diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 15329-0.txt | 2055 | ||||
| -rw-r--r-- | 15329-0.zip | bin | 0 -> 38527 bytes | |||
| -rw-r--r-- | 15329-8.txt | 2038 | ||||
| -rw-r--r-- | 15329-8.zip | bin | 0 -> 37677 bytes | |||
| -rw-r--r-- | 15329-h.zip | bin | 0 -> 76044 bytes | |||
| -rw-r--r-- | 15329-h/15329-h.htm | 2610 | ||||
| -rw-r--r-- | 15329-h/images/capS.png | bin | 0 -> 6311 bytes | |||
| -rw-r--r-- | 15329-h/images/decline.png | bin | 0 -> 545 bytes | |||
| -rw-r--r-- | 15329-h/images/headpiece_i.png | bin | 0 -> 12395 bytes | |||
| -rw-r--r-- | 15329-h/images/noteDimg.png | bin | 0 -> 13968 bytes | |||
| -rw-r--r-- | 15329.txt | 2006 | ||||
| -rw-r--r-- | 15329.zip | bin | 0 -> 37061 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/20050311.15329-8.zip | bin | 0 -> 36952 bytes | |||
| -rw-r--r-- | old/20050311.15329-h.zip | bin | 0 -> 53880 bytes | |||
| -rw-r--r-- | old/20050311.15329.zip | bin | 0 -> 36946 bytes |
18 files changed, 8725 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/15329-0.txt b/15329-0.txt new file mode 100644 index 0000000..12d6ae3 --- /dev/null +++ b/15329-0.txt @@ -0,0 +1,2055 @@ +The Project Gutenberg EBook of An Apology For The Study of Northern +Antiquities, by Elizabeth Elstob + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: An Apology For The Study of Northern Antiquities + +Author: Elizabeth Elstob + +Commentator: Charles Peake + +Release Date: July 19, 2009 [EBook #15329] + +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 + + + + +[Transcriber’s Note: + +This e-text includes brief passages in scripts that require UTF-8 +(Unicode) file encoding, primarily Greek: + + Ἐξ οὗ δὴ τα πρῶτα διαστήτην ἐρίσαντε. + +If the text does not display properly, or the apostrophes and quotation +marks in this paragraph appear as garbage, make sure your text reader’s +“character set” or “file encoding” is set to Unicode (UTF-8). You may +also need to change the default font. As a last resort, use the Latin-1 +version of the file instead. + +Text printed in blackletter type-- German, Middle English, Old French-- +is shown between #marks#. Since font support for Gothic and Saxon is +limited, transliterations of these scripts are given at the end of +the e-text, along with the one Hebrew word.] + + + + + THE AUGUSTAN REPRINT SOCIETY + + + ELIZABETH ELSTOB + + An Apology for the Study of + Northern Antiquities + + (1715) + + + Introduction by + Charles Peake + + + Publication Number 61 + + Los Angeles + William Andrews Clark Memorial Library + University of California + + 1956 + + * * * * * + + GENERAL EDITORS + RICHARD C. BOYS, University of Michigan + RALPH COHEN, University of California, Los Angeles + VINTON A. DEARING, University of California, Los Angeles + LAWRENCE CLARK POWELL, Clark Memorial Library + + ASSISTANT EDITOR + W. EARL BRITTON, University of Michigan + + ADVISORY EDITORS + EMMETT L. AVERY, State College of Washington + BENJAMIN BOYCE, Duke University + LOUIS BREDVOLD, University of Michigan + JOHN BUTT, King’s College, University of Durham + JAMES L. CLIFFORD, Columbia University + ARTHUR FRIEDMAN, University of Chicago + EDWARD NILES HOOKER, University of California, Los Angeles + LOUIS A. LANDA, Princeton University + SAMUEL H. MONK, University of Minnesota + ERNEST C. MOSSNER, University of Texas + JAMES SUTHERLAND, University College, London + H. T. SWEDENBERG, JR., University of California, Los Angeles + + CORRESPONDING SECRETARY + EDNA C. DAVIS, Clark Memorial Library + + * * * * * + +INTRODUCTION + +The answerers who rushed into print in 1712 against Swift’s _Proposal +for Correcting, Improving and Ascertaining the English Tongue_ 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 +_Reflections on Dr. Swift’s Letter to Harley_ and Mainwaring’s +_The British Academy_ (Augustan 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.” + +Elizabeth Elstob’s _Apology for the Study of Northern Antiquities_ +prefixed to her _Rudiments of Grammar for the English-Saxon Tongue_ +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. + +What irritated Miss Elstob in the _Proposal_ was not Swift’s eulogy +or Harley and the Tory ministry, but his scornful reference to +antiquarians as “laborious 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 _An English-Saxon Homily on the +Birthday of St. Gregory_ (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 +_Rudiments_, 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.” + +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. + +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 +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. + +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. + +Most of these arguments had been bandied backwards and forwards +rather inconclusively since the sixteenth century, and Addison in +_The Spectator_ No. 135 expresses a typically moderate opinion on +the matter: the English language, he says, abounds in monosyllables, + + 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. + +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 brilliantly, has in English a very +marked monosyllabic character. + +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 _Proposal_ or his particular criticisms of current +linguistic habits, but they did lay him open to the very penetrating +and decisive attack of Elizabeth Elstob. + +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. + +It is not known whether Swift ever read Miss Elstob’s _Rudiments_, +though it is interesting to notice a marked change of emphasis in +his references to the Anglo-Saxon language. In the _Proposal_ 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 _An Abstract of the History of England_ +(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, 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 +_Rudiments_. + +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, +_Illustrations of the Literary History of the Eighteenth Century_, +1822, IV, 212.) + + Charles Peake + University College, London + + + * * * * * + * * * * + * * * * * + + The + RUDIMENTS + of + GRAMMAR + + for the + English-Saxon Tongue, + First given in ENGLISH: + + with an + Apology + For the Study of + + NORTHERN ANTIQUITIES. + + Being very useful towards the understanding our + ancient _English_ POETS, and other WRITERS. + + + By ELIZABETH ELSTOB. + + +Our Earthly Possessions are truly enough called a _PATRIMONY_, +as derived to us by the Industry of our _FATHERS_; but the Language +that we speak is our _MOTHER-TONGUE_; And who so proper to play the +Criticks in this as the _FEMALES_. + + In a Letter from a Right Reverend Prelate to the Author. + + + LONDON. + + Printed by _W. Bowyer_: And Sold by J. BOWYER + at the _Rose_ in _Ludgate-street_, and C. KING + in _Westminster-hall_, 1715. + + * * * * * + + The + PREFACE + + to the + Reverend Dr. _Hickes_. + +SIR, + +Soon after the Publication of the Homily on St. Gregory, I was engaged +by the Importunity of my Friends, to make a Visit to _Canterbury_, 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 now and then excusable. In this Recess, +among the many Compliments and kind Expressions, which their +favourable Acceptance of my first Attempt in _Saxon_, 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 _Saxon Tongue_, and do me the Honour +to be my _Scholar_, as to make me think of composing an _English +Grammar_ 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 +_Thesaurus_, and the ingenious Compendium of it by Mr. _Thwaites_; +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 had communicated to you my Design for your Advice, +and had receiv’d your repeated Exhortation, and Encouragement to the +Undertaking. + +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 _Grammar_; 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. +_Thwaites_ have done on this Subject, for which you will, I imagine, +readily pardon me: I have given most, if not all the _Grammatical_ +Terms in true old _Saxon_, from _Ælfrick_’s Translation of _Priscian_, +to shew the _polite_ 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 _Latin_ itself is beholden to the _Greek_, not only +for the Terms, but even the Names of Arts and Sciences, as is easily +discerned in the Words, _Philosophy_, _Grammar_, _Logick_, _Rhetorick_, +_Geometry_, _Arithmetick_, &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. _Pro Patria mori_, used to be one of the great +Boasts of Antiquity; and even the so celebrated Magnanimity of _Cato_, +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, _of the correcting, improving and ascertaining_ 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 _Saxon_ 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; _Desiring to be +Teachers of the Law, understanding neither what they say, nor +whereof they affirm, 1 _Tim._ 1. 7._ It had been well if those wise +_Grammarians_ had understood this Character, who have taken upon them +to teach our Ladies and young Gentlemen, _The whole System of an +English Education_; 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 _Northern Literature_ in so cold 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. + +But it seems you are not of so much Credit with these _Gentlemen_, 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. + + The _Saxons_, say they, if we may credit Dr. _Hickes_, 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. _Hickes_ has made six + several _Declensions_ of the _Saxon_ Names: He gives them three + _Numbers_; a Singular, Dual, and Plural: We have no Dual Number, + except perhaps in _Both_: To make this plainer, we shall + transcribe the six Declensions from that Antiquary’s Grammar. + +I would ask these Gentlemen, and why not credit Dr. _Hickes_? 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 they think of these Words, _God’s Word_, _Man’s +Wisdom_, the _Smith’s Forge_, and innumerable Instances more. For in +_God’s Word_, &c. is not the Termination _s_ a plain Indication of a +Genitive Case, wherein the Saxon _e_ is omitted? For example_, Goꝺeꞅ +Ƿoꞃꝺ, Manneꞅ Ƿiꞅꝺom, Ꞅmiðeꞅ Heoꞃð. Some will say, that were better +supplied by _his_, or _hers_, as Man _his_ Thought, the Smith _his_ +Forge; but this Mistake is justly exploded. Yet if these Gentlemen will +not credit Dr. _Hickes_, the _Saxon_ Writings might give them full +Satisfaction. The _Gospels_, the _Psalms_, and a great part of the +_Bible_ are in _Saxon_, so are the _Laws_ and _Ecclesiastical Canons_, +and _Charters_ of most of our _Saxon Kings_; 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. + + We might give you various Instances more of the essential + difference between the old _Saxon_ and modern _English_ Tongue, + but these must satisfy any reasonable Man, that it is so great, + that the _Saxon_ can be no Rule to us; and that to understand + ours, there is no need of knowing the _Saxon_: And tho’ Dr. + _Hickes_ 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) that we are obliged to derive the + Sense, Construction, or Nature of our present Language from + his Discoveries. + +I would beseech my Readers to observe, the Candour and Ingenuity of +these Gentlemen: They tell us, _We might give you various Instances +more of the essential difference between the old _Saxon_ and modern +_English_ Tongue_; and yet have plainly made it appear, that they know +little or nothing of the old _Saxon_. So that it will be hard to say +how they come to know of any such _essential difference, as MUST +satisfy any reasonable Man_; and much more that this _essential +difference_ is so _great, that the _Saxon_ can be no Rule to us, +and that to understand ours, there is no need of knowing the _Saxon_._ +What they say, _that it cannot be a Rule to them_, 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. _Hickes_, now in use, which are of pure _Saxon_ Original, and +consequently _essential to the modern English_. I need not tell any +English Reader at this Day the meaning of _Smith_, _Word_, _Son_, and +_Good_; but if I tell them that these are Saxon Words, I believe they +will hardly deny them to be _essential to the modern English_, or that +they will conclude that the difference between the old _English_ 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 a laudable Pedigree, are backward +in all due Respect and Veneration towards a noble Ancestry. + +Their great Condescension to Dr. _Hickes_ in allowing him to have been +a very curious Inquirer into those _obsolete Tongues, now out of use, +and containing nothing valuable in them_, 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 _contain’d_ in +them. They would rather assure them, that our greatest Divines[A], +and Lawyers[B], and Historians[C] are of another Opinion, they wou’d +advise them to consult our Libraries, those of the two Universities, +the _Cottonian_, and my Lord Treasurers; to study your whole +_Thesaurus_, particularly your _Dissertatio Epistolaris_, to look into +Mr. _Wanleys_ large and accurate Catalogue of _Saxon_ 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 _Inference_, which they think _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_. +He desires them not to _derive_ the _Sense_ and _Construction_ 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 +_Discoveries_ 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. + + [Footnote A: Archbishops _Parker_, _Laud_, _Usher_, Bishop + _Stillingfleet_, the present Bishops _of Worcester_, _Bath_ + and _Wells_, _Carlisle_, St. _Asaph_, St. _Davids_, _Lincoln_, + _Rochester_, with many other Divines of the first Rank.] + + [Footnote B: The Lord Chief Justice _Cook_, Mr. _Lombard_, + _Selden_, _Whitlock_, Lord Chief Justice _Hales_, and _Parker_, + Mr. _Fortescue_ of the Temple, and others.] + + [Footnote C: _Leland_, 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. _Jocelin_, _Spelman_, both Father and Son, + _Cambden_, _Whelock_, _Gibson_, 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.] + +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 _English_ Tongue, so little +Regard is had to Antiquity, and the Original of our present Language, +which is the _Saxon_. This indeed is allow’d by an ingenious Person, +who hath lately made some Proposals for the Refinement of the +_English_ Tongue, _That the old _Saxon_, except in some few Variations +in the Orthography, is the same in most original Words with our +present _English_, as well as with the _German_ and other _Northern_ +Dialects_; which makes it a little surprizing to me, to find the same +Gentleman not long after to say, _The other Languages of _Europe_ +I know nothing of, neither is there any occasion to consider them_: +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 occasion or no to consider it. I must confess I hope +when ever such a Project shall be taken in hand, for _correcting_, +_enlarging_, and _ascertaining_ our Language, a competent Number +of such Persons will be advised with, as are knowing, not only in +_Saxon_, but in the other Languages of _Europe_, 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 _Saxon_ Original for their native Stock, +or an Affinity with those Branches of the other _Northern Tongues_, +which own the same Original. + +The want of knowing the _Northern Languages_, 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 _Saxon_, +_Gothick_, and _Francick_, or old _Teutonick_: 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 +_Greek_ 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 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. + +The Author of the _Proposal_, 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 _Northern_ +Correspondence, and a _Northern_ Ear, probably not so fine as he +may think his own to be, yet a little musical. + +And now for our _Monosyllables_. In the Controversy concerning which, +it must be examined, first whether the Charge which is exhibited +against the _Northern Languages_ is true, that they consist of nothing +but _Monosyllables_; and secondly, whether or no the Copiousness and +Variety of _Monosyllables_ may be always justly reputed a fault, and +may not sometimes as justly be thought, to be very useful and +ornamental. + +And first I must assert, that the ancient _Northern Languages_, do not +wholly nor mostly consist of _Monosyllables_. I speak chiefly of the +_Gothick_, _Saxon_, and _Teutonick_. It must be confest that in the +_Saxon_, there are many _Primitive_ 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 manner, and in the least compass: and the Qualities +and Relations, by suitable Additions, and Composition of _Primitive_ +Words[D]; for which the _Saxon_ Language is very remarkable, as has +been before observed, and of which there are numerous Examples, in the +following Treatise of _Saxon Grammar_, and infinitely more might have +been added. + + [Footnote D: Of this the _Greeks_ give as a fair Example, when + they express the Original and Author of all Things, their Πατὴρ + ἀνδρῶντε θεῶντε, by their Monosyllable Ζεύς. As the _Hebrews_ + do by יה, the _Goths_ the Ancestors of our _Saxon_ Progenitors + by the Word 𐌲𐍉𐌸, the _Saxons_, old _Germans_, _Teutons_, + _Francick_, and _English_, in the _Monosyllable_ Goꝺ, the + _Germans_ #Gott#, and the _French_ _Dieu_.] + +The second Enquiry is, whether or no the Copiousness and Variety +of _Monosyllables_ 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 _Latin_ and _Greek_: For the _Latin_ you have in _Lilly_’s Rules +concerning Nouns, several Verses, made up for the most part of +_Monosyllables_, I mention him not as a Classick, but because the +Words are Classical and _Monosyllables_; and in the _Greek_ there +are several as it were, idle _Monosyllables_, that have little +Significancy, except to make the Numbers in Verse compleat, or to +give a Fulness to their Periods, as the Verses of _Homer_ and other +_Greek Poets_ plainly evidence: An Instance or two may suffice; + + Ἐξ οὗ δὴ τα πρῶτα διαστήτην ἐρίσαντε. + +Here are four _Monosyllables_ in this Verse, + + Τὴν δ’ ἐγὼ οὐ λύσω, πρίν μιν καὶ γῆρας ἔπεισεν. + +Here are six _Monosyllables_, and one cutting off. + + Ἀλλ’ ἴθι, μὴ μ’ ἐρέθιζε, σαώτερος ὥς κε νέηαι. + Ὅς ἤδη τά τ’ ἐόντα, τά τ’ ἐσσόμενα πρό τ‘ ἐόντα. + + Hom. Il. 1. l. 70. + +Here are seven _Monosyllables_; yet so far is _Virgil_ from being angry +with his Master _Homer_ on this Account, that he in a manner transcribes +his very Words, imitating him as near as the _Latin_ wou’d permit; + + Quæ sint, quæ fuerint, quæ mox ventura trahantur. + +Here is the whole Sense of _Homer_ exprest, and five _Monosyllables_. +But Mr. _Dryden_, who has exprest the Sense of _Virgil_ with no less +Accuracy, gives you the whole Line in _Monosyllables_; + + He sees what is, and was, and is to come. + +Mr. _Pope_ 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; + + Whoever thinks a faultless Piece to see, + Thinks what ne’er was, nor is, nor e’er shall be. + +And _Horace_, while he is teaching us the Beauties in the Art of Poetry, +gives no less than nine _Monosyllables_ in the compass of a Verse and a +half; + + _Sed nunc non_ erat _his_ locus: & fortasse cupressum + _Scis_ simulare. _Quid hoc si_, &c. + +Now if these are Beauties, as I doubt not but the _politer Criticks_ +will allow, I cannot see why our Language may not now and then be +tolerated in using _Monosyllables_, when it is done discreetly, and +sparingly; and as I do not commend any of our Moderns who contract +Words into _Monosyllables_ to botch up their Verses, much less such as +do it out of Affectation; yet certainly the use of _Monosyllables_ 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 _Monosyllables_ 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. _Dryden_, +it is true, wou’d make us believe he had a great Aversion to +_Monosyllables_. 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 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 _Æneis_, every +Word is a _Monosyllable_; 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 _Æneis_, says he, is not harsh. + + “Arms and the Man I sing, who forc’d by Fate. + +“But a much better Instance may be given from the last Line of +_Manilius_, made _English_ by our learned and judicious Mr. _Creech_; + + “Nor could the World have born so fierce a Flame. + +“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.” + +It is plain from these last Words, that the Subject-matter, +_Monosyllables_, 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 _place them artfully_: and, however Mr. _Dryden_ +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 +_Monosyllables_: “I am sure, says he, there are few who make Verses, +have observ’d the Sweetness of these two Lines in _Coopers Hill_; + + “Tho deep, yet clear; tho gentle, yet not dull; + “Strong without Rage, without o’erflowing full. + +“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.” + +You see, Sir, this great Master had his Reserves, and this was one of +the _Arcana_, 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 _Greek_ and _Latin Poets_, 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 _Monosyllables_, 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 _Philip Sydney_, and that of Mr. _Dryden_, +if I begin with Father _Chaucer_. + + #Er it was Day, as was her won to do.# + +Again, + + #And but I have her Mercy and her Grace, + That I may seen her at the lefte way; + I nam but deed there nis no more to say.# + +Again, + + #Alas, what is this wonder Maladye? + For heate of colde, for colde of heate I dye.# + + _Chaucer_’s first Book of _Troylus_, fol. 159. b. + +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, _Gawen +Douglas_, Bishop of _Dunkeld_ in _Scotland_, who in his Preface to his +judicious and accurate Translation of _Virgil_, p. 4. says, + + Nane is, nor was, nor zit sal be, trowe I, + Had, has, or sal have, sic craft in Poetry: + +Again, p. 5. + + Than thou or I, my Freynde, quhen we best wene. + +But before, at least contemporary with _Chaucer_, we find Sir _John +Gower_, not baulking _Monosyllables_; + + #Myne Herte is well the more glad + To write so as he me bad, + And eke my Fear is well the lasse.# + + #To _Henry_ the Fourth.# + + #_King Salomon_ which had at his asking + Of God, what thyng him was leuest crave. + He chase Wysedom unto governyng + Of Goddes Folke, the whiche he wolde save: + And as he chase it fyl him for to have. + For through his Witte, while that his Reigne laste, + He gate him Peace, and Rest, into his laste.# + +Again, + + #Peace is the chefe of al the Worldes Welth, + And to the Heven it ledeth eke the way, + Peace is of Soule and Lyfe the Mannes Helth, + Of Pestylence, and doth the Warre away, + My Liege Lord take hede of that I say. + If Warre may be lefte, take Peace on Hande + Which may not be without Goddes Sande.#[E] + + [Footnote E: 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 _Saxon Tongue_ is, to the right understanding + our _Old English Poets_, and other Writers. For example, + #leuest#, this is the same with the _Saxon_ leoꝼoꞅꞇ, _most + beloved_, or _desirable_. #Goddes folke#, not _God his Folk_, + this has plainly the Remains of the _Saxon_ Genitive Case. + #Sande#, this is a pure _Saxon_ word, signifying _Mission_, + or _being sent_. See the _Saxon Homily_ on the Birth Day of + St. _Gregory_, p. 2. He ðuꞃh hıꞅ ꞃæꝺe ⁊ ꞅanꝺe uꞅ ꝼꞃam ðeoꝼleꞅ + bıᵹᵹenᵹum æꞇbꞃæꝺ. He through his Counsel and Commission rescued + us from the Worship of the Devil.] + +Nor were the _French_, 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; + + #En toy qui es fitz de Dieu le Pere, + Sauue soit, qui gist sours cest pierre.# + +This will be said to be old _French_, let us see whether _Boileau_ will +help us out, who has not long since writ the Art of Poetry; + + Mais moi, grace au Destin, qui n’ai ni feu ne lieu, + Je me loge où je puis, & comme il plaist à Dieu. + + _Sat._ vi. + +And in that which follows, + + Et tel, en vous lisant, admire chaque traite, + Qui dans le fond de l’ame, & vous craint & vous hait. + +Let _Lydgate_, _Chaucer_’s Scholar also be brought in for a Voucher; + + #For _Chaucer_ that my Master was and knew + What did belong to writing Verse and Prose, + Ne’er stumbled at small faults, nor yet did view + With scornful Eye the Works and Books of those + That in his time did write, nor yet would taunt + At any Man, to fear him or to daunt.# + +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 _Chaucer_. + +I might give more Instances out of _John Harding_, and our good old +Citizen, Alderman _Fabian_, 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 +_Earl of Surrey_, who at least had all the Elegancy of a gentle Muse, +that may deserve the Praises of our Sex, + + Her Praise I tune whose Tongue doth tune the Spheres, + And gets new Muses in her Hearers Ears. + Stars fall to fetch fresh Light from her rich Eyes, + Her bright Brow drives the Sun to Clouds beneath. + +Again, + + O Glass! with too much Joy my Thoughts thou greets. + +And again upon the Chamber where his admired _Geraldine_ was born; + + O! if _Elyzium_ be above the Ground, + Then here it is, where nought but Joy is found. + +And _Michael Drayton_, who had a Talent fit to imitate, and to celebrate +so great a Genius, of all our _English_ Poets, seems best to have +understood the sweet and harmonious placing of _Monosyllables_, 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; + + Care draws on Care, Woe comforts Woe again, + Sorrow breeds Sorrow, one Griefe brings forth twaine, + If live or dye, as thou doost, so do I, + If live, I live, and if thou dye, I dye; + One Hart, one Love, one Joy, one Griefe, one Troth, + One Good, one Ill, one Life, one Death to both. + +Again, + + Where as thou cam’st unto the Word of Love, + Even in thine Eyes I saw how Passion strove; + That snowy Lawn which covered thy Bed, + Me thought lookt white, to see thy cheeke so red, + Thy rosye cheeke oft changing in my sight, + Yet still was red to see the Lawn so white: + The little Taper which should give the Light, + Me thought waxt dim, to see thy Eye so bright. + +Again, + + Your Love and Hate is this, I now do prove you, + You Love in Hate, by Hate to make me love you. + +And to the Countess of _Bedford_, one of his great Patronesses; + + Sweet Lady yet, grace this poore Muse of mine, + Whose Faith, whose Zeal, whose Life, whose All is thine. + +The next that I shall mention, is taken out of an ingenious Poem, +entituled, _The Tale of the Swans_, written by _William Vallans_ in +blank Verse in the time of Queen _Elizabeth_; for the reprinting of +which, we are obliged to that ingenious and most industrious Preserver +and Restorer of Antiquities, Mr. _Thomas Hearne_ of _Oxford_; + + Among the which the merrie Nightingale + With swete, and swete (her Brest again a Thorne.) + +In another Place, + + And in the Launde, hard by the Parke of _Ware_ + +Afterwards, + + To _Ware_ he comes, and to the Launde he flies. + +Again, + + And in this Pompe they hie them to the Head. + +I come now to the incomparable _Spencer_, against whose Judgment and +Practice, I believe scarce any Man will be so bold as to oppose himself; + + Assure your self; it fell not all to Ground; + For all so dear as Life is to my Heart, + I deem your Love, and hold me to you bound. + +Again, + + Go say his Foe thy Shielde with his doth bear. + +Afterwards, + + More old than _Jove_, whom thou at first didst breed. + +And, + + And now the Prey of Fowls in Field he lies. + +Nor must _Ben. Johnson_ be forgotten; + + Thy Praise or Dispraise is to me alike; + One doth not stroke me, nor the other strike. + +Again, + + Curst be his Muse, that could lye dumb, or hid + To so true Worth, though thou thy self forbid. + +In this Train of Voters for _Monosyllables_, the inimitable _Cowley_ +marches next, whom we must not refuse to hear; + + Yet I must on; what Sound is’t strikes mine Ear? + Sure I Fames Trumpet hear. + +And a little after, + + Come my best Friends, my Books, and lead me on; + ’Tis time that I were gone. + Welcome, great Stagirite, and teach me now + All I was born to know. + +And commending _Cicero_, he says, + + Thou art the best of Orators; only he + Who best can praise thee, next must be. + +And of _Virgil_ thus, + + Who brought green Poesy to her perfect Age, + And made that Art, which was a Rage. + +And in the beginning of the next Ode, he wou’d not certainly have +apply’d himself to WIT in the harsh Cadence of _Monosyllables_, had he +thought them so very harsh; + + Tell me, O tell, what kind of thing is Wit, + Thou who Master art of it. + +Again, + + In a true Piece of Wit all things must be + Yet all things there agree. + +But did he believe such Concord to be inconsistent with the use of +_Monosyllables_, 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. + +And now comes Mr. _Waller_, and what does he with his _Monosyllables_, +but, + + Give us new Rules, and set our Harp in Tune. + +And that honourable Peer whom he commends, the Lord _Roscommon_ thus +keeps him in Countenance; + + Be what you will, so you be still the same. + +And again, + + In her full Flight, and when she shou’d be curb’d. + +Soon after, + + Use is the Judge, the Law, and Rule of Speech, + +And by and by, + + We weep and laugh, as we see others do, + He only makes me sad who shews the way: + But if you act them ill, I sleep or laugh. + +The next I shall mention is my Lord _Orrery_, who, as Mr. _Anthony Wood_ +says, was a great Poet, Statesman, Soldier, and great every thing which +merits the Name of Great and Good. In his Poem to Mrs. _Philips_, he +writes thus; + + For they imperfect Trophies to you raise, + You deserve Wonder, and they pay but Praise; + A Praise which is as short of your great due. + As all which yet have writ come short of you. + +Again, + + In Pictures none hereafter will delight, + You draw more to the Life in black and white; + The Pencil to your Pen must yield the Place, + This draws the Soul, where that draws but the Face. + +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 _Buckinghamshire_, his Translation of _The Temple of +Death_; + + Her Chains were Marks of Honour to the Brave, + She made a Prince when e’er she made a Slave. + +Again, + + By wounding me, she learnt the fatal Art, + And the first Sigh she had, was from my Heart. + +My Lord _Hallifax_’s Muse hath been very indulgent to _Monosyllables_, +and no Son of _Apollo_ will dare to dispute his Authority in this +Matter. Speaking of the Death of King _Charles_ the Second, and his +Improvement of Navigation, and Shipping; he says, + + To ev’ry Coast, with ready Sails are hurl’d, + Fill us with Wealth, and with our Fame the World. + +Again, + + Us from our Foes, and from our selves did shield. + +Again, + + As the stout Oak, when round his Trunk the Vine + Does in soft Wreaths, and amorous Foldings twine. + +And again, + + In _Charles_, so good a Man and King, we see, + A double Image of the Deity. + Oh! Had he more resembled it! Oh why + Was he not still more like; and cou’d not die? + +My Lord _Landsdown_’s Muse, which may claim her Seat in the highest +Point of _Parnassus_, gives us these Instances of her Sentiments in our +Favour; + + So own’d by Heaven, less glorious far was he, + Great God of Verse, than I, thus prais’d by thee. + +Again on _Mira’s_ singing, + + The Slave that from her Wit or Beauty flies, + If she but reach him with her Voice, he dies. + +In such noble Company, I imagin Mr. _Addison_ will not be ashamed to +appear, thus speaking of Mr. _Cowley_; + + His Turns too closely on the Reader press; + He more had pleas’d us, had he pleas’d us less. + +And of Mr. _Waller_, + + Oh had thy Muse not come an Age too soon. + +And of Mr. _Dryden_’s Muse, + + Whether in Comick Sounds or Tragick Airs + She forms her Voice, she moves our Smiles or Tears. + +And to his Friend Dr. _Sacheverell_, + + I’ve done at length, and now, dear Friend, receive + The last poor Present that my Muse can give. + And so at once, dear Friend and Muse, fare well. + +To these let me add the Testimony of that Darling of the Muses, Mr. +_Prior_, 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 _Chaucer_, of _Spencer_, and of the old +_Scotch Poem_, inscribed the _Nut-Brown Maid_, 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 _Monosyllables_ in his Writings. Take these Examples; + + Me all too mean for such a Task I weet. + +Again, + + Grasps he the Bolt? we ask, when he has hurl’d the Flame. + +And, + + Nor found they lagg’d too slow, nor flew too fast. + +And again, + + With Fear and with Desire, with Joy and Pain + She sees and runs to meet him on the Plain. + +And, + + With all his Rage, and Dread, and Grief, and Care. + +In his Poem in answer to Mrs. _Eliz. Singer_, on her Poem upon _Love_ +and _Friendship_, + + And dies in Woe, that thou may’st live in Peace. + +The only farther Example of _Monosyllabick Verses_ 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 _Monosyllables_, they are these which follow; + + Then since you now have done your worst, + Pray leave me where you found me first. + + Part of the seventh Epistle of the first Book of _Horace_ + imitated, and address’d to a noble Peer, _p. ult._ + +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. _Philips_ on the Death of the Queen of _Bohemia_; + + Over all Hearts and her own Griefs she reign’d. + +And on the Marriage of the Lord _Dungannon_, + + May the vast Sea for your sake quit his Pride, + And grow so smooth, while on his Breast you ride, + As may not only bring you to your Port, + But shew how all things do your Virtues court. + +To _Gilbert_ Lord Archbishop of _Canterbury_, + + That the same Wing may over her be cast, + Where the best Church of all the World is plac’d. + +Mrs. _Wharton_ upon the Lamentations of _Jeremiah_; + + Behold those Griefs which no one can repeat, + Her Fall is steep, and all her Foes are great. + +And my Lady _Winchelsea_ in her Poem entituled, _The Poor Man’s Lamb_; + + Thus wash’d in Tears, thy Soul as fair does show + As the first Fleece, which on the Lamb does grow. + +Sir, from these numerous Instances, out of the Writings of our +greatest and noblest Poets, it is apparent, That had the Enmity +against _Monosyllables_, 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 _English_ 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 _Poetry_, but according to that Skill, which is natural to +the Musick of a _Northern Ear_, 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. _Dryden_’s Apology, for the Musick of old +Father _Chaucer_’s Numbers, “That there is the rude Sweetness of a +_Scotch_ Tune in it, which is natural and pleasing, tho’ not perfect.” + +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 _English_ 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. _Dryden_, who cautions his Reader with this Observation, _That the +Nature of a Preface is Rambling, never wholly out of the way, nor in +it_. Yet I cannot end this Preface, without desiring that such as +shall be employ’d in _refining_ and _ascertaining_ our _English +Tongue_, may entertain better Thoughts both of the _Saxon Tongue_, +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 _low +Genius_, 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, 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 _Archbishop Spotswood_, 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 _low Genius_: “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 +_Lenox_, he was looked upon as the fittest Person of his Quality to +attend _Lodowic_, Duke of _Lenox_, as his Chaplain in that honourable +Embassy to _Henry_ the fourth of _France_, 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.” + +But that of _low Genius_ is not the worst Charge which is brought +against the _Antiquaries_, 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 _a Dissertation on reading the Classicks, and +forming a just Stile_; 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 _Antiquaries_ and _Schoolmen_.” This is a good careless way +of talking, it may pass well enough for the _genteel Negligence_, in +short, such _Nonsense_, as _Our_ 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 _YOUR Antiquaries_, 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 +_Your Men of Sufficiency and Self-conceit_. But here his Master +_Horace_ is quite slipt out of his Mind, whose Words are, + + Scribendi recte, sapere est & principium & fons. + Rem tibi Socraticæ poterunt ostendere chartæ: + Verbaque provisam rem non invita sequentur. + +Thus translated by my Lord _Roscommon_, + + Sound Judgment is the ground of writing well: + And when Philosophy directs your Choice + To proper Subjects rightly understood, + Words from your Pen will naturally flow. + +_Horace_’s _Sapere_, and my Lord _Roscommon_’s _Proper Subjects +rightly understood_, I take to be the same as _Propriety of Thought_, +and the _non invita sequentur, naturally flowing_, I take to import +the Fitness and Propriety of Expression. I also gather from hence, +that there is a very easy and natural Connexion between these two, and +these same Antiquaries of OURS, 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 _Horace_’s +Observation is not just, or that for the Word _invita_ we ought to +have a better reading, for which he will be forced to consult the +_Antiquaries_. 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 _Bishop_ of +_Rochester_, of whom, he says, “He was the correctest Writer of the +Age, and comes nearest the great Originals of _Greece_ and _Rome_, by +a studious Imitation of the Ancients.” So that, as I take it, he was +an Antiquary: If he excludes _English Antiquities_, I desire him to +remember the present _Bishop_ of _Rochester_, of whom he has given +this true Character, “Dr. _Atterbury_ writeth with the fewest Faults, +and greatest Excellencies of any who have studied to mix Art and +Nature in their Compositions, _&c._” 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 _Bishop_ of St. _Asaph_ 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 _Bishops_ of _Worcester_, the +former, Dr. _Stillingfleet_, 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 _English_ Tongue from +[F]_Bishop Wilkins_; + + I must acknowledge my self obliged, saith he, to the continual + Assistance I have had from my most learned and worthy Friend, Dr. + _William Lloyd_, 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 _Philological_, and + _Philosophical_ 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 _Dictionary_, and the drawing up of the + _Dictionary_ itself, which, upon trial, I doubt not, will be found + to be the most perfect, that was ever yet made for the _English + Tongue_. + +I will only farther beg leave to mention, the _Bishop_ of _Carlisle_, +_Your Self_, and Dr. _Gibson_, 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 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 _English Saxon Grammar_, 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. _George_, 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 _D. P._ to the Reverend Dr. _R. Taylor_, relating to your +_Thesaurus. Lingg. Vett. Septentrion._ 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, + + --“The _Dean_’s Present, which I shall value as long as I live for + his sake. _Dom. Mabillon_ 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.” + + [Footnote F: See the Epistle to the Reader in the Essay towards + a Real Character, p. 3.] + +And in another Letter to the abovemention’d Dr. _Taylor_--. “When +_Dom. Mabillon_ 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 _Dean_ in one Word, has done that worthy Man +Justice.” This high Elogium of your self, and of your great Work, from +so renowned an Antiquary, as it is a great Defence and Commendation of +the _Old Northern Learning_, 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, _De Re Diplomatica_, as may be seen in your _Lingg. +Vett. Septentr. Thesaur. Præfat. General._ p. _xxxvi_, &c. + +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 _Saxon_ 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, + + _SIR_, + + Your Most Obliged, + + Humble Servant, + + _Elizabeth Elstob._ + + + * * * * * + * * * * + * * * * * + + +William Andrews Clark Memorial Library: University of California + +THE AUGUSTAN REPRINT SOCIETY + + _General Editors_ + + R. C. BOYS + University of Michigan + + RALPH COHEN + University of California, Los Angeles + + VINTON A. DEARING + University of California, Los Angeles + + LAWRENCE CLARK POWELL + Wm. Andrews Clark Memorial Library + + Corresponding Secretary: + Mrs. EDNA C. DAVIS, Wm. Andrews Clark Memorial Library + + +THE SOCIETY 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. + +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. + + * * * * * + +Publications for the eleventh year [1956-57] + +(At least six items, most of them from the following list, will be +reprinted.) + + + [Where available, Project Gutenberg e-text numbers are shown in + brackets.] + +_An Essay on the New Species of Writing Founded by Mr. Fielding_ (1751). + Introduction by James A. Work. [_published in Year 16_] + +Elizabeth Elstob, _An Apology for the Study of Northern Antiquities_ + (1715). Introduction by Charles Peake. [_present text_] + +G. W. _Magazine, or Animadversions on the English Spelling_ (1703). + Anon., _The Needful Attempt, to make Language and Divinity Plain and + Easie_ (1711). Introduction by David Abercrombie. [20130: Year 12] + +_Prefaces to Fiction._ Selected, with an introduction, by Claude E. + Jones. + +Samuel Johnson. _Notes to Shakespeare, Vol. II, Histories._ Edited by + Arthur Sherbo. (A double issue) + +_Parodies of Ballad Criticism._ Selected, with an introduction, by + William K. Winsatt, Jr. [22081] + +_Two Funeral Sermons._ Selected, with an introduction, by Frank L. + Huntley. + +Richard Savage, _An Author to be Let_ (1732). Introduction by James + Sutherland. [_published in Year 14_] + +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. + + + The Augustan Reprint Society + _William Andrews Clark Memorial Library_ + 2205 West Adams Boulevard, Los Angeles 18, California + +Make check or money order payable to The Regents of the University of +California. + + * * * * * + +PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY + + +*First Year (1946-1947)* + +Numbers 1-6 out of print. + + +*Second Year (1947-1948)* + + 7. John Gay’s _The Present State of Wit_ (1711); and a section on Wit + from _The English Theophrastus_ (1702). [14800] + + 8. Rapin’s _De Carmine Pastorali_, translated by Creech (1684). + [14495] + + 9. T. Hanmer’s (?) _Some Remarks on the Tragedy of Hamlet_ (1736). + [14899] + +10. Corbyn Morris’ _Essay towards Fixing the True Standards of Wit, + etc._ (1744). [16233] + +11. Thomas Purney’s _Discourse on the Pastoral_ (1717). [15313] + +12. Essays on the Stage, selected, with an Introduction by Joseph + Wood Krutch. [16335] + + +*Third Year (1948-1949)* + +13. Sir John Falstaff (pseud.), _The Theatre_ (1720). [15999] + +14. Edward Moore’s _The Gamester_ (1753). [16267] + +15. John Oldmixon’s _Reflections on Dr. Swift’s Letter to Harley_ + (1712); and Arthur Mainwaring’s _The British Academy_ (1712). + [25091] + +16. Nevil Payne’s _Fatal Jealousy_ (1673). [16916] + +17. Nicholas Rowe’s _Some Account of the Life of Mr. William + Shakespeare_ (1709). [16275] + +18. “Of Genius,” in _The Occasional Paper_, Vol. III, No. 10 (1719); + and Aaron Hill’s Preface to _The Creation_ (1720). [15870] + + +*Fourth Year (1949-1950)* + +19. Susanna Centlivre’s _The Busie Body_ (1709). [16740] + +20. Lewis Theobold’s _Preface to The Works of Shakespeare_ (1734). + [16346] [_spelled “Theobald” in published text_] + +21. _Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela_ + (1754). [in preparation] + +22. Samuel Johnson’s _The Vanity of Human Wishes_ (1749) and Two + _Rambler_ papers (1750). [13350] + +23. John Dryden’s _His Majesties Declaration Defended_ (1681). [15074] + +24. Pierre Nicole’s _An Essay on True and Apparent Beauty in Which from + Settled Principles is Rendered the Grounds for Choosing and + Rejecting Epigrams_, translated by J. V. Cunningham. [28921] + + +*Fifth Year (1950-1951)* + +25. Thomas Baker’s _The Fine Lady’s Airs_ (1709). [14467] + +26. Charles Macklin’s _The Man of the World_ (1792). [14463] + +27. Out of print. + +28. John Evelyn’s _An Apologie for the Royal Party_ (1659); and + _A Panegyric to Charles the Second_ (1661). [17833] + +29. Daniel Defoe’s _A Vindication of the Press_ (1718). [14084] + +30. Essays on Taste from John Gilbert Cooper’s _Letters Concerning + Taste_, 3rd edition (1757), & John Armstrong’s _Miscellanies_ + (1770). [13464] + + +*Sixth Year (1951-1952)* + +31. Thomas Gray’s _An Elegy Wrote in a Country Church Yard_ (1751); + and _The Eton College Manuscript_. [15409] + +32. Prefaces to Fiction; Georges de Scudéry’s Preface to _Ibrahim_ + (1674), etc. [14525] + +33. Henry Gally’s _A Critical Essay_ on Characteristic-Writings (1725). + [16299] + +34. Thomas Tyers’ A Biographical Sketch of Dr. Samuel Johnson (1785). + +35. James Roswell, Andrew Erskine, and George Dempster. _Critical + Strictures on the New Tragedy of Elvira, Written by Mr. David + Malloch_ (1763). [15857] + +36. Joseph Harris’s _The City Bride_ (1696). [22974] + + +*Seventh Year (1952-1953)* + +37. Thomas Morrison’s _A Pindarick Ode on Painting_ (1767). [27130] + +38. John Phillips’ _A Satyr Against Hypocrites_ (1655). + [in preparation] + +39. Thomas Warton’s _A History of English Poetry_. [in preparation] + +40. Edward Bysshe’s _The Art of English Poetry_ (1708). + [in preparation] + +41. Bernard Mandeville’s “A Letter to Dion” (1732). [in preparation] + +42. Prefaces to Four Seventeenth-Century Romances. [in preparation] + + +*Eighth Year (1953-1954)* + +43. John Baillie’s _An Essay on the Sublime_ (1747). + +44. Mathias Casimire Sarbiewski’s _The Odes of Casimire_, Translated + by G. Hils (1646). [25055] + +45. John Robert Scott’s _Dissertation on the Progress of the Fine Arts_. + [in preparation] + +46. Selections from Seventeenth Century Songbooks. + +47. Contemporaries of the _Tatler_ and _Spectator_. + +48. Samuel Richardson’s Introduction to _Pamela_. [24860] + + +*Ninth Year (1954-1955)* + +49. Two St. Cecilia’s Day Sermons (1696-1697). + +50. Hervey Aston’s _A Sermon Before the Sons of the Clergy_ (1745). + +51. Lewis Maidwell’s _An Essay upon the Necessity and Excellency of + Education_ (1705). + +52. Pappity Stampoy’s _A Collection of Scotch Proverbs_ (1663). [7018] + +53. Urian Oakes’ _The Soveriegn Efficacy of Divine Providence_ (1682). + +54. Mary Davys’ _Familiar Letters Betwixt a Gentleman and a Lady_ + (1725). + + +*Tenth Year (1955-1956)* + +55. Samuel Say’s _An Essay on the Harmony, Variety, and Power of + Numbers_ (1745). + +56. _Theologia Ruris, sive Schola & Scala Naturae_ (1686). + +57. Henry Fielding’s _Shamela_ (1741). + +58. Eighteenth Century Book Illustrations. + +59. Samuel Johnson’s _Notes to Shakespeare_. Vol. I, Comedies, Part I. + +60. Samuel Johnson’s _Notes to Shakespeare_. Vol. I, Comedies, Part II. + [7780 (59 and 60 combined)] + + + * * * * * + * * * * + * * * * * + + +Transliterations: + + As the _Hebrews_ do by יה + ... +YAH+ + the _Goths_ ... by the Word 𐌲𐍉𐌸 + ... GOÞ + For example_, Goꝺeꞅ Ƿoꞃꝺ, Manneꞅ Ƿiꞅꝺom, Ꞅmiðeꞅ Heoꞃð + ... Godes Word, Mannes Wisdom, Smiðes Heorð + in the _Monosyllable_ Goꝺ + ... God + this is the same with the _Saxon_ leoꝼoꞅꞇ + ... leofost + He ðuꞃh hıꞅ ꞃæꝺe ⁊ ꞅanꝺe uꞅ ꝼꞃam ðeoꝼleꞅ bıᵹᵹenᵹum æꞇbꞃæꝺ. + He ðurh his ræde & sande us fram ðeofles biggengum ætbræd. + + +Erratum (noted by transcriber): + +_Introduction_ + + (Augustan Reprint Society, 1948) [Auguston] + + + + + +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 15329-0.txt or 15329-0.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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/15329-0.zip b/15329-0.zip Binary files differnew file mode 100644 index 0000000..29ee8fc --- /dev/null +++ b/15329-0.zip diff --git a/15329-8.txt b/15329-8.txt new file mode 100644 index 0000000..79a452a --- /dev/null +++ b/15329-8.txt @@ -0,0 +1,2038 @@ +The Project Gutenberg EBook of An Apology For The Study of Northern +Antiquities, by Elizabeth Elstob + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: 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: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK NORTHERN ANTIQUITIES *** + + + + +Produced by David Starner, Louise Hope and the Online Distributed + + + + +[Transcriber's Note: + +This text is intended for users whose text readers cannot use the "real" +(Unicode/UTF-8) version of the file. Text printed in non-Roman scripts +is transliterated and shown between different marks: + + +Greek+ + +HEBREW+ + *Saxon* + *GOTHIC* + #blackletter type# (used for German, Middle English, Old French) + +The Hebrew and Gothic scripts (one word each) do not have separate +upper- and lower-case forms. Except for Greek, the text itself always +identifies the language being quoted.] + + + + + THE AUGUSTAN REPRINT SOCIETY + + + ELIZABETH ELSTOB + + An Apology for the Study of + Northern Antiquities + + (1715) + + + Introduction by + Charles Peake + + + Publication Number 61 + + Los Angeles + William Andrews Clark Memorial Library + University of California + + 1956 + + * * * * * + + GENERAL EDITORS + RICHARD C. BOYS, University of Michigan + RALPH COHEN, University of California, Los Angeles + VINTON A. DEARING, University of California, Los Angeles + LAWRENCE CLARK POWELL, Clark Memorial Library + + ASSISTANT EDITOR + W. EARL BRITTON, University of Michigan + + ADVISORY EDITORS + EMMETT L. AVERY, State College of Washington + BENJAMIN BOYCE, Duke University + LOUIS BREDVOLD, University of Michigan + JOHN BUTT, King's College, University of Durham + JAMES L. CLIFFORD, Columbia University + ARTHUR FRIEDMAN, University of Chicago + EDWARD NILES HOOKER, University of California, Los Angeles + LOUIS A. LANDA, Princeton University + SAMUEL H. MONK, University of Minnesota + ERNEST C. MOSSNER, University of Texas + JAMES SUTHERLAND, University College, London + H. T. SWEDENBERG, JR., University of California, Los Angeles + + CORRESPONDING SECRETARY + EDNA C. DAVIS, Clark Memorial Library + + * * * * * + +INTRODUCTION + +The answerers who rushed into print in 1712 against Swift's _Proposal +for Correcting, Improving and Ascertaining the English Tongue_ 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 +_Reflections on Dr. Swift's Letter to Harley_ and Mainwaring's +_The British Academy_ (Augustan 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." + +Elizabeth Elstob's _Apology for the Study of Northern Antiquities_ +prefixed to her _Rudiments of Grammar for the English-Saxon Tongue_ +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. + +What irritated Miss Elstob in the _Proposal_ was not Swift's eulogy +or Harley and the Tory ministry, but his scornful reference to +antiquarians as "laborious 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 _An English-Saxon Homily on the +Birthday of St. Gregory_ (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 +_Rudiments_, 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." + +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. + +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 +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. + +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. + +Most of these arguments had been bandied backwards and forwards +rather inconclusively since the sixteenth century, and Addison in +_The Spectator_ No. 135 expresses a typically moderate opinion on +the matter: the English language, he says, abounds in monosyllables, + + 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. + +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 brilliantly, has in English a very +marked monosyllabic character. + +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 _Proposal_ or his particular criticisms of current +linguistic habits, but they did lay him open to the very penetrating +and decisive attack of Elizabeth Elstob. + +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. + +It is not known whether Swift ever read Miss Elstob's _Rudiments_, +though it is interesting to notice a marked change of emphasis in +his references to the Anglo-Saxon language. In the _Proposal_ 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 _An Abstract of the History of England_ +(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, 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 +_Rudiments_. + +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, +_Illustrations of the Literary History of the Eighteenth Century_, +1822, IV, 212.) + + Charles Peake + University College, London + + + * * * * * + * * * * + * * * * * + + The + RUDIMENTS + of + GRAMMAR + + for the + English-Saxon Tongue, + First given in ENGLISH: + + with an + Apology + For the Study of + + NORTHERN ANTIQUITIES. + + Being very useful towards the understanding our + ancient _English_ POETS, and other WRITERS. + + + By ELIZABETH ELSTOB. + + +Our Earthly Possessions are truly enough called a _PATRIMONY_, +as derived to us by the Industry of our _FATHERS_; but the Language +that we speak is our _MOTHER-TONGUE_; And who so proper to play the +Criticks in this as the _FEMALES_. + + In a Letter from a Right Reverend Prelate to the Author. + + + LONDON. + + Printed by _W. Bowyer_: And Sold by J. BOWYER + at the _Rose_ in _Ludgate-street_, and C. KING + in _Westminster-hall_, 1715. + + * * * * * + + The + PREFACE + + to the + Reverend Dr. _Hickes_. + +SIR, + +Soon after the Publication of the Homily on St. Gregory, I was engaged +by the Importunity of my Friends, to make a Visit to _Canterbury_, 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 now and then excusable. In this Recess, +among the many Compliments and kind Expressions, which their +favourable Acceptance of my first Attempt in _Saxon_, 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 _Saxon Tongue_, and do me the Honour +to be my _Scholar_, as to make me think of composing an _English +Grammar_ 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 +_Thesaurus_, and the ingenious Compendium of it by Mr. _Thwaites_; +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 had communicated to you my Design for your Advice, +and had receiv'd your repeated Exhortation, and Encouragement to the +Undertaking. + +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 _Grammar_; 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. +_Thwaites_ have done on this Subject, for which you will, I imagine, +readily pardon me: I have given most, if not all the _Grammatical_ +Terms in true old _Saxon_, from _lfrick_'s Translation of _Priscian_, +to shew the _polite_ 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 _Latin_ itself is beholden to the _Greek_, not only +for the Terms, but even the Names of Arts and Sciences, as is easily +discerned in the Words, _Philosophy_, _Grammar_, _Logick_, _Rhetorick_, +_Geometry_, _Arithmetick_, &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. _Pro Patria mori_, used to be one of the great +Boasts of Antiquity; and even the so celebrated Magnanimity of _Cato_, +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, _of the correcting, improving and ascertaining_ 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 _Saxon_ 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; _Desiring to be +Teachers of the Law, understanding neither what they say, nor +whereof they affirm, 1 _Tim._ 1. 7._ It had been well if those wise +_Grammarians_ had understood this Character, who have taken upon them +to teach our Ladies and young Gentlemen, _The whole System of an +English Education_; 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 _Northern Literature_ in so cold 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. + +But it seems you are not of so much Credit with these _Gentlemen_, 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. + + The _Saxons_, say they, if we may credit Dr. _Hickes_, 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. _Hickes_ has made six + several _Declensions_ of the _Saxon_ Names: He gives them three + _Numbers_; a Singular, Dual, and Plural: We have no Dual Number, + except perhaps in _Both_: To make this plainer, we shall + transcribe the six Declensions from that Antiquary's Grammar. + +I would ask these Gentlemen, and why not credit Dr. _Hickes_? 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 they think of these Words, _God's Word_, _Man's +Wisdom_, the _Smith's Forge_, and innumerable Instances more. For in +_God's Word_, &c. is not the Termination _s_ a plain Indication of a +Genitive Case, wherein the Saxon _e_ is omitted? For example_, *Godes +Word*, *Mannes Wisdom*, *Smies Heor*. Some will say, that were better +supplied by _his_, or _hers_, as Man _his_ Thought, the Smith _his_ +Forge; but this Mistake is justly exploded. Yet if these Gentlemen will +not credit Dr. _Hickes_, the _Saxon_ Writings might give them full +Satisfaction. The _Gospels_, the _Psalms_, and a great part of the +_Bible_ are in _Saxon_, so are the _Laws_ and _Ecclesiastical Canons_, +and _Charters_ of most of our _Saxon Kings_; 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. + + We might give you various Instances more of the essential + difference between the old _Saxon_ and modern _English_ Tongue, + but these must satisfy any reasonable Man, that it is so great, + that the _Saxon_ can be no Rule to us; and that to understand + ours, there is no need of knowing the _Saxon_: And tho' Dr. + _Hickes_ 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) that we are obliged to derive the + Sense, Construction, or Nature of our present Language from + his Discoveries. + +I would beseech my Readers to observe, the Candour and Ingenuity of +these Gentlemen: They tell us, _We might give you various Instances +more of the essential difference between the old _Saxon_ and modern +_English_ Tongue_; and yet have plainly made it appear, that they know +little or nothing of the old _Saxon_. So that it will be hard to say +how they come to know of any such _essential difference, as MUST +satisfy any reasonable Man_; and much more that this _essential +difference_ is so _great, that the _Saxon_ can be no Rule to us, +and that to understand ours, there is no need of knowing the _Saxon_._ +What they say, _that it cannot be a Rule to them_, 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. _Hickes_, now in use, which are of pure _Saxon_ Original, and +consequently _essential to the modern English_. I need not tell any +English Reader at this Day the meaning of _Smith_, _Word_, _Son_, and +_Good_; but if I tell them that these are Saxon Words, I believe they +will hardly deny them to be _essential to the modern English_, or that +they will conclude that the difference between the old _English_ 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 a laudable Pedigree, are backward +in all due Respect and Veneration towards a noble Ancestry. + +Their great Condescension to Dr. _Hickes_ in allowing him to have been +a very curious Inquirer into those _obsolete Tongues, now out of use, +and containing nothing valuable in them_, 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 _contain'd_ in +them. They would rather assure them, that our greatest Divines[A], +and Lawyers[B], and Historians[C] are of another Opinion, they wou'd +advise them to consult our Libraries, those of the two Universities, +the _Cottonian_, and my Lord Treasurers; to study your whole +_Thesaurus_, particularly your _Dissertatio Epistolaris_, to look into +Mr. _Wanleys_ large and accurate Catalogue of _Saxon_ 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 _Inference_, which they think _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_. +He desires them not to _derive_ the _Sense_ and _Construction_ 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 +_Discoveries_ 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. + + [Footnote A: Archbishops _Parker_, _Laud_, _Usher_, Bishop + _Stillingfleet_, the present Bishops _of Worcester_, _Bath_ + and _Wells_, _Carlisle_, St. _Asaph_, St. _Davids_, _Lincoln_, + _Rochester_, with many other Divines of the first Rank.] + + [Footnote B: The Lord Chief Justice _Cook_, Mr. _Lombard_, + _Selden_, _Whitlock_, Lord Chief Justice _Hales_, and _Parker_, + Mr. _Fortescue_ of the Temple, and others.] + + [Footnote C: _Leland_, 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. _Jocelin_, _Spelman_, both Father and Son, + _Cambden_, _Whelock_, _Gibson_, 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.] + +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 _English_ Tongue, so little +Regard is had to Antiquity, and the Original of our present Language, +which is the _Saxon_. This indeed is allow'd by an ingenious Person, +who hath lately made some Proposals for the Refinement of the +_English_ Tongue, _That the old _Saxon_, except in some few Variations +in the Orthography, is the same in most original Words with our +present _English_, as well as with the _German_ and other _Northern_ +Dialects_; which makes it a little surprizing to me, to find the same +Gentleman not long after to say, _The other Languages of _Europe_ +I know nothing of, neither is there any occasion to consider them_: +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 occasion or no to consider it. I must confess I hope +when ever such a Project shall be taken in hand, for _correcting_, +_enlarging_, and _ascertaining_ our Language, a competent Number +of such Persons will be advised with, as are knowing, not only in +_Saxon_, but in the other Languages of _Europe_, 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 _Saxon_ Original for their native Stock, +or an Affinity with those Branches of the other _Northern Tongues_, +which own the same Original. + +The want of knowing the _Northern Languages_, 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 _Saxon_, +_Gothick_, and _Francick_, or old _Teutonick_: 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 +_Greek_ 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 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. + +The Author of the _Proposal_, 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 _Northern_ +Correspondence, and a _Northern_ Ear, probably not so fine as he +may think his own to be, yet a little musical. + +And now for our _Monosyllables_. In the Controversy concerning which, +it must be examined, first whether the Charge which is exhibited +against the _Northern Languages_ is true, that they consist of nothing +but _Monosyllables_; and secondly, whether or no the Copiousness and +Variety of _Monosyllables_ may be always justly reputed a fault, and +may not sometimes as justly be thought, to be very useful and +ornamental. + +And first I must assert, that the ancient _Northern Languages_, do not +wholly nor mostly consist of _Monosyllables_. I speak chiefly of the +_Gothick_, _Saxon_, and _Teutonick_. It must be confest that in the +_Saxon_, there are many _Primitive_ 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 manner, and in the least compass: and the Qualities +and Relations, by suitable Additions, and Composition of _Primitive_ +Words[D]; for which the _Saxon_ Language is very remarkable, as has +been before observed, and of which there are numerous Examples, in the +following Treatise of _Saxon Grammar_, and infinitely more might have +been added. + + [Footnote D: Of this the _Greeks_ give as a fair Example, when + they express the Original and Author of all Things, their +Patr + andrnte thente+, by their Monosyllable +Zeus+. As the _Hebrews_ + do by +YAH+, the _Goths_ the Ancestors of our _Saxon_ Progenitors + by the Word *GO*, the _Saxons_, old _Germans_, _Teutons_, + _Francick_, and _English_, in the _Monosyllable_ *Go*, the + _Germans_ #Gott#, and the _French_ _Dieu_.] + +The second Enquiry is, whether or no the Copiousness and Variety +of _Monosyllables_ 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 _Latin_ and _Greek_: For the _Latin_ you have in _Lilly_'s Rules +concerning Nouns, several Verses, made up for the most part of +_Monosyllables_, I mention him not as a Classick, but because the +Words are Classical and _Monosyllables_; and in the _Greek_ there +are several as it were, idle _Monosyllables_, that have little +Significancy, except to make the Numbers in Verse compleat, or to +give a Fulness to their Periods, as the Verses of _Homer_ and other +_Greek Poets_ plainly evidence: An Instance or two may suffice; + + +Ex hou d ta prta diasttn erisante.+ + +Here are four _Monosyllables_ in this Verse, + + +Tn d' eg ou lus, prin min kai gras epeisen.+ + +Here are six _Monosyllables_, and one cutting off. + + +All' ithi, m m' erethize, sateros hs ke neai. + Hos d ta t' eonta, ta t' essomena, pro t' eonta.+ + + Hom. Il. 1. l. 70. + +Here are seven _Monosyllables_; yet so far is _Virgil_ from being angry +with his Master _Homer_ on this Account, that he in a manner transcribes +his very Words, imitating him as near as the _Latin_ wou'd permit; + + Qu sint, qu fuerint, qu mox ventura trahantur. + +Here is the whole Sense of _Homer_ exprest, and five _Monosyllables_. +But Mr. _Dryden_, who has exprest the Sense of _Virgil_ with no less +Accuracy, gives you the whole Line in _Monosyllables_; + + He sees what is, and was, and is to come. + +Mr. _Pope_ 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; + + Whoever thinks a faultless Piece to see, + Thinks what ne'er was, nor is, nor e'er shall be. + +And _Horace_, while he is teaching us the Beauties in the Art of Poetry, +gives no less than nine _Monosyllables_ in the compass of a Verse and a +half; + + _Sed nunc non_ erat _his_ locus: & fortasse cupressum + _Scis_ simulare. _Quid hoc si_, &c. + +Now if these are Beauties, as I doubt not but the _politer Criticks_ +will allow, I cannot see why our Language may not now and then be +tolerated in using _Monosyllables_, when it is done discreetly, and +sparingly; and as I do not commend any of our Moderns who contract +Words into _Monosyllables_ to botch up their Verses, much less such as +do it out of Affectation; yet certainly the use of _Monosyllables_ 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 _Monosyllables_ 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. _Dryden_, +it is true, wou'd make us believe he had a great Aversion to +_Monosyllables_. 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 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 _neis_, every +Word is a _Monosyllable_; 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 _neis_, says he, is not harsh. + + "Arms and the Man I sing, who forc'd by Fate. + +"But a much better Instance may be given from the last Line of +_Manilius_, made _English_ by our learned and judicious Mr. _Creech_; + + "Nor could the World have born so fierce a Flame. + +"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." + +It is plain from these last Words, that the Subject-matter, +_Monosyllables_, 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 _place them artfully_: and, however Mr. _Dryden_ +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 +_Monosyllables_: "I am sure, says he, there are few who make Verses, +have observ'd the Sweetness of these two Lines in _Coopers Hill_; + + "Tho deep, yet clear; tho gentle, yet not dull; + "Strong without Rage, without o'erflowing full. + +"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." + +You see, Sir, this great Master had his Reserves, and this was one of +the _Arcana_, 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 _Greek_ and _Latin Poets_, 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 _Monosyllables_, 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 _Philip Sydney_, and that of Mr. _Dryden_, +if I begin with Father _Chaucer_. + + #Er it was Day, as was her won to do.# + +Again, + + #And but I have her Mercy and her Grace, + That I may seen her at the lefte way; + I nam but deed there nis no more to say.# + +Again, + + #Alas, what is this wonder Maladye? + For heate of colde, for colde of heate I dye.# + + _Chaucer_'s first Book of _Troylus_, fol. 159. b. + +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, _Gawen +Douglas_, Bishop of _Dunkeld_ in _Scotland_, who in his Preface to his +judicious and accurate Translation of _Virgil_, p. 4. says, + + Nane is, nor was, nor zit sal be, trowe I, + Had, has, or sal have, sic craft in Poetry: + +Again, p. 5. + + Than thou or I, my Freynde, quhen we best wene. + +But before, at least contemporary with _Chaucer_, we find Sir _John +Gower_, not baulking _Monosyllables_; + + #Myne Herte is well the more glad + To write so as he me bad, + And eke my Fear is well the lasse.# + + #To _Henry_ the Fourth.# + + #_King Salomon_ which had at his asking + Of God, what thyng him was leuest crave. + He chase Wysedom unto governyng + Of Goddes Folke, the whiche he wolde save: + And as he chase it fyl him for to have. + For through his Witte, while that his Reigne laste, + He gate him Peace, and Rest, into his laste.# + +Again, + + #Peace is the chefe of al the Worldes Welth, + And to the Heven it ledeth eke the way, + Peace is of Soule and Lyfe the Mannes Helth, + Of Pestylence, and doth the Warre away, + My Liege Lord take hede of that I say. + If Warre may be lefte, take Peace on Hande + Which may not be without Goddes Sande.#[E] + + [Footnote E: 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 _Saxon Tongue_ is, to the right understanding + our _Old English Poets_, and other Writers. For example, + #leuest#, this is the same with the _Saxon_ *leofost*, _most + beloved_, or _desirable_. #Goddes folke#, not _God his Folk_, + this has plainly the Remains of the _Saxon_ Genitive Case. + #Sande#, this is a pure _Saxon_ word, signifying _Mission_, + or _being sent_. See the _Saxon Homily_ on the Birth Day of + St. _Gregory_, p. 2. *He urh his rde & sande us fram eofles + biggengum tbrd.* He through his Counsel and Commission rescued + us from the Worship of the Devil.] + +Nor were the _French_, 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; + + #En toy qui es fitz de Dieu le Pere, + Sauue soit, qui gist sours cest pierre.# + +This will be said to be old _French_, let us see whether _Boileau_ will +help us out, who has not long since writ the Art of Poetry; + + Mais moi, grace au Destin, qui n'ai ni feu ne lieu, + Je me loge o je puis, & comme il plaist Dieu. + + _Sat._ vi. + +And in that which follows, + + Et tel, en vous lisant, admire chaque traite, + Qui dans le fond de l'ame, & vous craint & vous hait. + +Let _Lydgate_, _Chaucer_'s Scholar also be brought in for a Voucher; + + #For _Chaucer_ that my Master was and knew + What did belong to writing Verse and Prose, + Ne'er stumbled at small faults, nor yet did view + With scornful Eye the Works and Books of those + That in his time did write, nor yet would taunt + At any Man, to fear him or to daunt.# + +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 _Chaucer_. + +I might give more Instances out of _John Harding_, and our good old +Citizen, Alderman _Fabian_, 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 +_Earl of Surrey_, who at least had all the Elegancy of a gentle Muse, +that may deserve the Praises of our Sex, + + Her Praise I tune whose Tongue doth tune the Spheres, + And gets new Muses in her Hearers Ears. + Stars fall to fetch fresh Light from her rich Eyes, + Her bright Brow drives the Sun to Clouds beneath. + +Again, + + O Glass! with too much Joy my Thoughts thou greets. + +And again upon the Chamber where his admired _Geraldine_ was born; + + O! if _Elyzium_ be above the Ground, + Then here it is, where nought but Joy is found. + +And _Michael Drayton_, who had a Talent fit to imitate, and to celebrate +so great a Genius, of all our _English_ Poets, seems best to have +understood the sweet and harmonious placing of _Monosyllables_, 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; + + Care draws on Care, Woe comforts Woe again, + Sorrow breeds Sorrow, one Griefe brings forth twaine, + If live or dye, as thou doost, so do I, + If live, I live, and if thou dye, I dye; + One Hart, one Love, one Joy, one Griefe, one Troth, + One Good, one Ill, one Life, one Death to both. + +Again, + + Where as thou cam'st unto the Word of Love, + Even in thine Eyes I saw how Passion strove; + That snowy Lawn which covered thy Bed, + Me thought lookt white, to see thy cheeke so red, + Thy rosye cheeke oft changing in my sight, + Yet still was red to see the Lawn so white: + The little Taper which should give the Light, + Me thought waxt dim, to see thy Eye so bright. + +Again, + + Your Love and Hate is this, I now do prove you, + You Love in Hate, by Hate to make me love you. + +And to the Countess of _Bedford_, one of his great Patronesses; + + Sweet Lady yet, grace this poore Muse of mine, + Whose Faith, whose Zeal, whose Life, whose All is thine. + +The next that I shall mention, is taken out of an ingenious Poem, +entituled, _The Tale of the Swans_, written by _William Vallans_ in +blank Verse in the time of Queen _Elizabeth_; for the reprinting of +which, we are obliged to that ingenious and most industrious Preserver +and Restorer of Antiquities, Mr. _Thomas Hearne_ of _Oxford_; + + Among the which the merrie Nightingale + With swete, and swete (her Brest again a Thorne.) + +In another Place, + + And in the Launde, hard by the Parke of _Ware_ + +Afterwards, + + To _Ware_ he comes, and to the Launde he flies. + +Again, + + And in this Pompe they hie them to the Head. + +I come now to the incomparable _Spencer_, against whose Judgment and +Practice, I believe scarce any Man will be so bold as to oppose himself; + + Assure your self; it fell not all to Ground; + For all so dear as Life is to my Heart, + I deem your Love, and hold me to you bound. + +Again, + + Go say his Foe thy Shielde with his doth bear. + +Afterwards, + + More old than _Jove_, whom thou at first didst breed. + +And, + + And now the Prey of Fowls in Field he lies. + +Nor must _Ben. Johnson_ be forgotten; + + Thy Praise or Dispraise is to me alike; + One doth not stroke me, nor the other strike. + +Again, + + Curst be his Muse, that could lye dumb, or hid + To so true Worth, though thou thy self forbid. + +In this Train of Voters for _Monosyllables_, the inimitable _Cowley_ +marches next, whom we must not refuse to hear; + + Yet I must on; what Sound is't strikes mine Ear? + Sure I Fames Trumpet hear. + +And a little after, + + Come my best Friends, my Books, and lead me on; + 'Tis time that I were gone. + Welcome, great Stagirite, and teach me now + All I was born to know. + +And commending _Cicero_, he says, + + Thou art the best of Orators; only he + Who best can praise thee, next must be. + +And of _Virgil_ thus, + + Who brought green Poesy to her perfect Age, + And made that Art, which was a Rage. + +And in the beginning of the next Ode, he wou'd not certainly have +apply'd himself to WIT in the harsh Cadence of _Monosyllables_, had he +thought them so very harsh; + + Tell me, O tell, what kind of thing is Wit, + Thou who Master art of it. + +Again, + + In a true Piece of Wit all things must be + Yet all things there agree. + +But did he believe such Concord to be inconsistent with the use of +_Monosyllables_, 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. + +And now comes Mr. _Waller_, and what does he with his _Monosyllables_, +but, + + Give us new Rules, and set our Harp in Tune. + +And that honourable Peer whom he commends, the Lord _Roscommon_ thus +keeps him in Countenance; + + Be what you will, so you be still the same. + +And again, + + In her full Flight, and when she shou'd be curb'd. + +Soon after, + + Use is the Judge, the Law, and Rule of Speech, + +And by and by, + + We weep and laugh, as we see others do, + He only makes me sad who shews the way: + But if you act them ill, I sleep or laugh. + +The next I shall mention is my Lord _Orrery_, who, as Mr. _Anthony Wood_ +says, was a great Poet, Statesman, Soldier, and great every thing which +merits the Name of Great and Good. In his Poem to Mrs. _Philips_, he +writes thus; + + For they imperfect Trophies to you raise, + You deserve Wonder, and they pay but Praise; + A Praise which is as short of your great due. + As all which yet have writ come short of you. + +Again, + + In Pictures none hereafter will delight, + You draw more to the Life in black and white; + The Pencil to your Pen must yield the Place, + This draws the Soul, where that draws but the Face. + +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 _Buckinghamshire_, his Translation of _The Temple of +Death_; + + Her Chains were Marks of Honour to the Brave, + She made a Prince when e'er she made a Slave. + +Again, + + By wounding me, she learnt the fatal Art, + And the first Sigh she had, was from my Heart. + +My Lord _Hallifax_'s Muse hath been very indulgent to _Monosyllables_, +and no Son of _Apollo_ will dare to dispute his Authority in this +Matter. Speaking of the Death of King _Charles_ the Second, and his +Improvement of Navigation, and Shipping; he says, + + To ev'ry Coast, with ready Sails are hurl'd, + Fill us with Wealth, and with our Fame the World. + +Again, + + Us from our Foes, and from our selves did shield. + +Again, + + As the stout Oak, when round his Trunk the Vine + Does in soft Wreaths, and amorous Foldings twine. + +And again, + + In _Charles_, so good a Man and King, we see, + A double Image of the Deity. + Oh! Had he more resembled it! Oh why + Was he not still more like; and cou'd not die? + +My Lord _Landsdown_'s Muse, which may claim her Seat in the highest +Point of _Parnassus_, gives us these Instances of her Sentiments in our +Favour; + + So own'd by Heaven, less glorious far was he, + Great God of Verse, than I, thus prais'd by thee. + +Again on _Mira's_ singing, + + The Slave that from her Wit or Beauty flies, + If she but reach him with her Voice, he dies. + +In such noble Company, I imagin Mr. _Addison_ will not be ashamed to +appear, thus speaking of Mr. _Cowley_; + + His Turns too closely on the Reader press; + He more had pleas'd us, had he pleas'd us less. + +And of Mr. _Waller_, + + Oh had thy Muse not come an Age too soon. + +And of Mr. _Dryden_'s Muse, + + Whether in Comick Sounds or Tragick Airs + She forms her Voice, she moves our Smiles or Tears. + +And to his Friend Dr. _Sacheverell_, + + I've done at length, and now, dear Friend, receive + The last poor Present that my Muse can give. + And so at once, dear Friend and Muse, fare well. + +To these let me add the Testimony of that Darling of the Muses, Mr. +_Prior_, 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 _Chaucer_, of _Spencer_, and of the old +_Scotch Poem_, inscribed the _Nut-Brown Maid_, 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 _Monosyllables_ in his Writings. Take these Examples; + + Me all too mean for such a Task I weet. + +Again, + + Grasps he the Bolt? we ask, when he has hurl'd the Flame. + +And, + + Nor found they lagg'd too slow, nor flew too fast. + +And again, + + With Fear and with Desire, with Joy and Pain + She sees and runs to meet him on the Plain. + +And, + + With all his Rage, and Dread, and Grief, and Care. + +In his Poem in answer to Mrs. _Eliz. Singer_, on her Poem upon _Love_ +and _Friendship_, + + And dies in Woe, that thou may'st live in Peace. + +The only farther Example of _Monosyllabick Verses_ 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 _Monosyllables_, they are these which follow; + + Then since you now have done your worst, + Pray leave me where you found me first. + + Part of the seventh Epistle of the first Book of _Horace_ + imitated, and address'd to a noble Peer, _p. ult._ + +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. _Philips_ on the Death of the Queen of _Bohemia_; + + Over all Hearts and her own Griefs she reign'd. + +And on the Marriage of the Lord _Dungannon_, + + May the vast Sea for your sake quit his Pride, + And grow so smooth, while on his Breast you ride, + As may not only bring you to your Port, + But shew how all things do your Virtues court. + +To _Gilbert_ Lord Archbishop of _Canterbury_, + + That the same Wing may over her be cast, + Where the best Church of all the World is plac'd. + +Mrs. _Wharton_ upon the Lamentations of _Jeremiah_; + + Behold those Griefs which no one can repeat, + Her Fall is steep, and all her Foes are great. + +And my Lady _Winchelsea_ in her Poem entituled, _The Poor Man's Lamb_; + + Thus wash'd in Tears, thy Soul as fair does show + As the first Fleece, which on the Lamb does grow. + +Sir, from these numerous Instances, out of the Writings of our +greatest and noblest Poets, it is apparent, That had the Enmity +against _Monosyllables_, 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 _English_ 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 _Poetry_, but according to that Skill, which is natural to +the Musick of a _Northern Ear_, 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. _Dryden_'s Apology, for the Musick of old +Father _Chaucer_'s Numbers, "That there is the rude Sweetness of a +_Scotch_ Tune in it, which is natural and pleasing, tho' not perfect." + +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 _English_ 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. _Dryden_, who cautions his Reader with this Observation, _That the +Nature of a Preface is Rambling, never wholly out of the way, nor in +it_. Yet I cannot end this Preface, without desiring that such as +shall be employ'd in _refining_ and _ascertaining_ our _English +Tongue_, may entertain better Thoughts both of the _Saxon Tongue_, +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 _low +Genius_, 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, 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 _Archbishop Spotswood_, 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 _low Genius_: "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 +_Lenox_, he was looked upon as the fittest Person of his Quality to +attend _Lodowic_, Duke of _Lenox_, as his Chaplain in that honourable +Embassy to _Henry_ the fourth of _France_, 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." + +But that of _low Genius_ is not the worst Charge which is brought +against the _Antiquaries_, 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 _a Dissertation on reading the Classicks, and +forming a just Stile_; 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 _Antiquaries_ and _Schoolmen_." This is a good careless way +of talking, it may pass well enough for the _genteel Negligence_, in +short, such _Nonsense_, as _Our_ 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 _YOUR Antiquaries_, 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 +_Your Men of Sufficiency and Self-conceit_. But here his Master +_Horace_ is quite slipt out of his Mind, whose Words are, + + Scribendi recte, sapere est & principium & fons. + Rem tibi Socratic poterunt ostendere chart: + Verbaque provisam rem non invita sequentur. + +Thus translated by my Lord _Roscommon_, + + Sound Judgment is the ground of writing well: + And when Philosophy directs your Choice + To proper Subjects rightly understood, + Words from your Pen will naturally flow. + +_Horace_'s _Sapere_, and my Lord _Roscommon_'s _Proper Subjects +rightly understood_, I take to be the same as _Propriety of Thought_, +and the _non invita sequentur, naturally flowing_, I take to import +the Fitness and Propriety of Expression. I also gather from hence, +that there is a very easy and natural Connexion between these two, and +these same Antiquaries of OURS, 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 _Horace_'s +Observation is not just, or that for the Word _invita_ we ought to +have a better reading, for which he will be forced to consult the +_Antiquaries_. 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 _Bishop_ of +_Rochester_, of whom, he says, "He was the correctest Writer of the +Age, and comes nearest the great Originals of _Greece_ and _Rome_, by +a studious Imitation of the Ancients." So that, as I take it, he was +an Antiquary: If he excludes _English Antiquities_, I desire him to +remember the present _Bishop_ of _Rochester_, of whom he has given +this true Character, "Dr. _Atterbury_ writeth with the fewest Faults, +and greatest Excellencies of any who have studied to mix Art and +Nature in their Compositions, _&c._" 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 _Bishop_ of St. _Asaph_ 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 _Bishops_ of _Worcester_, the +former, Dr. _Stillingfleet_, 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 _English_ Tongue from +[F]_Bishop Wilkins_; + + I must acknowledge my self obliged, saith he, to the continual + Assistance I have had from my most learned and worthy Friend, Dr. + _William Lloyd_, 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 _Philological_, and + _Philosophical_ 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 _Dictionary_, and the drawing up of the + _Dictionary_ itself, which, upon trial, I doubt not, will be found + to be the most perfect, that was ever yet made for the _English + Tongue_. + +I will only farther beg leave to mention, the _Bishop_ of _Carlisle_, +_Your Self_, and Dr. _Gibson_, 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 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 _English Saxon Grammar_, 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. _George_, 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 _D. P._ to the Reverend Dr. _R. Taylor_, relating to your +_Thesaurus. Lingg. Vett. Septentrion._ 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, + + --"The _Dean_'s Present, which I shall value as long as I live for + his sake. _Dom. Mabillon_ 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." + + [Footnote F: See the Epistle to the Reader in the Essay towards + a Real Character, p. 3.] + +And in another Letter to the abovemention'd Dr. _Taylor_--. "When +_Dom. Mabillon_ 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 _Dean_ in one Word, has done that worthy Man +Justice." This high Elogium of your self, and of your great Work, from +so renowned an Antiquary, as it is a great Defence and Commendation of +the _Old Northern Learning_, 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, _De Re Diplomatica_, as may be seen in your _Lingg. +Vett. Septentr. Thesaur. Prfat. General._ p. _xxxvi_, &c. + +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 _Saxon_ 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, + + _SIR_, + + Your Most Obliged, + + Humble Servant, + + _Elizabeth Elstob._ + + + * * * * * + * * * * + * * * * * + + +William Andrews Clark Memorial Library: University of California + +THE AUGUSTAN REPRINT SOCIETY + + _General Editors_ + + R. C. BOYS + University of Michigan + + RALPH COHEN + University of California, Los Angeles + + VINTON A. DEARING + University of California, Los Angeles + + LAWRENCE CLARK POWELL + Wm. Andrews Clark Memorial Library + + Corresponding Secretary: + Mrs. EDNA C. DAVIS, Wm. Andrews Clark Memorial Library + + +THE SOCIETY 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. + +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. + + * * * * * + +Publications for the eleventh year [1956-57] + +(At least six items, most of them from the following list, will be +reprinted.) + + + [Where available, Project Gutenberg e-text numbers are shown in + brackets.] + +_An Essay on the New Species of Writing Founded by Mr. Fielding_ (1751). + Introduction by James A. Work. [_published in Year 16_] + +Elizabeth Elstob, _An Apology for the Study of Northern Antiquities_ + (1715). Introduction by Charles Peake. [_present text_] + +G. W. _Magazine, or Animadversions on the English Spelling_ (1703). + Anon., _The Needful Attempt, to make Language and Divinity Plain and + Easie_ (1711). Introduction by David Abercrombie. [20130: Year 12] + +_Prefaces to Fiction._ Selected, with an introduction, by Claude E. + Jones. + +Samuel Johnson. _Notes to Shakespeare, Vol. II, Histories._ Edited by + Arthur Sherbo. (A double issue) + +_Parodies of Ballad Criticism._ Selected, with an introduction, by + William K. Winsatt, Jr. [22081] + +_Two Funeral Sermons._ Selected, with an introduction, by Frank L. + Huntley. + +Richard Savage, _An Author to be Let_ (1732). Introduction by James + Sutherland. [_published in Year 14_] + +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. + + + The Augustan Reprint Society + _William Andrews Clark Memorial Library_ + 2205 West Adams Boulevard, Los Angeles 18, California + +Make check or money order payable to The Regents of the University of +California. + + * * * * * + +PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY + + +*First Year (1946-1947)* + +Numbers 1-6 out of print. + + +*Second Year (1947-1948)* + + 7. John Gay's _The Present State of Wit_ (1711); and a section on Wit + from _The English Theophrastus_ (1702). [14800] + + 8. Rapin's _De Carmine Pastorali_, translated by Creech (1684). + [14495] + + 9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736). + [14899] + +10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit, + etc._ (1744). [16233] + +11. Thomas Purney's _Discourse on the Pastoral_ (1717). [15313] + +12. Essays on the Stage, selected, with an Introduction by Joseph + Wood Krutch. [16335] + + +*Third Year (1948-1949)* + +13. Sir John Falstaff (pseud.), _The Theatre_ (1720). [15999] + +14. Edward Moore's _The Gamester_ (1753). [16267] + +15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_ + (1712); and Arthur Mainwaring's _The British Academy_ (1712). + [25091] + +16. Nevil Payne's _Fatal Jealousy_ (1673). [16916] + +17. Nicholas Rowe's _Some Account of the Life of Mr. William + Shakespeare_ (1709). [16275] + +18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719); + and Aaron Hill's Preface to _The Creation_ (1720). [15870] + + +*Fourth Year (1949-1950)* + +19. Susanna Centlivre's _The Busie Body_ (1709). [16740] + +20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734). + [16346] [_spelled "Theobald" in published text_] + +21. _Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela_ + (1754). [in preparation] + +22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two + _Rambler_ papers (1750). [13350] + +23. John Dryden's _His Majesties Declaration Defended_ (1681). [15074] + +24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which from + Settled Principles is Rendered the Grounds for Choosing and + Rejecting Epigrams_, translated by J. V. Cunningham. [28921] + + +*Fifth Year (1950-1951)* + +25. Thomas Baker's _The Fine Lady's Airs_ (1709). [14467] + +26. Charles Macklin's _The Man of the World_ (1792). [14463] + +27. Out of print. + +28. John Evelyn's _An Apologie for the Royal Party_ (1659); and + _A Panegyric to Charles the Second_ (1661). [17833] + +29. Daniel Defoe's _A Vindication of the Press_ (1718). [14084] + +30. Essays on Taste from John Gilbert Cooper's _Letters Concerning + Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_ + (1770). [13464] + + +*Sixth Year (1951-1952)* + +31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751); + and _The Eton College Manuscript_. [15409] + +32. Prefaces to Fiction; Georges de Scudry's Preface to _Ibrahim_ + (1674), etc. [14525] + +33. Henry Gally's _A Critical Essay_ on Characteristic-Writings (1725). + [16299] + +34. Thomas Tyers' A Biographical Sketch of Dr. Samuel Johnson (1785). + +35. James Roswell, Andrew Erskine, and George Dempster. _Critical + Strictures on the New Tragedy of Elvira, Written by Mr. David + Malloch_ (1763). [15857] + +36. Joseph Harris's _The City Bride_ (1696). [22974] + + +*Seventh Year (1952-1953)* + +37. Thomas Morrison's _A Pindarick Ode on Painting_ (1767). [27130] + +38. John Phillips' _A Satyr Against Hypocrites_ (1655). + [in preparation] + +39. Thomas Warton's _A History of English Poetry_. [in preparation] + +40. Edward Bysshe's _The Art of English Poetry_ (1708). + [in preparation] + +41. Bernard Mandeville's "A Letter to Dion" (1732). [in preparation] + +42. Prefaces to Four Seventeenth-Century Romances. [in preparation] + + +*Eighth Year (1953-1954)* + +43. John Baillie's _An Essay on the Sublime_ (1747). + +44. Mathias Casimire Sarbiewski's _The Odes of Casimire_, Translated + by G. Hils (1646). [25055] + +45. John Robert Scott's _Dissertation on the Progress of the Fine Arts_. + [in preparation] + +46. Selections from Seventeenth Century Songbooks. + +47. Contemporaries of the _Tatler_ and _Spectator_. + +48. Samuel Richardson's Introduction to _Pamela_. [24860] + + +*Ninth Year (1954-1955)* + +49. Two St. Cecilia's Day Sermons (1696-1697). + +50. Hervey Aston's _A Sermon Before the Sons of the Clergy_ (1745). + +51. Lewis Maidwell's _An Essay upon the Necessity and Excellency of + Education_ (1705). + +52. Pappity Stampoy's _A Collection of Scotch Proverbs_ (1663). [7018] + +53. Urian Oakes' _The Soveriegn Efficacy of Divine Providence_ (1682). + +54. Mary Davys' _Familiar Letters Betwixt a Gentleman and a Lady_ + (1725). + + +*Tenth Year (1955-1956)* + +55. Samuel Say's _An Essay on the Harmony, Variety, and Power of + Numbers_ (1745). + +56. _Theologia Ruris, sive Schola & Scala Naturae_ (1686). + +57. Henry Fielding's _Shamela_ (1741). + +58. Eighteenth Century Book Illustrations. + +59. Samuel Johnson's _Notes to Shakespeare_. Vol. I, Comedies, Part I. + +60. Samuel Johnson's _Notes to Shakespeare_. Vol. I, Comedies, Part II. + [7780 (59 and 60 combined)] + + + * * * * * + * * * * + * * * * * + + +Erratum (noted by transcriber): + +_Introduction_ + + (Augustan Reprint Society, 1948) [Auguston] + + + + + +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 15329-8.txt or 15329-8.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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/15329-8.zip b/15329-8.zip Binary files differnew file mode 100644 index 0000000..96e1657 --- /dev/null +++ b/15329-8.zip diff --git a/15329-h.zip b/15329-h.zip Binary files differnew file mode 100644 index 0000000..92824f6 --- /dev/null +++ b/15329-h.zip diff --git a/15329-h/15329-h.htm b/15329-h/15329-h.htm new file mode 100644 index 0000000..52c76a5 --- /dev/null +++ b/15329-h/15329-h.htm @@ -0,0 +1,2610 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<title>Northern Antiquities</title> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8"> + +<style type="text/css"> + +body {margin-left: 10%; margin-right: 10%;} + +div.intro, div.maintext, div.ars {margin-top: 4em; margin-bottom: 4em;} +div.titlepage {margin-top: 4em; margin-bottom: 4em; margin-left: auto; +margin-right: auto; max-width: 24em;} + +hr {width: 80%; margin-top: 1em; margin-bottom: 1em; text-align: +center;} + +em {font-style: normal; font-weight: normal; font-size: inherit;} +.fraktur em {font-family: serif; font-size: 105%;} + +a {text-decoration: none; font-style: normal;} +a.tag {vertical-align: .3em; font-size: 80%; padding-left: .25em; +line-height: .1em;} + +h1, h2, h3, h4, h5, h6 {text-align: center; font-style: normal; +font-weight: normal; line-height: 1.5; margin-top: .5em; +margin-bottom: .5em;} + +h1 {font-size: 200%;} +h2 {font-size: 175%;} +h3 {font-size: 150%;} +h4 {font-size: 120%;} +h5 {font-size: 100%;} +div.verse h5 {text-align: left; font-weight: bold; margin: 1em 4em .5em;} +div.publications h5 {text-align: left; font-weight: bold; +margin-top: 1em; margin-bottom: 1em;} +h6 {font-size: 85%;} +h6.hanging {text-align: left; margin-left: 1em; text-indent: -1em;} + +div.intro {font-family: monospace;} +div.publications {font-size: 95%; font-family: monospace;} + +p {margin-top: .5em; margin-bottom: 0; line-height: 1.2; clear: both;} + +p.illustration {text-align: center; margin-top: 1em; margin-bottom: +1em;} +p.decoration {background-position: center; background-repeat: repeat-x; +background-image: url(images/decline.png); margin: 1.5em 4em;} + +p.center, div.center p {text-align: center;} + +div.hanging p {margin-left: 2em; text-indent: -2em;} + +p.righthalf {margin-left: 40%;} +p.inset {margin-left: 2em; margin-right: 2em;} + +p.author {margin-right: 2em; text-align: right;} + + +div.verse {margin: .5em 2em; font-style: normal;} +div.verse p {margin-top: 0; margin-left: 4em; text-indent: -4em;} +p.verse {margin-left: 6em; text-indent: -4em; font-style: normal;} + +div.verse p.indent {text-indent: -2em;} + +/* footnotes */ + +div.footnote {margin: 2em; font-size: 95%;} + + +table {margin-left: auto; margin-right: auto; +margin-top: 1em; margin-bottom: 1em; font-size: inherit; +font-family: inherit;} + +td {vertical-align: top; text-align: left; padding: .25em .5em;} + +table p {margin-top: 0em; margin-left: 2em; text-indent: -2em; +line-height: normal;} + + +.ital {font-style: italic;} +.smallcaps {font-variant: small-caps; font-style: normal;} +.extended {letter-spacing: 0.25em;} +.largest {font-size: 150%;} +span.dash {letter-spacing: -.2em; padding-right: .2em;} + +span.greek {font-style: normal; font-weight: normal; +text-decoration: none;} /* can change */ +.fraktur {font-style: normal; font-size: 95%; font-weight: bold; +font-family: sans-serif;} + + +/* my additions */ + +ins.correction {text-decoration: none; border-bottom: thin dotted red;} + +span.pagenum {position: absolute; right: 92%; font-size: 90%; +font-weight: normal; font-style: normal; text-align: right; +text-indent: 0;} +span.folionum {position: absolute; left: 94%; font-size: 90%; +font-style: normal; font-weight: bold; text-align: left; +text-indent: 0;} + +.mynote {background-color: #DDE; color: #000; +font-family: sans-serif; font-size: 90%;} + +div.mynote {margin: 3em 5%; padding: .5em 1em 1em;} +p.mynote {margin: 1em 5%; padding: 1em;} +div.mynote a {text-decoration: none;} + +span.mynote {float: right; width: auto; text-indent: 0; +padding: 0 .25em;} + +div.endnote {padding: .5em 1em 1em; margin: 1em; border: 3px ridge #A9F; +font-family: sans-serif; font-size: 90%;} + +</style> +</head> + +<body> + + +<pre> + +The Project Gutenberg EBook of An Apology For The Study of Northern +Antiquities, by Elizabeth Elstob + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: 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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> diff --git a/15329-h/images/capS.png b/15329-h/images/capS.png Binary files differnew file mode 100644 index 0000000..125b0a8 --- /dev/null +++ b/15329-h/images/capS.png diff --git a/15329-h/images/decline.png b/15329-h/images/decline.png Binary files differnew file mode 100644 index 0000000..1743897 --- /dev/null +++ b/15329-h/images/decline.png diff --git a/15329-h/images/headpiece_i.png b/15329-h/images/headpiece_i.png Binary files differnew file mode 100644 index 0000000..a430744 --- /dev/null +++ b/15329-h/images/headpiece_i.png diff --git a/15329-h/images/noteDimg.png b/15329-h/images/noteDimg.png Binary files differnew file mode 100644 index 0000000..043e42b --- /dev/null +++ b/15329-h/images/noteDimg.png diff --git a/15329.txt b/15329.txt new file mode 100644 index 0000000..dd8c195 --- /dev/null +++ b/15329.txt @@ -0,0 +1,2006 @@ +The Project Gutenberg EBook of An Apology For The Study of Northern +Antiquities, by Elizabeth Elstob + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: An Apology For The Study of Northern Antiquities + +Author: Elizabeth Elstob + +Release Date: March 11, 2005 [EBook #15329] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK AN APOLOGY FOR THE STUDY OF *** + + + + +Produced by David Starner, Louise Hope and the Online Distributed +Proofreading Team. + + + + + +[Transcriber's Note: +This text includes a number of citations from languages other than +English, and in scripts other than Roman. They are shown as: + *Saxon* + +Greek+ + ++Hebrew, Gothic++ + #black-letter type# (German, Middle English, Old French) + +Characters that could not be shown in 7-bit ascii have been +"unpacked": + edh, thorn > [dh], [th] + "ae" ligature (Latin, Saxon) > ae + eta, omega > e:, o: ] + + + + THE AUGUSTAN REPRINT SOCIETY + + + ELIZABETH ELSTOB + + An Apology for the Study of + Northern Antiquities + + (1715) + + + Introduction by + Charles Peake + + + Publication Number 61 + + Los Angeles + William Andrews Clark Memorial Library + University of California + + 1956 + + * * * * * + +GENERAL EDITORS +RICHARD C. BOYS, University of Michigan +RALPH COHEN, University of California, Los Angeles +VINTON A. DEARING, University of California, Los Angeles +LAWRENCE CLARK POWELL, Clark Memorial Library + +ASSISTANT EDITOR +W. EARL BRITTON, University of Michigan + +ADVISORY EDITORS +EMMETT L. AVERY, State College of Washington +BENJAMIN BOYCE, Duke University +LOUIS BREDVOLD, University of Michigan +JOHN BUTT, King's College, University of Durham +JAMES L. CLIFFORD, Columbia University +ARTHUR FRIEDMAN, University of Chicago +EDWARD NILES HOOKER, University of California, Los Angeles +LOUIS A. LANDA, Princeton University +SAMUEL H. MONK, University of Minnesota +ERNEST C. MOSSNER, University of Texas +JAMES SUTHERLAND, University College, London +H.T. SWEDENBERG, JR., University of California, Los Angeles + +CORRESPONDING SECRETARY +EDNA C. DAVIS, Clark Memorial Library + + * * * * * + +INTRODUCTION + +The answerers who rushed into print in 1712 against Swift's _Proposal +for Correcting, Improving and Ascertaining the English Tongue_ 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 +_Reflections on Dr. Swift's Letter to Harley_ and Mainwaring's +_The British Academy_ (Augustan 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." + +Elizabeth Elstob's _Apology for the Study of Northern Antiquities_ +prefixed to her _Rudiments of Grammar for the English-Saxon Tongue_ +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. + +What irritated Miss Elstob in the _Proposal_ was not Swift's eulogy +or Harley and the Tory ministry, but his scornful reference to +antiquarians as "laborious 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 _An English-Saxon Homily on the +Birthday of St. Gregory_ (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 +_Rudiments_, 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." + +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. + +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 +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. + +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. + +Most of these arguments had been bandied backwards and forwards +rather inconclusively since the sixteenth century, and Addison in +_The Spectator_ No. 135 expresses a typically moderate opinion on +the matter: the English language, he says, abounds in monosyllables, + 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. + +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 brilliantly, has in English a very +marked monosyllabic character. + +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 _Proposal_ or his particular criticisms of current +linguistic habits, but they did lay him open to the very penetrating +and decisive attack of Elizabeth Elstob. + +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. + +It is not known whether Swift ever read Miss Elstob's _Rudiments_, +though it is interesting to notice a marked change of emphasis in +his references to the Anglo-Saxon language. In the _Proposal_ 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 _An Abstract of the History of England_ +(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, 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 +_Rudiments_. + +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, +_Illustrations of the Literary History of the Eighteenth Century_, +1822, IV, 212.) + +Charles Peake +University College, London + + + * * * * * + * * * * + * * * * * + + The + RUDIMENTS + of + GRAMMAR + + for the + English-Saxon Tongue, + First given in ENGLISH: + + with an + Apology + For the Study of + + NORTHERN ANTIQUITIES. + + Being very useful towards the understanding our + ancient _English_ POETS, and other WRITERS. + + + By ELIZABETH ELSTOB. + + + +Our Earthly Possessions are truly enough called a _PATRIMONY_, +as derived to us by the Industry of our _FATHERS_; but the Language +that we speak is our _MOTHER-TONGUE_; And who so proper to play the +Criticks in this as the _FEMALES. + + In a Letter from a Right Reverend Prelate to the Author. + + + LONDON. + + Printed by _W. Bowyer_: And Sold by J. BOWYER + at the _Rose_ in _Ludgate-street_, and C. KING + in _Westminster-hall_, 1715. + + * * * * * + + The + PREFACE + + to the + Reverend Dr. _Hickes_. + +SIR, + +Soon after the Publication of the Homily on St. Gregory, I was engaged +by the Importunity of my Friends, to make a Visit to _Canterbury_, 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 now and then excusable. In this Recess, +among the many Compliments and kind Expressions, which their +favourable Acceptance of my first Attempt in _Saxon_, 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 _Saxon Tongue_, and do me the Honour +to be my _Scholar_, as to make me think of composing an _English +Grammar_ 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 +_Thesaurus_, and the ingenious Compendium of it by Mr. _Thwaites_; +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 had communicated to you my Design for your Advice, +and had receiv'd your repeated Exhortation, and Encouragement to the +Undertaking. + +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 _Grammar_; 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. +_Thwaites_ have done on this Subject, for which you will, I imagine, +readily pardon me: I have given most, if not all the _Grammatical_ +Terms in true old _Saxon_, from _Aelfrick_'s Translation of _Priscian_, +to shew the _polite_ 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 _Latin_ itself is beholden to the _Greek_, not only +for the Terms, but even the Names of Arts and Sciences, as is easily +discerned in the Words, _Philosophy, Grammar, Logick, Rhetorick, +Geometry, Arithmetick_, &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. _Pro Patria mori_, used to be one of the great +Boasts of Antiquity; and even the so celebrated Magnanimity of _Cato_, +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, _of the correcting, improving and ascertaining_ 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_ Saxon _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;_ Desiring to be +Teachers of the Law, understanding neither what they say, nor +whereof they affirm, I _Tim._ I. 7. _It had been well if those wise +_Grammarians_ had understood this Character, who have taken upon them +to teach our Ladies and young Gentlemen, _The whole System of an +English Education_; 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 _Northern Literature _in so cold 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. + +But it seems you are not of so much Credit with these _Gentlemen_, 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. + + The _Saxons_, say they, if we may credit Dr. _Hickes_, 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. _Hickes_ has made six + several _Declensions_ of the _Saxon_ Names: He gives them three + _Numbers_; a Singular, Dual, and Plural: We have no Dual Number, + except perhaps in _Both_: To make this plainer, we shall + transcribe the six Declensions from that Antiquary's Grammar. + +I would ask these Gentlemen, and why not credit Dr. _Hickes_? 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 they think of these Words, _God's Word_, _Man's +Wisdom_, the _Smith's Forge,_ and innumerable Instances more. For in +_God's Word_, &c. is not the Termination _s_ a plain Indication of a +Genitive Case, wherein the Saxon _e_ is omitted? For example_, *Godes +Word*, *Mannes Wisdom*, *Smi[dh]es Heor[dh]*. _Some will say, that were +better supplied by _his_, or _hers_, as Man _his_ Thought, the Smith +_his_ Forge; but this Mistake is justly exploded. Yet if these +Gentlemen will not credit Dr. _Hickes_, the _Saxon_ Writings might +give them full Satisfaction. The _Gospels_, the _Psalms_, and a +great part of the _Bible_ are in _Saxon_, so are the _Laws_ and +_Ecclesiastical Canons_, and _Charters_ of most of our _Saxon Kings_; +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. + + We might give you various Instances more of the essential + difference between the old _Saxon_ and modern _English_ Tongue, + but these must satisfy any reasonable Man, that it is so great, + that the _Saxon_ can be no Rule to us; and that to understand + ours, there is no need of knowing the _Saxon_: And tho' Dr. + _Hickes_ 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) that we are obliged to derive the + Sense, Construction, or Nature of our present Language from + his Discoveries. + +I would beseech my Readers to observe, the Candour and Ingenuity of +these Gentlemen: They tell us, _We might give you various Instances +more of the essential difference between the old _Saxon_ and modern +_English_ Tongue_; and yet have plainly made it appear, that they know +little or nothing of the old _Saxon_. So that it will be hard to say +how they come to know of any such _essential difference, as _MUST_ +satisfy any reasonabie Man_; and much more that this _essential +difference_ is so _great, that the _Saxon_ can be no Rule to us, +and that to understand ours, there is no need of knowing the _Saxon_. +_What they say, _that it cannot be a Rule to them_, 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. _Hickes_, now in use, which are of pure _Saxon_ Original, and +consequently _essential to the modern English_. I need not tell any +English Reader at this Day the meaning of _Smith_, _Word_, _Son_, and +_Good_; but if I tell them that these are Saxon Words, I believe they +will hardly deny them to be _essential to the modern English_, or that +they will conclude that the difference between the old _English_ 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 a laudable Pedigree, are backward +in all due Respect and Veneration towards a noble Ancestry. + +Their great Condescension to Dr. _Hickes_ in allowing him to have been +a very curious Inquirer into those _obsolete Tongues, now out of use, +and containing nothing valuable in them_, 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 _contain'd_ in +them. They would rather assure them, that our greatest Divines[A], +and Lawyers[B], and Historians[C] are of another Opinion, they wou'd +advise them to consult our Libraries, those of the two Universities, +the _Cottonian_, and my Lord Treasurers; to study your whole +_Thesaurus_, particularly your _Dissertatio Epistolaris_, to look into +Mr. _Wanleys_ large and accurate Catalogue of _Saxon_ 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 _Inference_, which they think _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_. +He desires them not to _derive_ the _Sense_ and _Construction_ 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 +_Discoveries_ 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. + + [Footnote A: Archbishops _Parker_, _Laud_, _Usher_, Bishop + _Stillingfleet_, the present Bishops _of Worcester_, _Bath_ + and _Wells_, _Carlisle_, St. _Asaph_, St. _Davids_, _Lincoln_, + _Rochester_, with many other Divines of the first Rank.] + + [Footnote B: The Lord Chief Justice _Cook_, Mr. _Lombard_, + _Selden_, _Whitlock_, Lord Chief Justice _Hales_, and _Parker_, + Mr. _Fortescue_ of the Temple, and others.] + + [Footnote C: _Leland_, 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. _Jocelin_, _Spelman_, both Father and Son, + _Cambden_, _Whelock_, _Gibson_, 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.] + +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 _English_ Tongue, so little +Regard is had to Antiquity, and the Original of our present Language, +which is the _Saxon_. This indeed is allow'd by an ingenious Person, +who hath lately made some Proposals for the Refinement of the +_English_ Tongue, _That the old _Saxon_, except in some few Variations +in the Orthography, is the same in most original Words with our +present _English_, as well as with the _German_ and other _Northern_ +Dialects; _which makes it a little surprizing to me, to find the same +Gentleman not long after to say, _The other Languages of _Europe_ +I know nothing of, neither is there any occasion to consider them: +_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 occasion or no to consider it. I must confess I hope +when ever such a Project shall be taken in hand, for _correcting_, +_enlarging_, and _ascertaining_ our Language, a competent Number +of such Persons will be advised with, as are knowing, not only in +_Saxon_, but in the other Languages of _Europe_, 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 _Saxon_ Original for their native Stock, +or an Affinity with those Branches of the other _Northern Tongues_, +which own the same Original. + +The want of knowing the _Northern Languages_, 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 _Saxon_, +_Gothick_, and _Francick_, or old _Teutonick_: 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 +_Greek_ 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 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. + +The Author of the _Proposal_, 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 _Northern_ +Correspondence, and a _Northern_ Ear, probably not so fine as he +may think his own to be, yet a little musical. + +And now for our _Monosyllables_. In the Controversy concerning which, +it must be examined, first whether the Charge which is exhibited +against the _Northern Languages_ is true, that they consist of nothing +but _Monosyllables_; and secondly, whether or no the Copiousness and +Variety of _Monosyllables_ may be always justly reputed a fault, and +may not sometimes as justly be thought, to be very useful and +ornamental. + +And first I must assert, that the ancient _Northern Languages_, do not +wholly nor mostly consist of _Monosyllables_. I speak chiefly of the +_Gothick_, _Saxon_, and _Teutonick_. It must be confest that in the +_Saxon_, there are many _Primitive_ 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 manner, and in the least compass: and the Qualities +and Relations, by suitable Additions, and Composition of _Primitive_ +Words[D]; for which the _Saxon_ Language is very remarkable, as has +been before observed, and of which there are numerous Examples, in the +following Treatise of _Saxon Grammar_, and infinitely more might have +been added. + + [Footnote D: Of this the _Greeks_ give as a fair Example, when + they express the Original and Author of all Things, their +Pate:r + andro:nte theo:nte+, by their Monosyllable +Zeus+. As the _Hebrews_ + do by ++yah++, the _Goths_ the Ancestors of our _Saxon_ Progenitors + by the Word ++GO[TH]++, the _Saxons_, old _Germans_, _Teutons_, + _Francick_, and _English_, in the _Monosyllable_ *Go[dh]*, the + _Germans_ #Gott#, and the _French_ _Dieu_.] + +The second Enquiry is, whether or no the Copiousness and Variety +of _Monosyllables_ 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 _Latin_ and _Greek_: For the _Latin_ you have in _Lilly_'s Rules +concerning Nouns, several Verses, made up for the most part of +_Monosyllables_, I mention him not as a Classick, but because the +Words are Classical and _Monosyllables_; and in the _Greek_ there +are several as it were, idle _Monosyllables_, that have little +Significancy, except to make the Numbers in Verse compleat, or to +give a Fulness to their Periods, as the Verses of _Homer_ and other +_Greek Poets_ plainly evidence: An Instance or two may suffice; + + +Ex hou de: ta pro:ta diaste:te:n erisante.+ + +Here are four _Monosyllables_ in this Verse, + + +Te:n d' ego: ou luso:, prin min kai ge:ras epeisen.+ + +Here are six _Monosyllables_, and one cutting off. + + +All' ithi, me: m' erethize, sao:teros ho:s ke nee:ai. + Hos e:de: ta t' eonta, ta t' essomena, pro t' eonta.+ + + Hom. Il. I. l. 70. + +Here are seven _Monosyllables_; yet so far is _Virgil_ from being angry +with his Master _Homer_ on this Account, that he in a manner transcribes +his very Words, imitating him as near as the _Latin_ wou'd permit; + + Quae sint, quae fuerint, quae mox ventura trahantur. + +Here is the whole Sense of _Homer_ exprest, and five _Monosyllables_. +But Mr. _Dryden_, who has exprest the Sense of _Virgil_ with no less +Accuracy, gives you the whole Line in _Monosyllables; + + He sees what is, and was, and is to come. + +Mr. _Pope_ 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; + + Whoever thinks a faultless Piece to see, + Thinks what ne'er was, nor is, nor e'er shall be. + +And _Horace_, while he is teaching us the Beauties in the Art of Poetry, +gives no less than nine _Monosyllables_ in the compass of a Verse and a +half; + + _Sed nunc non_ erat _his_ locus: & fortasse cupressum + _Scis_ simulare. _Quid hoc si_, &c. + +Now if these are Beauties, as I doubt not but the _politer Criticks_ +will allow, I cannot see why our Language may not now and then be +tolerated in using _Monosyllables_, when it is done discreetly, and +sparingly; and as I do not commend any of our Moderns who contract +Words into _Monosyllables_ to botch up their Verses, much less such as +do it out of Affectation; yet certainly the use of _Monosyllables_ 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 _Monosyllables_ 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. _Dryden_, +it is true, wou'd make us believe he had a great Aversion to +_Monosyllables_. 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 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 _Aeneis_, every +Word is a _Monosyllable_; 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 _Aeneis_, says he, is not harsh. + + "Arms and the Man I sing, who forc'd by Fate. + +"But a much better Instance may be given from the last Line of +_Manilius_, made _English_ by our learned and judicious Mr. _Creech_; + + "Nor could the World have born so fierce a Flame. + +"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." + +It is plain from these last Words, that the Subject-matter, +_Monosyllables_, 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 _place them artfully_: and, however Mr. _Dryden_ +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 +_Monosyllables_: "I am sure, says he, there are few who make Verses, +have observ'd the Sweetness of these two Lines in _Coopers Hill; + + "Tho deep, yet clear; tho gentle, yet not dull; + Strong without Rage, without o'erflowing full. + +"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." + +You see, Sir, this great Master had his Reserves, and this was one of +the _Arcana_, 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 _Greek_ and_ Latin Poets_, 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 _Monosyllables_, 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 _Philip Sydney_, and that of Mr. _Dryden_, +if I begin with Father _Chaucer_. + + #Er it was Day, as was her won to do.# + +Again, + + #And but I have her Mercy and her Grace, + That I may seen her at the lefte way; + I nam but deed there nis no more to say.# + +Again, + + #Alas, what is this wonder Maladye? + For heate of colde, for colde of heate I dye.# + + _Chaucer_'s first Book of _Troylus_, fol. 159. b. + +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, _Gawen Douglas_, +Bishop of _Dunkeld_ in _Scotland_, who in his Preface to his judicious +and accurate Translation of _Virgil_, p. 4. says, + + Nane is, nor was, nor zit sal be, trowe I, + Had, has, or sal have, sic craft in Poetry: + +Again, p. 5. + + Than thou or I, my Freynde, quhen we best wene. + +But before, at least contemporary with _Chaucer_, we find Sir _John +Gower_, not baulking _Monosyllables; + + #Myne Herte is well the more glad + To write so as he me bad, + And eke my Fear is well the lasse. + To _Henry_ the Fourth, + _King Salomon_ which had at his asking + Of God, what thyng him was leuest crave. + He chase Wysedom unto governyng + Of Goddes Folke, the whiche he wolde save: + And as he chase it fyl him for to have. + For through his Witte, while that his Reigne laste, + He gate him Peace, and Rest, into his laste.# + +Again, + + #Peace is the chefe of al the Worldes Welth, + And to the Heven it ledeth eke the way, + Peace is of Soule and Lyfe the Mannes Helth, + Of Pestylence, and doth the Warre away, + My Liege Lord take hede of that I say. + If Warre may be lefte, take Peace on Hande + Which may not be without Goddes Sande.# [E] + + [Footnote E:_ 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 _Saxon Tongue_ is, to the right understanding + our _Old English Poets_, and other Writers. For example, + #leuest#, this is the same with the _Saxon_ *leofost*, _most + beloved_, or _desirable_. #Goddes folke#, not _God his Folk_, + this has plainly the Remains of the _Saxon_ Genitive Case. + #Sande#, this is a pure _Saxon_ word, signifying _Mission_, + or _being sent_. See the _Saxon Homily_ on the Birth Day of + St. _Gregory_, p. 2. *He [dh]urh his raede & sande us fram [dh]eofles + biggengum aetbraed.* He through his Counsel and Commission rescued + us from the Worship of the Devil.] + +Nor were the _French_, 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; + + #En toy qui es fitz de Dieu le Pere, + Sauue soit, qui gist sours cest pierre.# + +This will be said to be old _French_, let us see whether _Boileau_ will +help us out, who has not long since writ the Art of Poetry; + + Mais moi, grace au Destin, qui n'ai ni feu ne lieu, + Je me loge ou je puis, & comme il plaist a Dieu. + + _Sat._ vi. + +And in that which follows, + + Et tel, en vous lisant, admire chaque traite, + Qui dans le fond de l'ame, & vous craint & vous hait. + +Let _Lydgate_, _Chaucer_'s Scholar also be brought in for a Voucher; + + #For _Chaucer_ that my Master was and knew + What did belong to writing Verse and Prose, + Ne'er stumbled at small faults, nor yet did view + With scornful Eye the Works and Books of those + That in his time did write, nor yet would taunt + At any Man, to fear him or to daunt.# + +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 _Chaucer_. + +I might give more Instances out of _John Harding_, and our good old +Citizen, Alderman _Fabian_, 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 +_Earl of Surrey_, who at least had all the Elegancy of a gentle Muse, +that may deserve the Praises of our Sex, + + Her Praise I tune whose Tongue doth tune the Spheres, + And gets new Muses in her Hearers Ears. + Stars fall to fetch fresh Light from her rich Eyes, + Her bright Brow drives the Sun to Clouds beneath. + +Again, + + O Glass! with too much Joy my Thoughts thou greets. + +And again upon the Chamber where his admired _Geraldine_ was born; + + O! if _Elyzium_ be above the Ground, + Then here it is, where nought but Joy is found. + +And _Michael Drayton_, who had a Talent fit to imitate, and to celebrate +so great a Genius, of all our _English_ Poets, seems best to have +understood the sweet and harmonious placing of _Monosyllables_, 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; + + Care draws on Care, Woe comforts Woe again, + Sorrow breeds Sorrow, one Griefe brings forth twaine, + If live or dye, as thou doost, so do I, + If live, I live, and if thou dye, I dye; + One Hart, one Love, one Joy, one Griefe, one Troth, + One Good, one Ill, one Life, one Death to both. + +Again, + + Where as thou cam'st unto the Word of Love, + Even in thine Eyes I saw how Passion strove; + That snowy Lawn which covered thy Bed, + Me thought lookt white, to see thy cheeke so red, + Thy rosye cheeke oft changing in my sight, + Yet still was red to see the Lawn so white: + The little Taper which should give the Light, + Me thought waxt dim, to see thy Eye so bright. + +Again, + + Your Love and Hate is this, I now do prove you, + You Love in Hate, by Hate to make me love you. + +And to the Countess of _Bedford_, one of his great Patronesses; + + Sweet Lady yet, grace this poore Muse of mine, + Whose Faith, whose Zeal, whose Life, whose All is thine. + +The next that I shall mention, is taken out of an ingenious Poem, +entituled, _The Tale of the Swans_, written by _William Vallans_ in +blank Verse in the time of Queen _Elizabeth_; for the reprinting of +which, we are obliged to that ingenious and most industrious Preserver +and Restorer of Antiquities, Mr. _Thomas Hearne_ of _Oxford_; + + Among the which the merrie Nightingale + With swete, and swete (her Brest again a Thorne.) + +In another Place, + + And in the Launde, hard by the Parke of _Ware_ + +Afterwards, + + To _Ware_ he comes, and to the Launde he flies. + +Again, + + And in this Pompe they hie them to the Head. + +I come now to the incomparable _Spencer_, against whose Judgment and +Practice, I believe scarce any Man will be so bold as to oppose himself; + + Assure your self; it fell not all to Ground; + For all so dear as Life is to my Heart, + I deem your Love, and hold me to you bound. + +Again, + + Go say his Foe thy Shielde with his doth bear. + +Afterwards, + + More old than _Jove_, whom thou at first didst breed. + +And, + + And now the Prey of Fowls in Field he lies. + +Nor must _Ben. Johnson_ be forgotten; + + Thy Praise or Dispraise is to me alike; + One doth not stroke me, nor the other strike. + +Again, + + Curst be his Muse, that could lye dumb, or hid + To so true Worth, though thou thy self forbid. + +In this Train of Voters for _Monosyllables_, the inimitable _Cowley_ +marches next, whom we must not refuse to hear; + + Yet I must on; what Sound is't strikes mine Ear? + Sure I Fames Trumpet hear. + +And a little after, + + Come my best Friends, my Books, and lead me on; + 'Tis time that I were gone. + Welcome, great Stagirite, and teach me now + All I was born to know. + +And commending _Cicero_, he says, + + Thou art the best of Orators; only he + Who best can praise thee, next must be. + +And of _Virgil_ thus, + + Who brought green Poesy to her perfect Age, + And made that Art, which was a Rage. + +And in the beginning of the next Ode, he wou'd not certainly have apply'd +himself to WIT in the harsh Cadence of _Monosyllables_, had he thought +them so very harsh; + + Tell me, O tell, what kind of thing is Wit, + Thou who Master art of it. + +Again, + + In a true Piece of Wit all things must be + Yet all things there agree. + +But did he believe such Concord to be inconsistent with the use of +_Monosyllables_, 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. + +And now comes Mr. _Waller_, and what does he with his _Monosyllables_, +but, + + Give us new Rules, and set our Harp in Tune. + +And that honourable Peer whom be commends, the Lord _Roscommon_ thus +keeps him in Countenance; + + Be what you will, so you be still the same. + +And again, + + In her full Flight, and when she shou'd be curb'd. + +Soon after, + + Use is the Judge, the Law, and Rule of Speech, + +And by and by, + + We weep and laugh, as we see others do, + He only makes me sad who shews the way: + But if you act them ill, I sleep or laugh. + +The next I shall mention is my Lord _Orrery_, who, as Mr. _Anthony Wood_ +says, was a great Poet, Statesman, Soldier, and great every thing which +merits the Name of Great and Good. In his Poem to Mrs. _Philips_, he +writes thus; + + For they imperfect Trophies to you raise, + You deserve Wonder, and they pay but Praise; + A Praise which is as short of your great due. + As all which yet have writ come short of you. + +Again, + + In Pictures none hereafter will delight, + You draw more to the Life in black and white; + The Pencil to your Pen must yield the Place, + This draws the Soul, where that draws but the Face. + +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 _Buckinghamshire_, his Translation of _The Temple of +Death_; + + Her Chains were Marks of Honour to the Brave, + She made a Prince when e'er she made a Slave. + +Again, + + By wounding me, she learnt the fatal Art, + And the first Sigh she had, was from my Heart. + +My Lord _Hallifax_'s Muse hath been very indulgent to _Monosyllables_, +and no Son of _Apollo_ will dare to dispute his Authority in this +Matter. Speaking of the Death of King _Charles_ the Second, and his +Improvement of Navigation, and Shipping; he says, + + To ev'ry Coast, with ready Sails are hurl'd, + Fill us with Wealth, and with our Fame the World. + +Again, + + Us from our Foes, and from our selves did shield. + +Again, + + As the stout Oak, when round his Trunk the Vine + Does in soft Wreaths, and amorous Foldings twine. + +And again, + + In _Charles_, so good a Man and King, we see, + A double Image of the Deity. + Oh! Had he more resembled it! Oh why + Was he not still more like; and cou'd not die? + +My Lord _Landsdown_'s Muse, which may claim her Seat in the highest +Point of _Parnassus_, gives us these Instances of her Sentiments in our +Favour; + + So own'd by Heaven, less glorious far was he, + Great God of Verse, than I, thus prais'd by thee. + +Again on _Mira's_ singing, + + The Slave that from her Wit or Beauty flies, + If she but reach him with her Voice, he dies. + +In such noble Company, I imagin Mr. _Addison_ will not be ashamed to +appear, thus speaking of Mr. _Cowley_; + + His Turns too closely on the Reader press; + He more had pleas'd us, had he pleas'd us less. + +And of Mr. _Waller_, + + Oh had thy Muse not come an Age too soon. + +And of Mr. _Dryden_'s Muse, + + Whether in Comick Sounds or Tragick Airs + She forms her Voice, she moves our Smiles or Tears. + +And to his Friend Dr. _Sacheverell_, + + I've done at length, and now, dear Friend, receive + The last poor Present that my Muse can give. + And so at once, dear Friend and Muse, fare well. + +To these let me add the Testimony of that Darling of the Muses, Mr. +_Prior_, 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 _Chaucer_, of _Spencer_, and of the old +_Scotch Poem_, inscribed the _Nut-Brown Maid_, 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 _Monosyllables_ in his Writings. Take these Examples; + + Me all too mean for such a Task I weet. + +Again, + + Grasps he the Bolt? we ask, when he has hurl'd the Flame. + +And, + + Nor found they lagg'd too slow, nor flew too fast. + +And again, + + With Fear and with Desire, with Joy and Pain + She sees and runs to meet him on the Plain. + +And, + + With all his Rage, and Dread, and Grief, and Care. + +In his Poem in answer to Mrs. _Eliz. Singer_, on her Poem upon _Love_ +and _Friendship_, + + And dies in Woe, that thou may'st live in Peace. + +The only farther Example of _Monosyllabick Verses_ 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 _Monosyllables_, they are these which follow; + + Then since you now have done your worst, + Pray leave me where you found me first. + + Part of the seventh Epistle of the first Book of _Horace_ + imitated, and address'd to a noble Peer, _p. ult_. + +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. _Philips_ on the Death of the Queen of _Bohemia_; + + Over all Hearts and her own Griefs she reign'd. + +And on the Marriage of the Lord _Dungannon_, + + May the vast Sea for your sake quit his Pride, + And grow so smooth, while on his Breast you ride, + As may not only bring you to your Port, + But shew how all things do your Virtues court. + +To _Gilbert_ Lord Archbishop of _Canterbury_, + + That the same Wing may over her be cast, + Where the best Church of all the World is plac'd. + +Mrs. _Wharton_ upon the Lamentations of _Jeremiah_; + + Behold those Griefs which no one can repeat, + Her Fall is steep, and all her Foes are great. + +And my Lady _Winchelsea_ in her Poem entituled, _The Poor Man's Lamb_; + + Thus wash'd in Tears, thy Soul as fair does show + As the first Fleece, which on the Lamb does grow. + +Sir, from these numerous Instances, out of the Writings of our +greatest and noblest Poets, it is apparent, That had the Enmity +against _Monosyllables_, 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 _English_ 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 _Poetry_, but according to that Skill, which is natural to +the Musick of a _Northern Ear_, 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. _Dryden_'s Apology, for the Musick of old +Father _Chaucer_'s Numbers, "That there is the rude Sweetness of a +_Scotch_ Tune in it, which is natural and pleasing, tho' not perfect." + +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 _English_ 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. _Dryden_, who cautions his Reader with this Observation, _That the +Nature of a Preface is Rambling, never wholly out of the way, nor in +it_. Yet I cannot end this Preface, without desiring that such as +shall be employ'd in _refining_ and _ascertaining_ our _English +Tongue_, may entertain better Thoughts both of the _Saxon Tongue_, +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 _low +Genius_, 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, 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 _Archbishop Spotswood_, 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 _low Genius:_ "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 +_Lenox_, he was looked upon as the fittest Person of his Quality to +attend _Lodowic_, Duke of _Lenox_, as his Chaplain in that honourable +Embassy to _Henry_ the fourth of _France_, 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." + +But that of _low Genius_ is not the worst Charge which is brought +against the _Antiquaries_, 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 _a Dissertation on reading the Classicks, and +forming a just Stile_; 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 _Antiquaries_ and_ Schoolmen_." This is a good careless way +of talking, it may pass well enough for the _genteel Negligence_, in +short, such _Nonsense_, as _Our_ 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 _YOUR Antiquaries_, 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 +_Your Men of Sufficiency and Self-conceit_. But here his Master +_Horace_ is quite slipt out of his Mind, whose Words are, + + Scribendi recte, sapere est & principium & fons. + Rem tibi Socraticae poterunt ostendere chartae: + Verbaque provisam rem non invita sequentur. + +Thus translated by my Lord _Roscommon, + + Sound Judgment is the ground of writing well: + And when Philosophy directs your Choice + To proper Subjects rightly understood, + Words from your Pen will naturally flow. + +_Horace_'s _Sapere_, and my Lord _Roscommon_'s _Proper Subjects +rightly understood_, I take to be the same as _Propriety of Thought_, +and the _non invita sequentur, naturally flowing_, I take to import +the Fitness and Propriety of Expression. I also gather from hence, +that there is a very easy and natural Connexion between these two, and +these same Antiquaries of OURS, 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 _Horace_'s +Observation is not just, or that for the Word _invita_ we ought to +have a better reading, for which he will be forced to consult the +_Antiquaries_. 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 _Bishop_ of +_Rochester_, of whom, he says, "He was the correctest Writer of the +Age, and comes nearest the great Originals of _Greece_ and _Rome_, by +a studious Imitation of the Ancients." So that, as I take it, he was +an Antiquary: If he excludes _English Antiquities_, I desire him to +remember the present _Bishop_ of _Rochester_, of whom he has given +this true Character, "Dr. _Atterbury_ writeth with the fewest Faults, +and greatest Excellencies of any who have studied to mix Art and +Nature in their Compositions, _&c_." 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 _Bishop_ of St. _Asaph_ 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 _Bishops_ of _Worcester_, the +former, Dr. _Stillingfleet_, 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 _English_ Tongue from +[F]_Bishop Wilkins_; + + I must acknowledge my self obliged, saith he, to the continual + Assistance I have had from my most learned and worthy Friend, Dr. + _William Lloyd_, 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 _Philological_, and + _Philosophical_ 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 _Dictionary_, and the drawing up of the + _Dictionary_ itself, which, upon trial, I doubt not, will be found + to be the most perfect, that was ever yet made for the _English + Tongue_. + +I will only farther beg leave to mention, the _Bishop_ of_ Carlisle_, +_Your Self_, and Dr. _Gibson_, 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 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 _English Saxon Grammar_, 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 +against 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. _George_, 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 _D. P._ to the Reverend Dr. _R. Taylor_, relating to your +_Thesaurus. Lingg. Vett. Septentrion._ 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, + + --"The _Dean_'s Present, which I shall value as long as I live for + his sake. _Dom. Mabillon_ 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." + + [Footnote F: See the Epistle to the Reader in the Essay towards + a Real Character, p. 3.] + +And in another Letter to the abovemention'd Dr._ Taylor_--. "When +_Dom. Mabillon_ 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 _Dean_ in one Word, has done that worthy Man +Justice." This high Elogium of your self, and of your great Work, from so +renowned an Antiquary, as it is a great Defence and Commendation of the +_Old Northern Learning_, 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, _De Re Diplomatica_, as may be seen in your _Lingg. +Vett. Septentr. Thesaur. Praefat. General._ p. _xxxvi_, &c. + +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 _Saxon_ 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, + + _SIR_, + + Your Most Obliged, + + Humble Servant, + + _Elizabeth Elstob._ + + + * * * * * + * * * * + * * * * * + + +William Andrews Clark Memorial Library: University of California + +THE AUGUSTAN REPRINT SOCIETY + +_General Editors_ + +R.C. BOYS +University of Michigan + +RALPH COHEN +University of California, Los Angeles + +VINTON A. DEARING +University of California, Los Angeles + +LAWRENCE CLARK POWELL +Wm. Andrews Clark Memorial Library + +Corresponding Secretary: +Mrs. EDNA C. DAVIS, Wm. Andrews Clark Memorial Library + + +THE SOCIETY 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. + + * * * * * + +Publications for the eleventh year [1956-57] + +(At least six items, most of them from the following list, will be +reprinted.) + +_An Essay on the New Species of Writing Founded by Mr. Fielding_ (1751). + Introduction by James A. Work. + +Elizabeth Elstob, _An Apology for the Study of Northern Antiquities_ + (1715). Introduction by Charles Peake. + +G. W. _Magazine, or Animadversions on the English Spelling_ (1703). + +Anon., _The Needful Attempt, to make Language and Divinity Plain and + Easie_ (1711). Introduction by David Abercrombie. + +_Prefaces to Fiction._ Selected, with an introduction, by Claude E. + Jones. + +Samuel Johnson. _Notes to Shakespeare, Vol. II, Histories._ Edited by + Arthur Sherbo. (A double issue) + +_Parodies of Ballad Criticism._ Selected, with an introduction, by + William K. Winsatt, Jr. + +_Two Funeral Sermons._ Selected, with an introduction, by Frank L. + Huntley. + +Richard Savage, _An Author to be Let_ (1732). Introduction by James + Sutherland. + + * * * * * + +PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY + + +*First Year (1946-1947)* + +Numbers 1-6 out of print. + + +*Second Year (1947-1948)* + + 7. John Gay's _The Present State of Wit_ (1711); and a section on Wit + from _The English Theophrastus_ (1702). + + 8. Rapin's _De Carmine Pastorali_, translated by Creech (1684). + + 9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736). + +10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit, + etc._ (1744). + +11. Thomas Purney's _Discourse on the Pastoral_ (1717). + +12. Essays on the Stage, selected, with an Introduction by Joseph + Wood Krutch. + + +*Third Year (1948-1949)* + +13. Sir John Falstaff (pseud.), _The Theatre_ (1720). + +14. Edward Moore's _The Gamester_ (1753). + +15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_ + (1712); and Arthur Mainwaring's _The British Academy_ (1712). + +16. Nevil Payne's _Fatal Jealousy_ (1673). + +17. Nicholas Rowe's _Some Account of the Life of Mr. William Shakespeare_ + (1709). + +18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719); + and Aaron Hill's Preface to _The Creation_ (1720). + + +*Fourth Year (1949-1950)* + +19. Susanna Centlivre's _The Busie Body_ (1709). + +20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734). + +21. _Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela_ + (1754). + +22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two + _Rambler_ papers (1750). + +23. John Dryden's _His Majesties Declaration Defended_ (1681). + +24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which from + Settled Principles is Rendered the Grounds for Choosing and Rejecting + Epigrams_, translated by J.V. Cunningham. + + +*Fifth Year (1950-1951)* + +25. Thomas Baker's _The Fine Lady's Airs_ (1709). + +26. Charles Macklin's _The Man of the World_ (1792). + +27. Out of print. + +28. John Evelyn's _An Apologie for the Royal Party_ (1659); and + _A Panegyric to Charles the Second_ (1661). + +29. Daniel Defoe's _A Vindication of the Press_ (1718). + +30. Essays on Taste from John Gilbert Cooper's _Letters Concerning + Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_ (1770). + + +*Sixth Year (1951-1952)* + +31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751); + and _The Eton College Manuscript_. + +32. Prefaces to Fiction; Georges de Scudery's Preface to _Ibrahim_ + (1674), etc. + +33. Henry Gally's _A Critical Essay_ on Characteristic-Writings (1725). + +34. Thomas Tyers' A Biographical Sketch of Dr. Samuel Johnson (1785). + +35. James Roswell, Andrew Erskine, and George Dempster. _Critical + Strictures on the New Tragedy of Elvira, Written by Mr. David + Malloch_ (1763). + +36. Joseph Harris's _The City Bride_ (1696). + + +*Seventh Year (1952-1953)* + +37. Thomas Morrison's _A Pindarick Ode on Painting_ (1767). + +38. John Phillips' _A Satyr Against Hypocrites_ (1655). + +39. Thomas Warton's _A History of English Poetry_. + +40. Edward Bysshe's _The Art of English Poetry_ (1708). + +41. Bernard Mandeville's "A Letter to Dion" (1732). + +42. Prefaces to Four Seventeenth-Century Romances. + + +*Eighth Year (1953-1954)* + +43. John Baillie's _An Essay on the Sublime_ (1747). + +44. Mathias Casimire Sarbiewski's _The Odes of Casimire_, Translated + by G. Hils (1646). + +45. John Robert Scott's _Dissertation on the Progress of the Fine Arts._ + +46. Selections from Seventeenth Century Songbooks. + +47. Contemporaries of the _Tatler_ and _Spectator_. + +48. Samuel Richardson's Introduction to _Pamela_. + + +*Ninth Year (1954-1955)* + +49. Two St. Cecilia's Day Sermons (1696-1697). + +50. Hervey Aston's _A Sermon Before the Sons of the Clergy_ (1745). + +51. Lewis Maidwell's _An Essay upon the Necessity and Excellency of + Education_ (1705). + +52. Pappity Stampoy's _A Collection of Scotch Proverbs_ (1663). + +53. Urian Oakes' _The Soveriegn Efficacy of Divine Providence_ (1682). + +54. Mary Davys' _Familiar Letters Betwixt a Gentleman and a Lady_ (1725). + + +*Tenth Year (1955-1956)* + +55. Samuel Say's _An Essay on the Harmony, Variety, and Power of + Numbers_ (1745). + +56. _Theologia Ruris, sive Schola & Scala Naturae_ (1686). + +57. Henry Fielding's _Shamela_ (1741). + +58. Eighteenth Century Book Illustrations. + +59. Samuel Johnson's _Notes to Shakespeare_. Vol. I, Comedies, Part I. + +60. Samuel Johnson's _Notes to Shakespeare_. Vol. I, Comedies, Part II. + + * * * * * + +ERRATA + as changed by transcriber: + + _Introduction_, first paragraph: + (Augustan Reprint Society, 1948) + _printed text reads_ + (Auguston Reprint Society, 1948) + + + under _Publications for the eleventh year_: + + G. W. _Magazine, or Animadversions on the English Spelling_ (1703). + + Anon., _The Needful Attempt, to make Language and Divinity Plain and + Easie_ (1711). Introduction by David Abercrombie. + + _printed text_ leaves no space between these two items + + + + + +End of the Project Gutenberg EBook of An Apology For The Study of Northern +Antiquities, by Elizabeth Elstob + +*** END OF THIS PROJECT GUTENBERG EBOOK AN APOLOGY FOR THE STUDY OF *** + +***** This file should be named 15329.txt or 15329.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/5/3/2/15329/ + +Produced by David Starner, Louise Hope and the Online Distributed +Proofreading Team. + + +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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/15329.zip b/15329.zip Binary files differnew file mode 100644 index 0000000..5d07d69 --- /dev/null +++ b/15329.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..c1519a7 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #15329 (https://www.gutenberg.org/ebooks/15329) diff --git a/old/20050311.15329-8.zip b/old/20050311.15329-8.zip Binary files differnew file mode 100644 index 0000000..915fb80 --- /dev/null +++ b/old/20050311.15329-8.zip diff --git a/old/20050311.15329-h.zip b/old/20050311.15329-h.zip Binary files differnew file mode 100644 index 0000000..b89cba6 --- /dev/null +++ b/old/20050311.15329-h.zip diff --git a/old/20050311.15329.zip b/old/20050311.15329.zip Binary files differnew file mode 100644 index 0000000..203309f --- /dev/null +++ b/old/20050311.15329.zip |
