Countrey-men, and of +Foreigners, do not think those Tongues so obsolete and out of use, whose +Significancy is so apparent in Etymology; nor do they think those Men +competent Judges to declare, whether there be any thing contained in +them valuable or not, who have made it clear, that they know not what is +<em>contain’d</em> in them. They would rather assure them, that our +greatest <a class = "tag" name = "tagA" id = "tagA" href = +"#noteA">A</a>Divines, and <a class = "tag" name = "tagB" id = "tagB" +href = "#noteB">B</a>Lawyers, and <a class = "tag" name = "tagC" id = +"tagC" href = "#noteC">C</a>Historians are of another Opinion, they +wou’d advise them to consult our Libraries, those of the two +Universities, the <em>Cottonian</em>, and my Lord Treasurers; to study +your whole <em>Thesaurus</em>, particularly your <em>Dissertatio +Epistolaris</em>, to +<span class = "pagenum">ix</span> +<span class = "folionum">C</span> +look into Mr. <em>Wanleys</em> large and accurate Catalogue of +<em>Saxon</em> Manuscripts, and so with Modesty gain a Title to the +Applause of having confest their former Ignorance, and reforming their +Judgment. I believe I may farther take leave to assure them, that the +Doctor is as little concerned for their <em>Inference</em>, which they +think <em>so plain from what has been said, that they are not obliged to +derive the Sense, Construction, or Nature of our present Language from +his Discoveries</em>. He desires them not to <em>derive</em> the +<em>Sense</em> and <em>Construction</em> of which they speak, in any +other manner, than that in which the Nature of the things themselves +makes them appear; and so far as they are his <em>Discoveries</em> only, +intrudes them on no Man. He is very willing they should be let alone by +those, who have not Skill to use them to their own Advantage, and with +Gratitude.</p> + +<p>But to leave these Pedagogues to huff and swagger in the heighth of +all their Arrogance. I cannot but think it great Pity, that in our +Considerations, for Refinement of the <em>English</em> Tongue, so little +Regard is had to Antiquity, and the Original of our present Language, +which is the <em>Saxon</em>. This indeed is allow’d by an ingenious +Person, who hath lately made some Proposals for the Refinement of the +<em>English</em> Tongue, <em>That the old <i>Saxon</i>, except in some +few Variations in the Orthography, is the same in most original Words +with our present <i>English</i>, as well as with the <i>German</i> and +other <i>Northern</i> Dialects</em>; which makes it a little surprizing +to me, to find the same Gentleman not long after to say, <em>The other +Languages of <i>Europe</i> I know nothing of, neither is there any +occasion to consider them</em>: because, as I have before observ’d, it +must be very difficult to imagin, how a Man can judge of a thing he +knoweth nothing of, whether there can be +<span class = "pagenum">x</span> +occasion or no to consider it. I must confess I hope when ever such a +Project shall be taken in hand, for <em>correcting</em>, +<em>enlarging</em>, and <em>ascertaining</em> our Language, a competent +Number of such Persons will be advised with, as are knowing, not only in +<em>Saxon</em>, but in the other Languages of <em>Europe</em>, and so be +capable of judging how far those Languages may be useful in such a +Project. The want of understanding this aright, wou’d very much injure +the Success of such an Undertaking, and the bringing of it to +Perfection; in denying that Assistance toward adjusting the Propriety of +Words, which can only be had from the Knowledge of the Original, and +likewise in depriving us of the Benefit of many useful and significant +Words, which might be revived and recalled, to the Increase and Ornament +of our Language, which wou’d be the more beautiful, as being more +genuine and natural, by confessing a <em>Saxon</em> Original for their +native Stock, or an Affinity with those Branches of the other +<em>Northern Tongues</em>, which own the same Original.</p> + +<p>The want of knowing the <em>Northern Languages</em>, has occasion’d +an unkind Prejudice towards them: which some have introduced out of +Rashness, others have taken upon Tradition. As if those Languages were +made up of nothing else but Monosyllables, and harsh sounding +Consonants; than which nothing can be a greater Mistake. I can speak for +the <em>Saxon</em>, <em>Gothick</em>, and <em>Francick</em>, or old +<em>Teutonick</em>: which for aptness of compounded, and well sounding +Words, and variety of Numbers, are by those learned Men that understand +them, thought scarce inferior to the <em>Greek</em> itself. I never +cou’d find my self shocked with the Harshness of those Languages, which +grates so much in the Ears of those that never heard them. I never +perceiv’d in the +<span class = "pagenum">xi</span> +<span class = "folionum">C2</span> +Consonants any Hardness, but such as was necessary to afford Strength, +like the Bones in a human Body, which yield it Firmness and Support. So +that the worst that can be said on this occasion of our Forefathers is, +that they spoke at they fought, like Men.</p> + +<p>The Author of the <em>Proposal</em>, may think this but an ill +Return, for the soft things he has said of the Ladies, but I think it +Gratitude at least to make the Return, by doing Justice to the +Gentlemen. I will not contradict the Relation of the ingenious +Experiment of his vocal Ladies, tho’ I could give him some Instances to +the contrary, in my Experience of those, whose Writings abound with +Consonants; where Vowels must generally be understood, and appear but +very rarely. Perhaps that Gentleman may be told that I have a +<em>Northern</em> Correspondence, and a <em>Northern</em> Ear, probably +not so fine as he may think his own to be, yet a little musical.</p> + +<p>And now for our <em>Monosyllables</em>. In the Controversy concerning +which, it must be examined, first whether the Charge which is exhibited +against the <em>Northern Languages</em> is true, that they consist of +nothing but <em>Monosyllables</em>; and secondly, whether or no the +Copiousness and Variety of <em>Monosyllables</em> may be always justly +reputed a fault, and may not sometimes as justly be thought, to be very +useful and ornamental.</p> + +<p>And first I must assert, that the ancient <em>Northern +Languages</em>, do not wholly nor mostly consist of +<em>Monosyllables</em>. I speak chiefly of the <em>Gothick</em>, +<em>Saxon</em>, and <em>Teutonick</em>. It must be confest that in the +<em>Saxon</em>, there are many <em>Primitive</em> Words of one Syllable, +and this to those who know the Esteem that is due to Simplicity and +Plainness, in any Language, will rather be judged a Virtue than a Vice: +That is, that the first Notions of things should be exprest in the +plainest and simplest +<span class = "pagenum">xii</span> +manner, and in the least compass: and the Qualities and Relations, by +suitable Additions, and Composition of <em>Primitive</em> Words<a class += "tag" name = "tagD" id = "tagD" href = "#noteD">D</a>; for which the +<em>Saxon</em> Language is very remarkable, as has been before observed, +and of which there are numerous Examples, in the following Treatise of +<em>Saxon Grammar</em>, and infinitely more might have been added.</p> + +<p>The second Enquiry is, whether or no the Copiousness and Variety of +<em>Monosyllables</em> may be always justly reputed a fault, and may not +as justly be thought, to be very useful and ornamental? Were this a +fault, it might as justly be charged upon the learned Languages, the +<em>Latin</em> and <em>Greek</em>: For the <em>Latin</em> you have in +<em>Lilly</em>’s Rules concerning Nouns, several Verses, made up for the +most part of <em>Monosyllables</em>, I mention him not as a Classick, +but because the Words are Classical and <em>Monosyllables</em>; and in +the <em>Greek</em> there are several as it were, idle +<em>Monosyllables</em>, that have little Significancy, except to make +the Numbers in Verse compleat, or to give a Fulness to their Periods, as +the Verses of <em>Homer</em> and other <em>Greek Poets</em> plainly +evidence: An Instance or two may suffice;</p> + +<p class = "verse" title = "Ex hou dê ta prôta diastêtên erisante."> +?? ?? d? ta p??ta d?ast?t?? ???sa?te.</p> + +<p>Here are four <em>Monosyllables</em> in this Verse,</p> + +<p class = "verse" title = "Tên d’ egô ou lusô, prin min kai gêras epeisen."> +??? d’ ??? ?? ??s?, p??? µ?? ?a? ???a? ?pe?se?.</p> + +<p>Here are six <em>Monosyllables</em>, and one cutting off.</p> + +<span class = "pagenum">xiii</span> + +<div class = "verse"> +<p title = "All’ ithi, mê m’ erethize, saôteros hôs ke neêai.">???’ ???, +µ? µ’ ??????e, sa?te??? ?? ?e ???a?.</p> +<p title = "Hos êdê ta t’ eonta, ta t’ essomena, pro t’ eonta.">?? ?d? +t? t’ ???ta, t? t’ ?ss?µe?a p?? t‘ ???ta.</p> +<p class = "author">Hom. Il. 1. l. 70.</p> +</div> + +<p>Here are seven <em>Monosyllables</em>; yet so far is <em>Virgil</em> +from being angry with his Master <em>Homer</em> on this Account, that he +in a manner transcribes his very Words, imitating him as near as the +<em>Latin</em> wou’d permit;</p> + +<p class = "verse"> +Quæ sint, quæ fuerint, quæ mox ventura trahantur.</p> + +<p>Here is the whole Sense of <em>Homer</em> exprest, and five +<em>Monosyllables</em>. But Mr. <em>Dryden</em>, who has exprest the +Sense of <em>Virgil</em> with no less Accuracy, gives you the whole Line +in <em>Monosyllables</em>;</p> + +<p class = "verse"> +He sees what is, and was, and is to come.</p> + +<p>Mr. <em>Pope</em> is equally happy in the Turn he has given to the +Original, who as he is an exact Master of Criticism, so has he all those +Accomplishments of an excellent Poet, that give us just Reason to hope +he will make the Father of the Poets speak to us in our own Language, +with all the Advantages he gave to his Works in that wherein they were +first written, and the modest Opinion he prescribes to his own, and +other Mens Poetical Performances, is no Discouragement to these +Hopes;</p> + +<div class = "verse"> +<p class = "indent"> +Whoever thinks a faultless Piece to see,</p> +<p>Thinks what ne’er was, nor is, nor e’er shall be.</p> +</div> + +<p>And <em>Horace</em>, while he is teaching us the Beauties in the Art +of Poetry, gives no less than nine <em>Monosyllables</em> in the compass +of a Verse and a half;</p> + +<div class = "verse ital"> +<p><em>Sed nunc non</em> erat <em>his</em> locus: & fortasse +cupressum</p> +<p><em>Scis</em> simulare. <em>Quid hoc si</em>, &c.</p> +</div> + +<span class = "pagenum">xiv</span> +<p>Now if these are Beauties, as I doubt not but the <em>politer +Criticks</em> will allow, I cannot see why our Language may not now and +then be tolerated in using <em>Monosyllables</em>, when it is done +discreetly, and sparingly; and as I do not commend any of our Moderns +who contract Words into <em>Monosyllables</em> to botch up their Verses, +much less such as do it out of Affectation; yet certainly the use of +<em>Monosyllables</em> may be made to produce a charming and harmonious +Effect, where they fall under a Judgment that can rightly dispose and +order them. And indeed, if a Variety and Copiousness of Feet, and a +Latitude of shifting and transposing Words either in Prose or Poetical +Compositions, be of any use, towards the rendering such Compactions +sweet, or nervous, or harmonious, according to the Exigencies of the +several sorts of Stile, one wou’d think <em>Monosyllables</em> to be +best accommodated to all these Purposes, and according to the Skill of +those who know how to manage them, to answer all the Ends, either of +masculine Force, or female Tenderness; for being single you have a +Liberty of placing them where, and as you please; whereas in Words of +many Syllables you are more confined, and must take them as you find +them, or be put upon the cruel necessity of mangling and tearing them +asunder. Mr. <em>Dryden</em>, it is true, wou’d make us believe he had a +great Aversion to <em>Monosyllables</em>. Yet he cannot help making use +of them sometimes in entire Verses, nor conceal his having a sort of +Pride, even where he tells us he was forc’d to do it. For to have done +otherwise would have been a Force on Nature, which would have been +unworthy of so great a Genius, whose Care it was to study Nature, and to +imitate and copy it to the Life; and it is not improbable, that there +might be somewhat of a latent Delicacy and Niceness in this +<span class = "pagenum">xv</span> +Matter, which he chose rather to dissemble, than to expose, to the +indiscreet Management of meaner Writers. For in the first Line of his +great Work the <em>Æneis</em>, every Word is a <em>Monosyllable</em>; +and tho’ he makes a seeming kind of Apology, yet he cannot forbear +owning a secret Pleasure in what he had done. “My first Line in the +<em>Æneis</em>, says he, is not harsh.</p> + +<p class = "verse"> +“Arms and the Man I sing, who forc’d by Fate.</p> + +<p>“But a much better Instance may be given from the last Line of +<em>Manilius</em>, made <em>English</em> by our learned and judicious +Mr. <em>Creech</em>;</p> + +<p class = "verse"> +“Nor could the World have born so fierce a Flame.</p> + +<p>“Where the many liquid Consonants are placed so artfully, that they +give a pleasing Sound to the Words, tho’ they are all of one +Syllable.”</p> + +<p>It is plain from these last Words, that the Subject-matter, +<em>Monosyllables</em>, is not so much to be complain’d of; what is +chiefly to be requir’d, is of the Poet, that he be a good Workman, in +forming them aright, and that he <em>place them artfully</em>: and, +however Mr. <em>Dryden</em> may desire to disguise himself, yet, as he +some where says, Nature will prevail. For see with how much Passion he +has exprest himself towards these two Verses, in which the Poet has not +been sparing of <em>Monosyllables</em>: “I am sure, says he, there are +few who make Verses, have observ’d the Sweetness of these two Lines in +<em>Coopers Hill</em>;</p> + +<div class = "verse"> +<p>“Tho deep, yet clear; tho gentle, yet not dull;</p> +<p>“Strong without Rage, without o’erflowing full.</p> +</div> + +<span class = "pagenum">xvi</span> +<p>“And there are yet fewer that can find the reason of that Sweetness, +I have given it to some of my Friends in Conversation, and they have +allow’d the Criticism to be just.”</p> + +<p>You see, Sir, this great Master had his Reserves, and this was one of +the <em>Arcana</em>, to which every Novice was not admitted to aspire; +this was an Entertainment only for his best Friends, such as he thought +worthy of his Conversation; and I do not wonder at it, for he was +acquainted not only with the <em>Greek</em> and <em>Latin Poets</em>, +but with the best of his own Countrey, as well of ancient as of latter +times, and knew their Beauties and Defects: and tho’ he did not think +himself obliged to be lavish, in dispersing the Fruits of so much Pains +and Labour at random, yet was he not wanting in his Generosity to such +as deserved his Friendship, and in whom he discern’d a Spirit capable of +improving the Hints of so great a Master. To give greater Probability to +what I have said concerning <em>Monosyllables</em>, I will give some +Instances, as well from such Poets as have gone before him, as those +which have succeeded him. It will not be taken amiss by those who value +the Judgment of Sir <em>Philip Sydney</em>, and that of Mr. +<em>Dryden</em>, if I begin with Father <em>Chaucer</em>.</p> + +<p class = "verse"> +<span class = "fraktur">Er it was Day, as was her won to do.</span></p> + +<p>Again,</p> + +<div class = "verse fraktur"> +<p>And but I have her Mercy and her Grace,</p> +<p>That I may seen her at the lefte way;</p> +<p>I nam but deed there nis no more to say.</p> +</div> + +<span class = "pagenum">xvii</span> +<span class = "folionum">D</span> +<p>Again,</p> + +<div class = "verse"> +<p class = "fraktur">Alas, what is this wonder Maladye?</p> +<p class = "fraktur">For heate of colde, for colde of heate I dye.</p> + +<p class = "author"><i>Chaucer</i>’s first Book of <i>Troylus</i>, fol. +159. b.</p> +</div> + +<p>And since we are a united Nation, and he as great a Poet, considering +his time, as this Island hath produced, I will with due Veneration for +his Memory, beg leave to cite the learned and noble Prelate, <em>Gawen +Douglas</em>, Bishop of <em>Dunkeld</em> in <em>Scotland</em>, who in +his Preface to his judicious and accurate Translation of +<em>Virgil</em>, p. 4. says,</p> + +<div class = "verse"> +<p>Nane is, nor was, nor zit sal be, trowe I,</p> +<p>Had, has, or sal have, sic craft in Poetry:</p> +</div> + +<p>Again, p. 5.</p> + +<p class = "verse"> +Than thou or I, my Freynde, quhen we best wene.</p> + +<p>But before, at least contemporary with <em>Chaucer</em>, we find Sir +<em>John Gower</em>, not baulking <em>Monosyllables</em>;</p> + +<div class = "verse fraktur"> +<p>Myne Herte is well the more glad</p> +<p>To write so as he me bad,</p> +<p>And eke my Fear is well the lasse.</p> + +<h5>To <em>Henry</em> the Fourth.</h5> + +<p><em>King Salomon</em> which had at his asking</p> +<p>Of God, what thyng him was leuest crave.</p> +<p>He chase Wysedom unto governyng</p> +<p>Of Goddes Folke, the whiche he wolde save:</p> +<p>And as he chase it fyl him for to have.</p> +<span class = "pagenum">xviii</span> +<p>For through his Witte, while that his Reigne laste,</p> +<p>He gate him Peace, and Rest, into his laste.</p> +</div> + +<p>Again,</p> + +<div class = "verse fraktur"> +<p>Peace is the chefe of al the Worldes Welth,</p> +<p>And to the Heven it ledeth eke the way,</p> +<p>Peace is of Soule and Lyfe the Mannes Helth,</p> +<p>Of Pestylence, and doth the Warre away,</p> +<p>My Liege Lord take hede of that I say.</p> +<p>If Warre may be lefte, take Peace on Hande</p> +<p>Which may not be without Goddes Sande.<a class = "tag" name = "tagE" +id = "tagE" href = "#noteE">E</a></p> +</div> + +<p>Nor were the <em>French</em>, however more polite they may be +thought, than we are said to be, more scrupulous in avoiding them, if +these Verses are upon his Monument;</p> + +<div class = "verse fraktur"> +<p>En toy qui es fitz de Dieu le Pere,</p> +<p>Sauue soit, qui gist sours cest pierre.</p> +</div> + +<p>This will be said to be old <em>French</em>, let us see whether +<em>Boileau</em> will help us out, who has not long since writ the Art +of Poetry;</p> + +<span class = "pagenum">xix</span> +<span class = "folionum">D2</span> + +<div class = "verse"> +<p>Mais moi, grace au Destin, qui n’ai ni feu ne lieu,</p> +<p>Je me loge où je puis, & comme il plaist à Dieu.</p> + +<p class = "author"><i>Sat.</i> vi.</p> +</div> + +<p>And in that which follows,</p> + +<div class = "verse"> +<p>Et tel, en vous lisant, admire chaque traite,</p> +<p>Qui dans le fond de l’ame, & vous craint & vous hait.</p> +</div> + +<p>Let <em>Lydgate</em>, <em>Chaucer</em>’s Scholar also be brought in +for a Voucher;</p> + +<div class = "verse fraktur"> +<p>For <em>Chaucer</em> that my Master was and knew</p> +<p>What did belong to writing Verse and Prose,</p> +<p>Ne’er stumbled at small faults, nor yet did view</p> +<p>With scornful Eye the Works and Books of those</p> +<p>That in his time did write, nor yet would taunt</p> +<p>At any Man, to fear him or to daunt.</p> +</div> + +<p>Tho’ the Verse is somewhat antiquated, yet the Example ought not to +be despised by our modern Criticks, especially those who have any +Respect for <em>Chaucer</em>.</p> + +<p>I might give more Instances out of <em>John Harding</em>, and our +good old Citizen, Alderman <em>Fabian</em>, besides many others: but out +of that Respect to the nice Genij of our Time, which they seldom allow +to others, I will hasten to the Times of greater Politeness, and desire +that room may be made, and attention given to a Person of no less Wit +than Honour, the <em>Earl of Surrey</em>, who at least had all the +Elegancy of a gentle Muse, that may deserve the Praises of our Sex,</p> + +<div class = "verse"> +<p>Her Praise I tune whose Tongue doth tune the Spheres,</p> +<p>And gets new Muses in her Hearers Ears.</p> +<p>Stars fall to fetch fresh Light from her rich Eyes,</p> +<p>Her bright Brow drives the Sun to Clouds beneath.</p> +</div> + +<span class = "pagenum">xx</span> +<p>Again,</p> + +<p class = "verse"> +O Glass! with too much Joy my Thoughts thou greets.</p> + +<p>And again upon the Chamber where his admired <em>Geraldine</em> was +born;</p> + +<div class = "verse"> +<p>O! if <i>Elyzium</i> be above the Ground,</p> +<p>Then here it is, where nought but Joy is found.</p> +</div> + +<p>And <em>Michael Drayton</em>, who had a Talent fit to imitate, and to +celebrate so great a Genius, of all our <em>English</em> Poets, seems +best to have understood the sweet and harmonious placing of +<em>Monosyllables</em>, and has practised it with so great a Variety, as +discovers in him a peculiar Delight, even to Fondness; for which +however, I cannot blame him, notwithstanding this may be reputed the +Vice of our Sex, and in him be thought effeminate. But let the Reader +judge for himself;</p> + +<div class = "verse"> +<p>Care draws on Care, Woe comforts Woe again,</p> +<p>Sorrow breeds Sorrow, one Griefe brings forth twaine,</p> +<p>If live or dye, as thou doost, so do I,</p> +<p>If live, I live, and if thou dye, I dye;</p> +<p>One Hart, one Love, one Joy, one Griefe, one Troth,</p> +<p>One Good, one Ill, one Life, one Death to both.</p> +</div> + +<p>Again,</p> + +<div class = "verse"> +<p>Where as thou cam’st unto the Word of Love,</p> +<p>Even in thine Eyes I saw how Passion strove;</p> +<p>That snowy Lawn which covered thy Bed,</p> +<p>Me thought lookt white, to see thy cheeke so red,</p> +<p>Thy rosye cheeke oft changing in my sight,</p> +<p>Yet still was red to see the Lawn so white:</p> +<span class = "pagenum">xxi</span> +<p>The little Taper which should give the Light,</p> +<p>Me thought waxt dim, to see thy Eye so bright.</p> +</div> + +<p>Again,</p> + +<div class = "verse"> +<p>Your Love and Hate is this, I now do prove you,</p> +<p>You Love in Hate, by Hate to make me love you.</p> +</div> + +<p>And to the Countess of <em>Bedford</em>, one of his great +Patronesses;</p> + +<div class = "verse"> +<p>Sweet Lady yet, grace this poore Muse of mine,</p> +<p>Whose Faith, whose Zeal, whose Life, whose All is thine.</p> +</div> + +<p>The next that I shall mention, is taken out of an ingenious Poem, +entituled, <em>The Tale of the Swans</em>, written by <em>William +Vallans</em> in blank Verse in the time of Queen <em>Elizabeth</em>; for +the reprinting of which, we are obliged to that ingenious and most +industrious Preserver and Restorer of Antiquities, Mr. <em>Thomas +Hearne</em> of <em>Oxford</em>;</p> + +<div class = "verse"> +<p>Among the which the merrie Nightingale</p> +<p>With swete, and swete (her Brest again a Thorne.)</p> +</div> + +<p>In another Place,</p> + +<p class = "verse"> +And in the Launde, hard by the Parke of <i>Ware</i></p> + +<p>Afterwards,</p> + +<p class = "verse"> +To <i>Ware</i> he comes, and to the Launde he flies.</p> + +<p>Again,</p> + +<p class = "verse"> +And in this Pompe they hie them to the Head.</p> + +<span class = "pagenum">xxii</span> +<p>I come now to the incomparable <em>Spencer</em>, against whose +Judgment and Practice, I believe scarce any Man will be so bold as to +oppose himself;</p> + +<div class = "verse"> +<p>Assure your self; it fell not all to Ground;</p> +<p>For all so dear as Life is to my Heart,</p> +<p>I deem your Love, and hold me to you bound.</p> +</div> + +<p>Again,</p> + +<p class = "verse"> +Go say his Foe thy Shielde with his doth bear.</p> + +<p>Afterwards,</p> + +<p class = "verse"> +More old than <i>Jove</i>, whom thou at first didst breed.</p> + +<p>And,</p> + +<p class = "verse"> +And now the Prey of Fowls in Field he lies.</p> + +<p>Nor must <em>Ben. Johnson</em> be forgotten;</p> + +<div class = "verse"> +<p>Thy Praise or Dispraise is to me alike;</p> +<p>One doth not stroke me, nor the other strike.</p> +</div> + +<p>Again,</p> + +<div class = "verse"> +<p>Curst be his Muse, that could lye dumb, or hid</p> +<p>To so true Worth, though thou thy self forbid.</p> +</div> + +<p>In this Train of Voters for <em>Monosyllables</em>, the inimitable +<em>Cowley</em> marches next, whom we must not refuse to hear;</p> + +<div class = "verse"> +<p>Yet I must on; what Sound is’t strikes mine Ear?</p> +<p class = "indent"> +Sure I Fames Trumpet hear.</p> +</div> + +<p>And a little after,</p> + +<div class = "verse"> +<p>Come my best Friends, my Books, and lead me on;</p> +<p class = "indent"> +’Tis time that I were gone.</p> +<span class = "pagenum">xxiii</span> +<p>Welcome, great Stagirite, and teach me now</p> +<p class = "indent"> +All I was born to know.</p> +</div> + +<p>And commending <em>Cicero</em>, he says,</p> + +<div class = "verse"> +<p>Thou art the best of Orators; only he</p> +<p>Who best can praise thee, next must be.</p> +</div> + +<p>And of <em>Virgil</em> thus,</p> + +<div class = "verse"> +<p>Who brought green Poesy to her perfect Age,</p> +<p class = "indent"> +And made that Art, which was a Rage.</p> +</div> + +<p>And in the beginning of the next Ode, he wou’d not certainly have +apply’d himself to WIT in the harsh Cadence of <em>Monosyllables</em>, +had he thought them so very harsh;</p> + +<div class = "verse"> +<p>Tell me, O tell, what kind of thing is Wit,</p> +<p>Thou who Master art of it.</p> +</div> + +<p>Again,</p> + +<div class = "verse"> +<p>In a true Piece of Wit all things must be</p> +<p class = "indent"> +Yet all things there agree.</p> +</div> + +<p>But did he believe such Concord to be inconsistent with the use of +<em>Monosyllables</em>, he had surely banished them from these two +Lines; and were I to fetch Testimonies out of his Writings, I might pick +a Jury of Twelve out of every Page.</p> + +<p>And now comes Mr. <em>Waller</em>, and what does he with his +<em>Monosyllables</em>, but,</p> + +<p class = "verse"> +Give us new Rules, and set our Harp in Tune.</p> + +<p>And that honourable Peer whom he commends, the Lord +<em>Roscommon</em> thus keeps him in Countenance;</p> + +<p class = "verse"> +Be what you will, so you be still the same.</p> + +<span class = "pagenum">xxiv</span> +<p>And again,</p> + +<p class = "verse"> +In her full Flight, and when she shou’d be curb’d.</p> + +<p>Soon after,</p> + +<p class = "verse"> +Use is the Judge, the Law, and Rule of Speech,</p> + +<p>And by and by,</p> + +<div class = "verse"> +<p>We weep and laugh, as we see others do,</p> +<p>He only makes me sad who shews the way:</p> +<p>But if you act them ill, I sleep or laugh.</p> +</div> + +<p>The next I shall mention is my Lord <em>Orrery</em>, who, as Mr. +<em>Anthony Wood</em> says, was a great Poet, Statesman, Soldier, and +great every thing which merits the Name of Great and Good. In his Poem +to Mrs. <em>Philips</em>, he writes thus;</p> + +<div class = "verse"> +<p>For they imperfect Trophies to you raise,</p> +<p>You deserve Wonder, and they pay but Praise;</p> +<p>A Praise which is as short of your great due.</p> +<p>As all which yet have writ come short of you.</p> +</div> + +<p>Again,</p> + +<div class = "verse"> +<p>In Pictures none hereafter will delight,</p> +<p>You draw more to the Life in black and white;</p> +<p>The Pencil to your Pen must yield the Place,</p> +<p>This draws the Soul, where that draws but the Face.</p> +</div> + +<p>But having thank’d these noble Lords for their Suffrage, we will +proceed to some other Witnesses of Quality: And first I beg leave to +appeal to my Lord Duke of <em>Buckinghamshire</em>, his Translation of +<em>The Temple of Death</em>;</p> + +<span class = "pagenum">xxv</span> +<span class = "folionum">E</span> + +<div class = "verse"> +<p>Her Chains were Marks of Honour to the Brave,</p> +<p>She made a Prince when e’er she made a Slave.</p> +</div> + +<p>Again,</p> + +<div class = "verse"> +<p>By wounding me, she learnt the fatal Art,</p> +<p>And the first Sigh she had, was from my Heart.</p> +</div> + +<p>My Lord <em>Hallifax</em>’s Muse hath been very indulgent to +<em>Monosyllables</em>, and no Son of <em>Apollo</em> will dare to +dispute his Authority in this Matter. Speaking of the Death of King +<em>Charles</em> the Second, and his Improvement of Navigation, and +Shipping; he says,</p> + +<div class = "verse"> +<p>To ev’ry Coast, with ready Sails are hurl’d,</p> +<p>Fill us with Wealth, and with our Fame the World.</p> +</div> + +<p>Again,</p> + +<p class = "verse"> +Us from our Foes, and from our selves did shield.</p> + +<p>Again,</p> + +<div class = "verse"> +<p>As the stout Oak, when round his Trunk the Vine</p> +<p>Does in soft Wreaths, and amorous Foldings twine.</p> +</div> + +<p>And again,</p> + +<div class = "verse"> +<p>In <i>Charles</i>, so good a Man and King, we see,</p> +<p>A double Image of the Deity.</p> +<p>Oh! Had he more resembled it! Oh why</p> +<p>Was he not still more like; and cou’d not die?</p> +</div> + +<p>My Lord <em>Landsdown</em>’s Muse, which may claim her Seat in the +highest Point of <em>Parnassus</em>, gives us these Instances of her +Sentiments in our Favour;</p> + +<div class = "verse"> +<p>So own’d by Heaven, less glorious far was he,</p> +<p>Great God of Verse, than I, thus prais’d by thee.</p> +</div> + +<span class = "pagenum">xxvi</span> +<p>Again on <em>Mira’s</em> singing,</p> + +<div class = "verse"> +<p>The Slave that from her Wit or Beauty flies,</p> +<p>If she but reach him with her Voice, he dies.</p> +</div> + +<p>In such noble Company, I imagin Mr. <em>Addison</em> will not be +ashamed to appear, thus speaking of Mr. <em>Cowley</em>;</p> + +<div class = "verse"> +<p>His Turns too closely on the Reader press;</p> +<p>He more had pleas’d us, had he pleas’d us less.</p> +</div> + +<p>And of Mr. <em>Waller</em>,</p> + +<p class = "verse"> +Oh had thy Muse not come an Age too soon.</p> + +<p>And of Mr. <em>Dryden</em>’s Muse,</p> + +<div class = "verse"> +<p>Whether in Comick Sounds or Tragick Airs</p> +<p>She forms her Voice, she moves our Smiles or Tears.</p> +</div> + +<p>And to his Friend Dr. <em>Sacheverell</em>,</p> + +<div class = "verse"> +<p>I’ve done at length, and now, dear Friend, receive</p> +<p>The last poor Present that my Muse can give.</p> +<p>And so at once, dear Friend and Muse, fare well.</p> +</div> + +<p>To these let me add the Testimony of that Darling of the Muses, Mr. +<em>Prior</em>, with whom all the Poets of ancient and modern Times of +other Nations, or our own, might seem to have intrusted the chief +Secrets, and greatest Treasures of their Art. I shall speak only +concerning our own Island, where his Imitation of <em>Chaucer</em>, of +<em>Spencer</em>, and of the old <em>Scotch Poem</em>, inscribed the +<em>Nut-Brown Maid</em>, shew how great a Master he is, and how much +every thing is to be valued which bears the Stamp of his Approbation. +And we shall certainly find a great deal to countenance the use of +<em>Monosyllables</em> in his Writings. Take these Examples;</p> + +<span class = "pagenum">xxvii</span> +<span class = "folionum">E2</span> +<p class = "verse"> +Me all too mean for such a Task I weet.</p> + +<p>Again,</p> + +<p class = "verse"> +Grasps he the Bolt? we ask, when he has hurl’d the Flame.</p> + +<p>And,</p> + +<p class = "verse"> +Nor found they lagg’d too slow, nor flew too fast.</p> + +<p>And again,</p> + +<div class = "verse"> +<p>With Fear and with Desire, with Joy and Pain</p> +<p>She sees and runs to meet him on the Plain.</p> +</div> + +<p>And,</p> + +<p class = "verse"> +With all his Rage, and Dread, and Grief, and Care.</p> + +<p>In his Poem in answer to Mrs. <em>Eliz. Singer</em>, on her Poem upon +<em>Love</em> and Friendship,</p> + +<p class = "verse"> +And dies in Woe, that thou may’st live in Peace.</p> + +<p>The only farther Example of <em>Monosyllabick Verses</em> I shall +insert here, and which I cannot well omit, is what I wou’d desire the +Author to apply to his own Censure of <em>Monosyllables</em>, they are +these which follow;</p> + +<div class = "verse"> +<p>Then since you now have done your worst,</p> +<p>Pray leave me where you found me first.</p> +</div> + +<p class = "righthalf"> +Part of the seventh Epistle of the first Book of <em>Horace</em> +imitated, and address’d to a noble Peer, <em>p. ult.</em></p> + +<p>After so many Authorities of the Gentlemen, these few Instances from +some of our Female Poets, may I hope be permitted to take place. +I will begin with Mrs. <em>Philips</em> on the Death of the Queen +of Bohemia;</p> + +<p class = "verse"> +Over all Hearts and her own Griefs she reign’d.</p> + +<span class = "pagenum">xxviii</span> +<p>And on the Marriage of the Lord <em>Dungannon</em>,</p> + +<div class = "verse"> +<p>May the vast Sea for your sake quit his Pride,</p> +<p>And grow so smooth, while on his Breast you ride,</p> +<p>As may not only bring you to your Port,</p> +<p>But shew how all things do your Virtues court.</p> +</div> + +<p>To <em>Gilbert</em> Lord Archbishop of <em>Canterbury</em>,</p> + +<div class = "verse"> +<p>That the same Wing may over her be cast,</p> +<p>Where the best Church of all the World is plac’d.</p> +</div> + +<p>Mrs. <em>Wharton</em> upon the Lamentations of <em>Jeremiah</em>;</p> + +<div class = "verse"> +<p>Behold those Griefs which no one can repeat,</p> +<p>Her Fall is steep, and all her Foes are great.</p> +</div> + +<p>And my Lady <em>Winchelsea</em> in her Poem entituled, <em>The Poor +Man’s Lamb</em>;</p> + +<div class = "verse"> +<p>Thus wash’d in Tears, thy Soul as fair does show</p> +<p>As the first Fleece, which on the Lamb does grow.</p> +</div> + +<p>Sir, from these numerous Instances, out of the Writings of our +greatest and noblest Poets, it is apparent, That had the Enmity against +<em>Monosyllables</em>, with which there are some who make so great a +Clamour, been so great in all Times, we must have been deprived of some +of the best Lines, and finest Flowers, that are to be met with in the +beautiful Garden of our <em>English</em> Posie. Perhaps this may put our +Countreymen upon studying with greater Niceness the use of these kind of +Words, as well in the Heroick Compositions, as in the softer and more +gentle Strains. I speak not this, upon Confidence of any Judgment I have +in <em>Poetry</em>, but according to that Skill, which is natural to the +Musick +<span class = "pagenum">xxix</span> +of a <em>Northern Ear</em>, which, if it be deficient, as I shall not be +very obstinate in its Defence, I beg leave it may at least be permitted +the Benefit of Mr. <em>Dryden</em>’s Apology, for the Musick of old +Father <em>Chaucer</em>’s Numbers, “That there is the rude Sweetness of +a <em>Scotch</em> Tune in it, which is natural and pleasing, tho’ not +perfect.”</p> + +<p>Sir, I must beg your Pardon for this long Digression, upon a Subject +which many will think does not deserve it: but if I have herein +discover’d some of the greatest Beauties of our <em>English</em> Poets, +it will be more excusable, at least for the respect that is intended to +so noble an Art as theirs. But to suspect the worst, considering that I +am now writing a Preface, I am provided with another Apology from Mr. +<em>Dryden</em>, who cautions his Reader with this Observation, <em>That +the Nature of a Preface is Rambling, never wholly out of the way, nor in +it</em>. Yet I cannot end this Preface, without desiring that such as +shall be employ’d in <em>refining</em> and <em>ascertaining</em> our +<em>English Tongue</em>, may entertain better Thoughts both of the +<em>Saxon Tongue</em>, and of the Study of Antiquities. Methinks it is +very hard, that those who labour and take so much pains to furnish +others with Materials, either for Writing, or for Discourse, who have +not Leisure, or Skill, or Industry enough to serve themselves, shou’d be +allowed no other Instances of Gratitude, than the reproachful Title of +Men of <em>low Genius</em>, of which low Genius’s it may be observed, +that they carry some Ballast, and some valuable Loading in them, which +may be despised, but is seldom to be exceeded in any thing truly +valuable, by light and fluttering Wits. But it is not to be wonder’d, +that Men of Worth are to be trampled upon, for otherwise they might +stand in the way of these Assumers; and indeed were it not for the +Modesty of their Betters, +<span class = "pagenum">xxx</span> +and their own Assurance, they wou’d not only be put out of the way of +those Expectations that they have, but out of all manner of Countenance. +There is a Piece of History that I have met with in the Life of +<em>Archbishop Spotswood</em>, that may not unfitly be remembered on +this Occasion, shewing that studious Men of a private Character are not +always to be reputed Men of <em>low Genius</em>:</p> + +<p class = "inset"> +“Nor were his Virtues (says the History) buried and confined within the +Boundaries of his Parish, for having formerly had a Relation to the +noble Family of <em>Lenox</em>, he was looked upon as the fittest Person +of his Quality to attend <em>Lodowic</em>, Duke of <em>Lenox</em>, as +his Chaplain in that honourable Embassy to <em>Henry</em> the fourth of +<em>France</em>, for confirming the ancient Amity between both Nations; +wherein he so discreetly carried himself, as added much to his +Reputation, and made it appear that Men bred up in the Shade of Learning +might possibly endure the Sun-shine, and when it came to their turns, +might carry themselves as handsomly abroad, as they (whose Education +being in a more pragmatick way) usually undervalue them.”</p> + +<p>But that of <em>low Genius</em> is not the worst Charge which is +brought against the <em>Antiquaries</em>, for they are not allow’d to +have so much as common Sense, or to know how to express their Minds +intelligibly. This I learn from <em>a Dissertation on reading the +Classicks, and forming a just Stile</em>; where it is said, “It must be +a great fault of Judgment if where the Thoughts are proper, the +Expressions are not so too: A Disagreement between these seldom +happens, but among Men of more recondite Studies, and what they call +deep Learning, especially among your <em>Antiquaries</em> and +<em>Schoolmen</em>.” This is a good careless way of talking, it may pass +well enough for the <em>genteel Negligence</em>, in +<span class = "pagenum">xxxi</span> +short, such <em>Nonsense</em>, as <em>Our</em> Antiquaries are seldom +guilty of; for Propriety of Thoughts, without Propriety of Expression is +such a Discovery, as is not easily laid hold of, except by such Hunters +after Spectres and Meteors, as are forced to be content with the Froth +and Scum of Learning, but have indeed nothing to shew of that deep +Learning, which is the effect of recondite Studies. And there was a +Gentleman, no less a Friend to polite Learning, but as good a judge of +it as himself, and who is also a Friend to Antiquities, who was hugely +pleased with the Humour of his saying <em><span class = +"smallcaps">Your</span> Antiquaries</em>, being very ready to disclaim +an Acquaintance with all such Wits, and who told me the Antiquaries, +were the Men in all the World who most contemn’d <em>Your Men of +Sufficiency and Self-conceit</em>. But here his Master <em>Horace</em> +is quite slipt out of his Mind, whose Words are,</p> + +<div class = "verse"> +<p>Scribendi recte, sapere est & principium & fons.</p> +<p>Rem tibi Socraticæ poterunt ostendere chartæ:</p> +<p>Verbaque provisam rem non invita sequentur.</p> +</div> + +<p>Thus translated by my Lord <em>Roscommon</em>,</p> + +<div class = "verse"> +<p>Sound Judgment is the ground of writing well:</p> +<p>And when Philosophy directs your Choice</p> +<p>To proper Subjects rightly understood,</p> +<p>Words from your Pen will naturally flow.</p> +</div> + +<p><em>Horace</em>’s <em>Sapere</em>, and my Lord <em>Roscommon</em>’s +<em>Proper Subjects rightly understood</em>, I take to be the same as +<em>Propriety of Thought</em>, and the <em>non invita sequentur, +naturally flowing</em>, I take to import the Fitness and Propriety of +Expression. I also gather from hence, that +<span class = "pagenum">xxxii</span> +there is a very easy and natural Connexion between these two, and these +same Antiquaries of <span class = "gesperrt">OURS</span>, must be either +very dull and stupid Animals, or a strange kind of cross-gran’d and +perverse Fellows, to be always putting a Force upon Nature, and running +out of a plain Road. He must either insinuate that they are indeed such, +or that <em>Horace</em>’s Observation is not just, or that for the Word +<em>invita</em> we ought to have a better reading, for which he will be +forced to consult the <em>Antiquaries</em>. I know not how some of the +great Orators, he has mention’d, will relish his Compliments upon the +Score of Eloquence, when he has said such hard things against +Antiquaries; many of them, and those of chief Note, were his Censure +just and universal, must of necessity be involv’d in it. For example, +the late <em>Bishop</em> of <em>Rochester</em>, of whom, he says, “He +was the correctest Writer of the Age, and comes nearest the great +Originals of <em>Greece</em> and <em>Rome</em>, by a studious Imitation +of the Ancients.” So that, as I take it, he was an Antiquary: If he +excludes <em>English Antiquities</em>, I desire him to remember the +present <em>Bishop</em> of <em>Rochester</em>, of whom he has given this +true Character, “Dr. <em>Atterbury</em> writeth with the fewest Faults, +and greatest Excellencies of any who have studied to mix Art and Nature +in their Compositions, <em>&c</em>.” He hath however thought fit to +adorn the Subject of Antiquities with the Beauties of his Stile, without +any Force upon Nature, or the being obliged to forsake her easy and +unconstrain’d Method of applying proper Expressions to proper Thoughts. +The <em>Bishop</em> of St. <em>Asaph</em> hath shewn his Skill in +Antiquities, by more Instances than one; yet do I not find, that even in +the Opinion of this Gentleman, it hath spoil’d his Stile. I shall add to +these the late and present <em>Bishops</em> of <em>Worcester</em>, the +former, +<span class = "pagenum">xxxiii</span> +<span class = "folionum">F</span> +Dr. <em>Stillingfleet</em>, is allow’d by all to have been one of the +most learned Men and greatest Antiquaries of his Age; and for the +present Bishop, who is also a learned Antiquary, take the Character +which is given of his Skill and Exactness in the <em>English</em> Tongue +from <a class = "tag" name = "tagF" id = "tagF" href = +"#noteF">F</a><em>Bishop Wilkins</em>; “I must acknowledge my self +obliged, saith he, to the continual Assistance I have had from my most +learned and worthy Friend, Dr. <em>William Lloyd</em>, than whom (so far +as I am able to judge) this Nation could not have afforded a fitter +Person, either for that great Industry, or accurate Judgment, both in +<em>Philological</em>, and <em>Philosophical</em> Matters, required to +such a Work. And particularly, I must wholly ascribe to him that tedious +and difficult Task, of suiting the Tables to the <em>Dictionary</em>, +and the drawing up of the <em>Dictionary</em> itself, which, upon trial, +I doubt not, will be found to be the most perfect, that was ever yet +made for the <em>English Tongue</em>.” I will only farther beg leave to +mention, the <em>Bishop</em> of <em>Carlisle</em>, <em>Your Self</em>, +and Dr. <em>Gibson</em>, who for good Spirit, masterly Judgment, and all +the Ornaments of Stile, in the several ways of Writing, may be equalled +with the best and most polite. To conclude, if this Preface is writ in a +Stile, that may be thought somewhat rough and too severe, it is not out +of any natural Inclination to take up a Quarrel, but to do some Justice +to the Study of Antiquities, and even of our own Language itself, +against the severe Censurers of both; whose Behaviour in this +Controversy has been such, as cou’d not have the Treatment it deserved +in a more modest or civil manner. If I am mistaken herein, I beg Pardon: +I might alledge that which perhaps +<span class = "pagenum">xxxiv</span> +might be admitted for an Excuse, but that I will not involve the whole +Sex, by pleading Woman’s Frailty. I confess I thought it would be to +little purpose to write an <em>English Saxon Grammar</em>, if there was +nothing of Worth in that Language to invite any one to the study of it; +so that I have only been upon the Defensive. If any think fit to take up +Arms againsst me, I have great Confidence in the Protection of the +Learned, the Candid, and the Noble; amongst which, from as many as bear +the Ensigns of St. <em>George</em>, I cannot doubt of that help, that +true Chevalrie can afford, to any Damsel in Distress, by cutting off the +Heads of all those Dragons, that dare but to open their Mouths, or begin +to hiss against her. But, Sir, before I conclude, I must do you the +Justice to insert an extract of two Letters from the Right Honourable +<em>D. P.</em> to the Reverend Dr. <em>R. Taylor</em>, +relating to your <em>Thesaurus. Lingg. Vett. Septentrion.</em> which +indeed might more properly have been placed in the eighth Page of this +Preface, had it come sooner to my Hands. It is as follows,</p> + +<p class = "inset"> +<span class = "dash">——</span>“The <em>Dean</em>’s Present, +which I shall value as long as I live for his sake. <em>Dom. +Mabillon</em> was the first that told me of that Work, and said, that +the Author was a truly learned Person, and not one of those Writers who +did not understand their Subject to the bottom, but, said he, that +learned Man is one of ten thousand.”</p> + +<p>And in another Letter to the abovemention’d Dr. <em>Taylor</em><span +class = "dash">———</span>. “When <em>Dom. +Mabillon</em> first told me of it, he did not name the Author, so as I +understood who he was, but the Elogium he made of him, was indeed very +great, and I find that the <em>Dean</em> in one Word, has done that +worthy Man Justice.” This high Elogium of your self, and of your great +Work, +<span class = "pagenum">xxxv</span> +from so renowned an Antiquary, as it is a great Defence and Commendation +of the <em>Old Northern Learning</em>, so is it the more remarkable, in +that it was given by one, against whom you had written in the most +tender Point of the Controversy, <em>De Re Diplomatica</em>, as may be +seen in your <em>Lingg. Vett. Septentr. Thesaur. Præfat. General.</em> +p. <em>xxxvi</em>, &c.</p> + +<p>Sir, I once more heartily beg your Pardon for giving you so much +trouble, and beg leave to give you my Thanks for the great Assistance I +have received in the <em>Saxon</em> Studies from your learned Works, and +Conversation; and in particular for your favourable Recommendation of my +Endeavours, in a farther cultivating those Studies, who with sincere +Wishes for your good Health, and all imaginable Respect for a Person of +your Worth and Learning, am,</p> + +<p class = "righthalf"> +<span class = "extended">SIR</span>,</p> + +<p class = "righthalf"> + <em>Your Most Obliged,</em></p> + +<p class = "righthalf"> +   <em>Humble Servant,</em></p> + +<p class = "righthalf largest"> +    Elizabeth Elstob.<br> + </p> + +<hr> + +<div class = "footnote"> +<a name = "notes" id = "notes"> </a> +<p><a name = "noteA" id = "noteA" href = "#tagA">A.</a> +Archbishops <em>Parker</em>, <em>Laud</em>, <em>Usher</em>, Bishop +<em>Stillingfleet</em>, the present Bishops <em>of Worcester</em>, +<em>Bath</em> and <em>Wells</em>, <em>Carlisle</em>, St. <em>Asaph</em>, +St. <em>Davids</em>, <em>Lincoln</em>, <em>Rochester</em>, with many +other Divines of the first Rank.</p> + +<p><a name = "noteB" id = "noteB" href = "#tagB">B.</a> +The Lord Chief Justice <em>Cook</em>, Mr. <em>Lombard</em>, +<em>Selden</em>, <em>Whitlock</em>, Lord Chief Justice <em>Hales</em>, +and <em>Parker</em>, Mr. <em>Fortescue</em> of the Temple, and +others.</p> + +<p><a name = "noteC" id = "noteC" href = "#tagC">C.</a> +<em>Leland</em>, who writes in a Latin Style in Prose and Verse, as +polite and accurate as can be boasted of by any of our-modern Wits. +<em>Jocelin</em>, <em>Spelman</em>, both Father and Son, +<em>Cambden</em>, <em>Whelock</em>, <em>Gibson</em>, and many more of +all Ranks and Qualities, whose Names deserve well to be mention’d with +Respect, were there room for it in this place.</p> + +<p><a name = "noteD" id = "noteD" href = "#tagD">D.</a> +Of this the <em>Greeks</em> give as a fair Example, when they express +the Original and Author of all Things, their <span class = "greek" title += "Patêr andrônte theônte">?at?? <ins class = "correction" title = "word spacing unchanged">??d???te ?e??te</ins></span>, +by their Monosyllable <span class = "greek" title = "Zeus">?e??</span>. +As the <em>Hebrews</em> do by <span class = "greek" title = "[Hebrew] YAH">??</span>, +the <em>Goths</em> the Ancestors of our <em>Saxon</em> Progenitors by +the Word <span class = "greek" title = "[Gothic] GOÞ">??????</span>, +the <em>Saxons</em>, old <em>Germans</em>, <em>Teutons</em>, +<em>Francick</em>, and <em>English</em>, in the <em>Monosyllable</em> +<span class = "greek" title = "[Saxon] God">Go?</span>, the +<em>Germans</em> <span class = "fraktur">Gott</span>, and the <em>French +Dieu</em>. +<span class = "mynote"> +<a href = "#endnote">Page image</a></span></p> + +<p><a name = "noteE" id = "noteE" href = "#tagE">E.</a> Besides the +Purpose for which these Verses are here cited, it may not be amiss to +observe from some Instances of Words contain’d in them, how necessary, +at least useful, the Knowledge of the <em>Saxon Tongue</em> is, to the +right understanding our <em>Old English Poets</em>, and other Writers. +For example, <span class = "fraktur">leuest</span>, this is the same +with the <em>Saxon <span class = "greek" title = "[Saxon] leofost">leo?o??</span>, most beloved</em>, or <em>desirable. <span +class = "fraktur">Goddes folke</span></em>, not <em>God his Folk</em>, +this has plainly the Remains of the <em>Saxon</em> Genitive Case. <span +class = "fraktur">Sande</span>, this is a pure <em>Saxon</em> word, +signifying <em>Mission</em>, or <em>being sent</em>. See the <em>Saxon +Homily</em> on the Birth Day of St. <em>Gregory</em>, p. 2. <span +class = "greek" title = "[Saxon] He ðurh his ræde & sande us fram ðeofles biggengum ætbræd.">He ðu?h hi? ?æ?e ? ?an?e u? ??am ðeo?le? +bi??en?um æ?b?æ?.</span> He through his Counsel and Commission rescued +us from the Worship of the Devil.</p> + +<p><a name = "noteF" id = "noteF" href = "#tagF">F.</a> +<em>See the Epistle to the Reader in the Essay towards a Real +Character,</em> p. 3.</p> +</div> + +</div> +<!-- end div ital --> + +<hr> +<hr> + +<div class = "ars"> + +<h4><a name = "ARSpubs" id = "ARSpubs"> +William Andrews Clark Memorial Library: University of +California</a></h4> + +<h3 class = "smallcaps">The Augustan Reprint Society</h3> + +<h5><i>General Editors</i></h5> + +<table summary = "text in two columns"> +<tr> +<td> +<p><span class = "smallcaps">R. C. Boys</span><br> +University of Michigan</p> +</td> +<td> +<p><span class = "smallcaps">Vinton A. Dearing</span><br> +University of California, Los Angeles</p> +</td> +</tr> +<tr> +<td> +<p><span class = "smallcaps">Ralph Cohen</span><br> +University of California, Los Angeles</p> +</td> +<td> +<p><span class = "smallcaps">Lawrence Clark Powell</span><br> +Wm. Andrews Clark Memorial Library</p> +</td> +</tr> +<tr> +<td colspan = "2"> +<i>Corresponding Secretary:</i> Mrs. <span class = "smallcaps">Edna C. +Davis</span>, Wm. Andrews Clark Memorial Library</td> +</tr> +</table> + +<p><span class = "smallcaps">The Society</span> exists to make available +inexpensive reprints (usually facsimile reproductions) of rare +seventeenth and eighteenth century works. The editorial policy of the +Society remains unchanged. As in the past, the editors welcome +suggestions concerning publications. All income of the Society it +devoted to defraying cost of publication and mailing.</p> + +<p>All correspondence concerning subscriptions in the United States and +Canada should be addressed to the William Andrews Clark Memorial +Library, 2205 West Adams Boulevard, Los Angeles 18, California. +Correspondence concerning editorial matters may be addressed to any of +the general editors. The membership fee is $3.00 a year for subscribers +in the United States and Canada and 15/- for subscribers in Great +Britain and Europe. British and European subscribers should address +B. H. Blackwell, Broad Street, Oxford, England.</p> + +<p class = "decoration"> + </p> + +<div class = "publications"> + +<h4>Publications for the eleventh year [1956-57]</h4> + +<h5>(At least six items, most of them from the<br> +following list, will be reprinted.)</h5> + +<p class = "mynote"> +Many of the listed titles are available from Project Gutenberg. Where +possible, links are included.</p> + +<div class = "hanging"> + +<p><i>An Essay on the New Species of Writing Founded by Mr. Fielding</i> +(1751). Introduction by James A. Work.</p> + +<p>Elizabeth Elstob, <i>An Apology for the Study of Northern +Antiquities</i> (1715). Introduction by Charles Peake.</p> + +<p>G. W. <i>Magazine, or Animadversions on the English Spelling</i> +(1703). Anon., <i>The Needful Attempt, to make Language and Divinity +Plain and Easie</i> (1711). Introduction by David Abercrombie. +<span class = "mynote"><a href = +"http://www.gutenberg.org/etext/20130">e-text 20130</a> (Year +14)</span></p> + +<p><i>Prefaces to Fiction.</i> Selected, with an introduction, by Claude +E. Jones.</p> + +<p>Samuel Johnson. <i>Notes to Shakespeare, Vol. II, Histories.</i> +Edited by Arthur Sherbo. (A double issue)</p> + +<p><i>Parodies of Ballad Criticism.</i> Selected, with an introduction, +by William K. Winsatt, Jr. +<span class = "mynote"><a href = +"http://www.gutenberg.org/etext/22081">e-text 22081</a></span></p> + +<p><i>Two Funeral Sermons.</i> Selected, with an introduction, by Frank +L. Huntley.</p> + +<p>Richard Savage, <i>An Author to be Let</i> (1732). Introduction by +James Sutherland.</p> +</div> + +<p>Publications for the first ten years (with the exception of Nos. 1-6, +which are out of print) are available at the rate of $3.00 a year. +Prices for individual numbers may be obtained by writing to the +Society.</p> +</div> + +<p> </p> + +<h5>THE AUGUSTAN REPRINT SOCIETY</h5> + +<h6><i>WILLIAM ANDREWS CLARK MEMORIAL LIBRARY</i></h6> + +<h6 class = "smallcaps"> +2205 West Adams Boulevard, Los Angeles 18, California</h6> + +<p class = "center"> +Make check or money order payable to The Regents of the University of +California.</p> + +<hr> + +<div class = "publications hanging"> + +<h4>PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY</h4> + +<h5>First Year (1946-1947)</h5> + +<p> Numbers 1-6 out of print.</p> + +<h5>Second Year (1947-1948)</h5> + +<p> <a href = "http://www.gutenberg.org/etext/14800">7.</a> John +Gay’s <i>The Present State of Wit</i> (1711); and a section on Wit from +<i>The English Theophrastus</i> (1702).</p> + +<p> <a href = "http://www.gutenberg.org/etext/14495">8.</a> Rapin’s +<i>De Carmine Pastorali</i>, translated by Creech +(1684).</p> + +<p> <a href = "http://www.gutenberg.org/etext/14899">9.</a> T. +Hanmer’s (?) <i>Some Remarks on the Tragedy of Hamlet</i> +(1736).</p> + +<p><a href = "http://www.gutenberg.org/etext/16233">10.</a> Corbyn +Morris’ <i>Essay towards Fixing the True Standards of Wit, etc.</i> +(1744).</p> + +<p><a href = "http://www.gutenberg.org/etext/15313">11.</a> Thomas +Purney’s <i>Discourse on the Pastoral</i> (1717).</p> + +<p><a href = "http://www.gutenberg.org/etext/16335">12.</a> Essays on +the Stage, selected, with an Introduction by Joseph Wood Krutch.</p> + +<h5>Third Year (1948-1949)</h5> + +<p><a href = "http://www.gutenberg.org/etext/15999">13.</a> Sir John +Falstaff (pseud.), <i>The Theatre</i> (1720).</p> + +<p><a href = "http://www.gutenberg.org/etext/16267">14.</a> Edward +Moore’s <i>The Gamester</i> (1753).</p> + +<p><a href = "http://www.gutenberg.org/etext/25091">15.</a> John +Oldmixon’s <i>Reflections on Dr. Swift’s Letter to Harley</i> +(1712); and Arthur Mainwaring’s <i>The British Academy</i> (1712).</p> + +<p><a href = "http://www.gutenberg.org/etext/16916">16.</a> Nevil +Payne’s <i>Fatal Jealousy</i> (1673).</p> + +<p><a href = "http://www.gutenberg.org/etext/16275">17.</a> Nicholas +Rowe’s <i>Some Account of the Life of Mr. William Shakespeare</i> +(1709).</p> + +<p><a href = "http://www.gutenberg.org/etext/15870">18.</a> "Of Genius," +in <i>The Occasional Paper</i>, Vol. III, No. 10 (1719); and Aaron +Hill’s Preface to <i>The Creation</i> (1720).</p> + +<h5>Fourth Year (1949-1950)</h5> + +<p><a href = "http://www.gutenberg.org/etext/16740">19.</a> Susanna +Centlivre’s <i>The Busie Body</i> (1709).</p> + +<p><a href = "http://www.gutenberg.org/etext/16346">20.</a> Lewis +Theobold’s <i>Preface to The Works of Shakespeare</i> (1734). +<span class = "mynote"> +Spelled “Theobald” in published text.</span></p> + +<p>21. <i>Critical Remarks on Sir Charles Grandison, Clarissa, and +Pamela</i> (1754). +<span class = "mynote"> +In preparation.</span></p> + +<p><a href = "http://www.gutenberg.org/etext/13350">22.</a> Samuel +Johnson’s <i>The Vanity of Human Wishes</i> (1749) and Two +<i>Rambler</i> papers (1750).</p> + +<p><a href = "http://www.gutenberg.org/etext/15074">23.</a> John +Dryden’s <i>His Majesties Declaration Defended</i> (1681).</p> + +<p><a href = "http://www.gutenberg.org/etext/28921">24.</a> Pierre +Nicole’s <i>An Essay on True and Apparent Beauty in Which from Settled +Principles is Rendered the Grounds for Choosing and Rejecting +Epigrams</i>, translated by J. V. Cunningham.</p> + +<h5>Fifth Year (1950-1951)</h5> + +<p><a href = "http://www.gutenberg.org/etext/14467">25.</a> Thomas +Baker’s <i>The Fine Lady’s Airs</i> (1709).</p> + +<p><a href = "http://www.gutenberg.org/etext/14463">26.</a> Charles +Macklin’s <i>The Man of the World</i> (1792).</p> + +<p>27. Out of print.</p> + +<p><a href = "http://www.gutenberg.org/etext/17833">28.</a> John +Evelyn’s <i>An Apologie for the Royal Party</i> (1659); and +<i>A Panegyric to Charles the Second</i> (1661).</p> + +<p><a href = "http://www.gutenberg.org/etext/14084">29.</a> Daniel +Defoe’s <i>A Vindication of the Press</i> (1718).</p> + +<p><a href = "http://www.gutenberg.org/etext/13464">30.</a> Essays on +Taste from John Gilbert Cooper’s <i>Letters Concerning Taste,</i> 3rd +edition (1757), & John Armstrong’s <i>Miscellanies</i> +(1770).</p> + +<h5>Sixth Year (1951-1952)</h5> + +<p><a href = "http://www.gutenberg.org/etext/15409">31.</a> Thomas +Gray’s <i>An Elegy Wrote in a Country Church Yard</i> (1751); and <i>The +Eton College Manuscript</i>.</p> + +<p><a href = "http://www.gutenberg.org/etext/14525">32.</a> Prefaces to +Fiction; Georges de Scudéry’s Preface to <i>Ibrahim</i> (1674), etc.</p> + +<p><a href = "http://www.gutenberg.org/etext/16299">33.</a> Henry +Gally’s <i>A Critical Essay</i> on Characteristic-Writings +(1725).</p> + +<p>34. Thomas Tyers’ A Biographical Sketch of Dr. Samuel Johnson +(1785).</p> + +<p><a href = "http://www.gutenberg.org/etext/15857">35.</a> James +Roswell, Andrew Erskine, and George Dempster. <i>Critical Strictures on +the New Tragedy of Elvira, Written by Mr. David Malloch</i> (1763).</p> + +<p><a href = "http://www.gutenberg.org/etext/22974">36.</a> Joseph +Harris’s <i>The City Bride</i> (1696).</p> + +<h5>Seventh Year (1952-1953)</h5> + +<p><a href = "http://www.gutenberg.org/etext/27130">37.</a> Thomas +Morrison’s <i>A Pindarick Ode on Painting</i> (1767).</p> + +<p>38. John Phillips’ <i>A Satyr Against Hypocrites</i> (1655). +<span class = "mynote"> +In preparation.</span></p> + +<p>39. Thomas Warton’s <i>A History of English Poetry</i>. +<span class = "mynote"> +In preparation.</span></p> + +<p>40. Edward Bysshe’s <i>The Art of English Poetry</i> (1708). +<span class = "mynote"> +In preparation.</span></p> + +<p>41. Bernard Mandeville’s "A Letter to Dion" (1732). +<span class = "mynote"> +In preparation.</span></p> + +<p>42. Prefaces to Four Seventeenth-Century Romances. +<span class = "mynote"> +In preparation.</span></p> + +<h5>Eighth Year (1953-1954)</h5> + +<p>43. John Baillie’s <i>An Essay on the Sublime</i> (1747).</p> + +<p><a href = "http://www.gutenberg.org/etext/25055">44.</a> Mathias +Casimire Sarbiewski’s <i>The Odes of Casimire</i>, Translated by G. Hils +(1646).</p> + +<p>45. John Robert Scott’s <i>Dissertation on the Progress of the Fine +Arts</i>. +<span class = "mynote"> +In preparation.</span></p> + +<p>46. Selections from Seventeenth Century Songbooks.</p> + +<p>47. Contemporaries of the <i>Tatler</i> and <i>Spectator</i>.</p> + +<p><a href = "http://www.gutenberg.org/etext/24860">48.</a> Samuel +Richardson’s Introduction to <i>Pamela</i>.</p> + +<h5>Ninth Year (1954-1955)</h5> + +<p>49. Two St. Cecilia’s Day Sermons (1696-1697).</p> + +<p>50. Hervey Aston’s <i>A Sermon Before the Sons of the Clergy</i> +(1745).</p> + +<p>51. Lewis Maidwell’s <i>An Essay upon the Necessity and Excellency of +Education</i> (1705).</p> + +<p><a href = "http://www.gutenberg.org/etext/7018">52.</a> Pappity +Stampoy’s <i>A Collection of Scotch Proverbs</i> (1663).</p> + +<p>53. Urian Oakes’ <i>The Soveriegn Efficacy of Divine Providence</i> +(1682).</p> + +<p>54. Mary Davys’ <i>Familiar Letters Betwixt a Gentleman and a +Lady</i> (1725).</p> + +<h5>Tenth Year (1955-1956)</h5> + +<p>55. Samuel Say’s <i>An Essay on the Harmony, Variety, and Power of +Numbers</i> (1745).</p> + +<p>56. <i>Theologia Ruris, sive Schola & Scala Naturae</i> +(1686).</p> + +<p>57. Henry Fielding’s <i>Shamela</i> (1741).</p> + +<p>58. Eighteenth Century Book Illustrations.</p> + +<p><a href = "http://www.gutenberg.org/etext/7780">59.</a> Samuel +Johnson’s <i>Notes to Shakespeare</i>. Vol. I, Comedies, Part I.</p> + +<p><a href = "http://www.gutenberg.org/etext/7780">60.</a> Samuel +Johnson’s <i>Notes to Shakespeare</i>. Vol. I, Comedies, Part II. +<span class = "mynote"> +Combined e-text.</span></p> + +</div> +<!-- end div publications hanging --> + +</div> +<!-- end div ars --> + +<div class = "endnote"> + +<p><a name = "endnote" id = "endnote" href = "#noteD">Note D</a>, +page image:</p> + +<p class = "illustration"> +<img src = "images/noteDimg.png" width = "600" height = "141" +alt = "image of footnote as printed"></p> +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of An Apology For The Study of Northern +Antiquities, by Elizabeth Elstob + +*** END OF THIS PROJECT GUTENBERG EBOOK NORTHERN ANTIQUITIES *** + +***** This file should be named 15329-h.htm or 15329-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/5/3/2/15329/ + +Produced by David Starner, Louise Hope and the Online Distributed + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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