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+The Project Gutenberg EBook of The Man of Taste, by James Bramston
+
+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: The Man of Taste
+
+Author: James Bramston
+
+Editor: F. P. Lock
+
+Release Date: August 15, 2010 [EBook #33441]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE MAN OF TASTE ***
+
+
+
+
+Produced by Chris Curnow, Joseph Cooper and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
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+Transcriber's Note: Superscript characters are preceded by a caret (^).
+
+
+THE AUGUSTAN REPRINT SOCIETY
+
+[JAMES BRAMSTON]
+
+
+
+THE MAN of TASTE
+
+(1733)
+
+
+_Introduction by_ F. P. LOCK
+
+
+PUBLICATION NUMBER 171
+
+WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
+UNIVERSITY OF CALIFORNIA, LOS ANGELES
+
+1975
+
+
+GENERAL EDITORS
+
+  William E. Conway, William Andrews Clark Memorial Library
+  George Robert Guffey, University of California, Los Angeles
+  Maximillian E. Novak, University of California, Los Angeles
+  David S. Rodes, University of California, Los Angeles
+
+
+ADVISORY EDITORS
+
+  Richard C. Boys, University of Michigan
+  James L. Clifford, Columbia University
+  Ralph Cohen, University of Virginia
+  Vinton A. Dearing, University of California, Los Angeles
+  Arthur Friedman, University of Chicago
+  Louis A. Landa, Princeton University
+  Earl Miner, Princeton University
+  Samuel H. Monk, University of Minnesota
+  Everett T. Moore, University of California, Los Angeles
+  Lawrence Clark Powell, William Andrews Clark Memorial Library
+  James Sutherland, University College, London
+  H. T. Swedenberg, Jr., University of California, Los Angeles
+  Robert Vosper, William Andrews Clark Memorial Library
+
+
+CORRESPONDING SECRETARY
+
+Beverly J. Onley, William Andrews Clark Memorial Library
+
+
+
+
+INTRODUCTION
+
+    For what has Virro painted, built, and planted?
+    Only to show, how many Tastes he wanted.
+    What brought Sir Visto's ill got wealth to waste?
+    Some Daemon whisper'd, "Visto! have a Taste."
+
+    (Pope, Epistle to Burlington)
+
+
+The idea of "taste" and the ideal of the "man of taste" have fallen
+considerably in critical esteem since the eighteenth century. When F.
+R. Leavis calls Andrew Lang "a scholar and a man of taste, with a
+feeling for language and a desire to write poetry,"[1] it is clear that
+for Leavis these attributes disqualify Lang from being taken seriously
+as a poet. But for the age of Pope, "taste" was a key term in its
+aesthetic thinking; the meaning and application of the term was a
+lively issue which engaged most of the ablest minds of the period.
+
+Addison prefaced his series of Spectator papers on the "Pleasures of
+the Imagination" with a ground-clearing essay on "taste" (No. 409). In
+this classic account of the term, Addison defines "taste" as "that
+Faculty of the Soul, which discerns the Beauties of an Author with
+Pleasure, and the Imperfections with Dislike." Addison's "taste" is an
+innate proclivity towards certain kinds of aesthetic experience that
+has been consciously cultivated in the approved direction. It is not
+enough to value and enjoy the right authors; they must be valued and
+enjoyed for the right reasons. When he holds up to ridicule the man who
+assured him that "the greatest Pleasure he took in reading Virgil, was
+in examining Aeneas his Voyage by the Map," Addison clearly expects his
+readers to agree that such a singular taste was in fact no taste at
+all. His account implies not only a standard of "taste," but also
+general agreement, at least among "men of taste," about what the
+standard was. It is this circularity that makes it essential to assume
+some innate faculty of "taste."
+
+But Addison's prescription for the cultivation of taste was a
+laborious one, involving prolonged reading and study. The wealthy, and
+especially the newly wealthy, were tempted to confuse the correct
+appreciation of the objects of taste with the mere possession of them;
+so that, as with Pope's Timon in the _Epistle to Burlington_ (1731),
+owning a library became a substitute for reading books. This false
+taste for ostentation--especially in buildings--is a frequent target
+of contemporary satire.
+
+The social importance of "taste" as an index of wealth was reinforced
+by current philosophical thinking that gave "taste" a moral dimension
+too. In his _Characteristicks_ (1711), Shaftesbury postulated an innate
+moral sense, just as Addison did an innate aesthetic sense. Shaftesbury
+draws this analogy between the moral and the aesthetic:
+
+    The Case is the same here [in the mental or moral Subjects], as in
+    the ordinary Bodys, or common Subjects of Sense. The Shapes,
+    Motions, Colours, and Proportions of these being presented to our
+    Eye; there necessarily results a Beauty or Deformity, according to
+    the different Measure, Arrangement and Disposition of their several
+    Parts. So in _Behaviour_ and _Actions_, when presented to our
+    Understanding, there must be found, of necessity, an apparent
+    Difference, according to the Regularity or Irregularity of the
+    Subjects.[2]
+
+The correct training of this capacity would enable men to make the
+right choices in both moral and aesthetic matters. This analogy is also
+the basis of Francis Hutcheson's _Essay on the Nature and Conduct of
+the Passions and Affections_ (1728).
+
+It is against the philosophical background of the writings of Addison,
+Shaftesbury, and Hutcheson that the satire on "taste" of Pope,
+Bramston, and others must be seen. But by the time Pope wrote his
+_Epistle to Burlington_, Addison's "Faculty of the Soul" had been
+somewhat debased as a critical term, and the decline of "taste" was a
+common topic. "Nothing is so common as the affectation of, nor any
+thing so seldom found as Taste" was the complaint of the _Weekly
+Register_ in 1731, deploring "the degeneracy of _Taste_ since Mr.
+_Addison's_ time."[3]
+
+The publication of Pope's _Epistle to Burlington_ in December 1731 was
+a literary event of some importance, especially since it was his first
+poem since the _Dunciad Variorum_ of 1729. The _Epistle_ gave "taste" a
+renewed currency as a vogue word. "Of Taste" is found only on the
+half-title of the first edition. But, significantly changed to "Of
+False Taste" for the second edition, this designation found its way
+onto the title-page of the third edition, and became the poem's popular
+title (it is so described on the advertisement leaf of Bramston's _The
+Man of Taste_).
+
+Several attacks on Pope and his poem were published in the following
+year or so. _A Miscellany on Taste_ (1732) reprinted Pope's _Epistle_
+with combative critical notes. Pope himself was attacked, as "Mr.
+Alexander Taste," in an anonymous pamphlet _Mr. Taste the Poetical Fop_
+(1732), reissued in 1733 as _The Man of Taste_, apparently borrowing
+the title of Bramston's poem.[4] Bramston's _The Man of Taste_ (1733)
+is an early example of the more positive reaction to Pope's _Epistle_,
+joining him rather than attempting to beat him. Bramston's poem in its
+turn occasioned an anonymous _The Woman of Taste_ (1733), and suggested
+some details for the character of Lord Apemode in James Miller's comedy
+_The Man of Taste_ (1735). Pope himself borrowed an idea from it (see
+p. 14, 11. 5-6) for a passage in the _Dunciad_ (the allusion to
+Free-Masons and F.R.S.; IV, 567-71).
+
+The cluster of works provoked by Pope's _Epistle_ is evidence of the
+topicality of "taste" at the time Bramston wrote his poem, and it is
+his _Man of Taste_ that retains most interest today. The later history
+of "taste" in eighteenth-century aesthetics and satire can only briefly
+be glanced at here. Important philosophical discussions are Hume's
+essay "Of the Standard of Taste" (in Four Dissertations, 1757), Burke's
+_Philosophical Enquiry into the Origin of our Ideas of the Sublime and
+Beautiful_ (1757; a "Discourse Concerning Taste" was prefaced to the
+second edition, 1759), and Alexander Gerard's _Essay on Taste_ (1759).
+Foote's farce _Taste_ (1752) exposed the sham taste for the antique.
+There are numerous satiric portraits of the "Man of Taste": Mr.
+Sterling in _The Clandestine Marriage_ (1766) is a good example clearly
+in the tradition of Pope's Timon, as is General Tilney in _Northanger
+Abbey_ (1818, but written much earlier).
+
+By the time of Jane Austen, of course, "taste" had developed away from
+the Addisonian rules, and indeed the whole tenor of the aesthetics of
+the imagination had changed. What had happened can be suggested by
+juxtaposing two significant statements about "taste" as metaphor. In
+his _Spectator_ essay (No. 409) Addison speaks of "a very great
+Conformity between that Mental Taste, which is the Subject of this
+Paper, and that Sensitive Taste which gives us a Relish of every
+different Flavour that affects the Palate." But in the Preface to
+_Lyrical Ballads_ (1802), Wordsworth deprecates those "who will
+converse with us as gravely about a _taste_ for Poetry, as they express
+it, as if it were a thing indifferent as a taste for Rope-dancing, or
+Frontiniac or Sherry."[5] But the breakdown of the metaphor of "taste"
+is too large a subject to be explored here.
+
+                 *       *       *       *       *
+
+James Bramston (?1694-1743) was educated at Westminster School and at
+Christ Church, Oxford, where he took his B.A. in 1717 and his M.A. in
+1720. He took orders, and was for a time a military chaplain. In 1724
+he obtained the living of Lurgashall, and in 1739 those of Harting and
+Westhampnett.[6] He published (all anonymously) only three poems in
+English:
+
+    1. _The Art of Politicks, in Imitation of Horace's Art of Poetry._
+    London: Lawton Gilliver, 1729.
+
+    2. _The Man of Taste. Occasion'd by an Epistle of Mr. Pope's on
+    that Subject._ London: Lawton Gilliver, 1733.
+
+    3. _The Crooked Six-pence. With a Learned Preface Found among Some
+    Papers Bearing Date the Same Year in which Paradise Lost Was
+    Published by the Late Dr. Bently._ London: Robert Dodsley, 1743.
+
+Bramston also wrote Latin verses, and at least two unpublished poems
+survive; but his reputation rests on _The Art of Politicks_ and _The
+Man of Taste_. Both poems are of interest to the political and cultural
+historian, but from a literary point of view _The Man of Taste_ is
+probably the better poem. This is largely because of Bramston's success
+in creating the persona of a self-consciously affected Man of Taste,
+who, however, exposes himself more than he intends. Joseph Warton
+mistook this effect for a failure of technique when he called Bramston
+"guilty of the indecorum and absurdity of making his hero laugh at
+himself and his own follies."[7] The poem is deliberately the
+"confessions" of a self-styled Man of Taste. It begins in a casual,
+cynical tone, but as the speaker is gradually seduced by his own
+rhetoric (especially when he imagines himself a nobleman) he strikes an
+almost rhapsodic note, so that he is revealed as the victim, not the
+exploiter, of "taste."
+
+Both in his targets and his techniques, Bramston is a disciple of Pope.
+Sometimes there is a conscious recollection of the master:
+
+    I squal'd in Distichs, and in Triplets wept. (p. 6)
+
+Elsewhere the imitation is less happy:
+
+    Sure wretched _Wren_ was taught by bungling _Jones_,
+    To murder mortar, and disfigure stones! (p. 10)
+
+Here the stylistic habit of antithesis works against the meaning
+instead of reinforcing it. But there are many good things in the poem;
+Bramston's treatment of the idea of the stage as a "school of
+morality," for example, is clever and amusing. His hero derives his
+"Hereditary Taste" from being "tragi-comically got" by a player-poet
+and an orange-woman (p. 6). This gives point to his later claim:
+
+    _Oxford_ and _Cambridge_ are not worth one farthing,
+    Compar'd to _Haymarket_, and _Convent-garden_:
+    Quit those, ye British Youth, and follow these,
+    Turn players all, and take your Squires degrees. (p. 18)
+
+There are also a number of verbal successes, such as:
+
+    Nor barb'rous birch e'er brush'd my brawny bum. (p. 6)
+
+Here insistent alliteration and strong rhythm are combined to excellent
+onomatopoeic effect. Another couplet:
+
+    Tho' _Blackmore's_ works my soul with raptures fill,
+    With notes by _Bently_ they'd be better still. (p. 7)
+
+shows considerable appreciation of the Art of Sinking; the second line
+especially is fine bathos.
+
+The poem as a whole provides an interesting portrait of contemporary
+fashionable "taste" that supplements, at a lower social level, Pope's
+portraits of such magnates of tastelessness as Timon. Bramston's Man of
+Taste is an odd amalgam of the singular and the trite. He begins by
+professing to despise laws, and ends by attempting to enact his own.
+In drawing a character whose tastes are at one moment shamelessly
+perverse, at another servilely imitative, and in depicting a wide range
+of "tastes," Bramston has developed significantly the idea that he took
+from the _Epistle to Burlington_, which is largely concerned with false
+taste in building.
+
+This is not to deny that most of the victims of Bramston's satire are
+somewhere Pope's too. At times one even begins to suspect that
+Bramston's knowledge of London derives as much from the _Dunciad
+Variorum_ as from first-hand experience of the city. There is certainly
+a strong traditional element in some of his themes. The ironic praise
+of Sir Cloudesley Shovell's tomb, for example (p. 12), was probably
+suggested by the _Spectator_ (No. 26) rather than a visit to
+Westminster Abbey; the tomb had offended Addison because it portrayed
+the admiral in an alien character.
+
+But the traditional is combined with the topical. If Sir Cloudesley's
+tomb had been a butt for twenty years, Sir Balaam is an allusion to
+Pope's _Epistle to Bathurst_, only published in February, 1733, the
+month before the _Man of Taste_. Further evidence that Bramston was
+making additions to the poem as late as February 1733 (the poem was
+published on 8 March) are the lines:
+
+    Not so my mind, unsatisfied with hints,
+    Knows more than _Budgel_ writes, or _Roberts_ prints. (p. 10)
+
+These lines hit at a new readers' digest, _The Bee: or, Universal
+Weekly Pamphlet. Containing Something to Hit Every Man's Taste and
+Principles_, which was edited by Budgell and published by Roberts. The
+first number came out in February 1733. There is a similar mixture of
+past and current with the musical satire (p. 13). Handel's _Esther_ and
+the novelty of oratorio were as recent as 1732; Heidegger's ugliness
+("Prince _Phyz_!") was proverbial, and his renaming of the masquerade a
+decade old.
+
+This mixture is confusing, but certainly intentional, since it would
+have made the _Man of Taste_ more ridiculous to a contemporary
+audience. There is also a vertical mixture of the tastes of different
+levels of society; the writer in the _Weekly Register_ for February
+1731, already quoted above, makes this distinction: "The gaming-table,
+and the royal diversion at _Newmarket_, are the ambition of the
+majority; and the rest prefer _Senesino_ to _Shakespear_, as the
+highest proof of modern politeness."[8] Bramston's Man of Taste is a
+concertina-brow, enjoying Senesino, gaming, and Newmarket (pp. 13, 15,
+17).
+
+The usefulness of notes for a full understanding of Bramston's satire
+was recognized as early as 1733, when a few were added to Faulkner's
+Dublin reprint. Faulkner's notes are remarkable for their xenophobic
+bias, for apart from those on Mrs. Oldfield ("_Ophelia_," p. 9), they
+mostly call attention to evils of continental origin: Pasaran's
+recommendation of suicide (p. 9); Heidegger's role as corrupting
+entertainer (p. 13); the imposter Count D'Ughi (the "_Di'mond Count_,"
+p. 16); and Misaubin (p. 17), "famous for curing the venereal
+Disorders." These men were Italian, Swiss, Italian, and French
+respectively. This xenophobia is a remarkably constant feature of
+eighteenth-century satire on "taste."
+
+_The Man of Taste_ (together with _The Art of Politicks_) was included
+in Dodsley's _Collection_; in the 1782 edition, notes (unsigned, but by
+Isaac Reed) were added, identifying many allusions which no longer
+passed current. These are often helpful, but sometimes miss the
+point--as they do with the Budgell-Roberts joke, discussed above. But
+although notes are useful for a complete understanding of all
+Bramston's satiric points, a familiarity with the world of Pope and his
+victims removes most of the difficulties for a modern reader. Only
+occasionally does Bramston sound a more personal note, as in the list
+of doctors (p. 17), where he includes two of his contemporaries at
+Christ Church; and even here, Arbuthnot is a sufficient signpost.
+
+Bramston is a minor poet, but there is no need to apologize for
+_The Man of Taste_. It is a lively and amusing poem in its own right,
+and its association with Pope and its place in the corpus of
+eighteenth-century satire on "taste" raise its claim to the attention
+of students of the period.
+
+University of Queensland
+Brisbane
+
+
+
+
+NOTES TO THE INTRODUCTION
+
+
+1. _New Bearings in English Poetry_ (1932; new ed., London: Chatto &
+Windus, 1950), p. 11.
+
+2. Treatise IV: "An Inquiry Concerning Virtue, or Merit," Book I, Part
+ii, Section 3, in _Characteristicks of Men, Manners, Opinions, Times_
+(London, 1711), II, 28-29.
+
+3. Reprinted in the _Gentleman's Magazine_, 1 (1731), 55-56.
+
+4. These attacks are described in J. V. Guerinot, _Pamphlet Attacks on
+Alexander Pope_ 1711-1744 (New York: New York Univ. Press, 1969), pp.
+204-21.
+
+5. _Literary Criticism of William Wordsworth_, ed. Paul M. Zall
+(Lincoln: Univ. of Nebraska Press, 1966), p. 50.
+
+6. I owe these details (which correct the _DNB_ account) to Mr. Michael
+Hunter of Worcester College, Oxford.
+
+7. In his edition of Pope's _Works_ (London, 1797), V, 285 (note on
+_The Dunciad_, IV, 570).
+
+8. _Gentleman's Magazine_, I (1731), 55-56.
+
+
+
+
+A Note on the Text
+
+
+_The Man of Taste_ was published on 8 March 1733 by Lawton Gilliver
+in a handsome folio format. A second folio edition (although not so
+called) was published later in the same month; this was followed within
+the year by octavo editions in London[1] and Dublin.
+
+Using the evidence of advertisements in the two folios and contemporary
+newspapers, W. B. Todd argues for the priority of the edition he calls
+"A,"[2] reversing the order previously suggested by Iolo A. Williams on
+internal evidence.[3] The textual variants are slight and are confined
+to accidentals, except that on p. 5, line 9, "A" reads "Strife still
+persists" and "B" has "Strife still subsists." A copy of Todd's edition
+"A" is reproduced here.
+
+      [1] Although the imprint on the title page reads "London," this
+      edition was probably printed in Edinburgh. For a reassessment of
+      the number and order of editions of _The Man of Taste_, see
+      D. F. Foxon, _English Verse_ 1701-1750 (Cambridge: Cambridge
+      Univ. Press, forthcoming 1975), I, 78 (B396-401).
+
+      [2] _The Library_, 5th series, VIII (1953), 186-87. Todd here
+      summarizes the evidence about publication.
+
+      [3] _Points in Eighteenth-Century Verse_ (London: Constable,
+      1934), pp. 67-69.
+
+
+
+
+BIBLIOGRAPHICAL NOTE
+
+
+The facsimile of Bramston's _The Man of Taste_ (1733) is reproduced by
+permission from a copy (Shelf Mark: *fPR3627/E663b/copy 2) in the
+William Andrews Clark Memorial Library. The total type-page (p. 7)
+measures 243 × 144 mm.
+
+
+
+
+THE MAN of TASTE.
+
+OCCASION'D by an
+
+EPISTLE
+
+_Of Mr._ POPE'_s_
+
+On that Subject.
+
+_By the Author of the_ ART OF POLITICKS.
+
+
+_LONDON_:
+
+Printed by _J. Wright_, for LAWTON GILLIVER at _Homer's Head_ against
+_St. Dunstan's Church_ in _Fleet Street_, 1733.
+
+
+Price 1 _s._
+
+    Where may be had the _Art of Politicks_, In Imitation of _Horace_'s
+    Art of Poetry. Price 1 _s._
+
+
+
+
+The Man of Taste.
+
+
+  Whoe'er he be that to a _Taste_ aspires,
+  Let him read this, and be what he desires.
+  In men and manners vers'd from life I write,
+  Not what was once but what is now polite.
+  Those who of courtly _France_ have made the tour,
+  Can scarce our _English_ awkwardness endure.
+  But honest men who never were abroad,
+  Like _England_ only, and its _Taste_ applaud.
+  Strife still persists, which yields the better _goût_;
+  Books or the world, the many or the few.
+    True _Taste_ to me is by this touchstone known,
+  That's always best that's nearest to my own.
+  To shew that my pretensions are not vain,
+  My Father was a play'r in _Drury-lane_.
+  Pears and Pistachio-nuts my Mother sold,
+  He a Dramatick-poet, She a Scold.
+  His tragick muse could Countesses affright,
+  Her wit in boxes was my Lord's delight.
+  No mercenary _Priest_ e'er join'd their hands,
+  Uncramp'd by wedlock's unpoetick bands.
+  _Laws_ my Pindarick parents matter'd not,
+  So I was tragi-comically got.
+  My infant tears a sort of measure kept,
+  I squal'd in Distichs, and in Triplets wept.
+  No youth did in I education waste,
+  Happy in an _Hereditary Taste_.
+  Writing ne'er cramp'd the sinews of my thumb,
+  Nor barb'rous birch e'er brush'd my brawny bum.
+  My guts ne'er suffer'd from a college-cook,
+  My name ne'er enter'd in a buttery-book.
+  _Grammar_ in vain the sons of _Priscian_ teach,
+  Good Parts are better than _Eight Parts of Speech_:
+  Since these declin'd those undeclin'd they call,
+  I thank my Stars, that I declin'd 'em all.
+  To _Greek_ or _Latin Tongues_ without pretence,
+  I trust to mother Wit, and father Sense.
+  _Nature_'s my guide, all Sciences I scorn,
+  Pains I abhor, I was a _Poet born_.
+    Yet is my _goût_ for criticism such,
+  I've got some _French_, and know a little _Dutch_.
+  Huge commentators grace my learned shelves,
+  Notes upon books out-do the books themselves.
+  Criticks indeed are valuable men,
+  But hyper-criticks are as good agen.
+  Tho' _Blackmore_'s works my soul with raptures fill,
+  With notes by _Bently_ they'd be better still.
+  The _Boghouse-Miscellany_'s well design'd,
+  To ease the body, and improve the mind.
+  _Swift_'s whims and jokes for my resentment call,
+  For he displeases me, that pleases all.
+  Verse without rhyme I never could endure,
+  Uncouth in numbers, and in sense obscure.
+  To him as Nature, when he ceas'd to see,
+  _Milton_'s an _universal Blank_ to me.
+  Confirm'd and settled by the Nations voice,
+  Rhyme is the poet's pride, and peoples choice.
+  Always upheld by national Support,
+  Of Market, University, and Court:
+  _Thompson_, write blank; but know that for that reason,
+  These lines shall live, when thine are out of season.
+  Rhyme binds and beautifies the Poet's lays,
+  As _London_ Ladies owe their shape to stays.
+    Had _Cibber_'s self the _Careless Husband_ wrote,
+  He for the Laurel ne'er had had my Vote:
+  But for his Epilogues and other Plays,
+  He thoroughly deserves the _Modern Bays_.
+  It pleases me, that _Pope_ unlaurell'd goes,
+  While _Cibber_ wears the Bays for Playhouse Prose.
+  So _Britain_'s Monarch once uncover'd fate,
+  While _Bradshaw_ bully'd in a broad-brimm'd hat.
+    Long live old _Curl!_ he ne'er to publish fears,
+  The speeches, verses, and last wills of Peers.
+  How oft has he a publick spirit shewn,
+  And pleas'd our ears regardless of his own?
+  But to give Merit due, though _Curl_'s the same?
+  Are not his Brother-booksellers the same?
+  Can Statutes keep the _British_ Press in awe,
+  While that sells best, that's most against the Law?
+    _Lives_ of dead _Play'rs_ my leisure hours beguile,
+  And _Sessions-Papers_ tragedize my stile.
+  'Tis charming reading in _Ophelia_'s life,
+  So oft a Mother, and not once a Wife:
+  She could with just propriety behave,
+  Alive with Peers, with Monarchs in her grave:
+  Her lot how oft have envious harlots wept,
+  By Prebends bury'd and by Generals kept.
+    T'improve in Morals _Mandevil_ I read,
+  And _Tyndal_'s Scruples are my settled Creed.
+  I travell'd early, and I soon saw through
+  Religion all, e'er I was twenty-two.
+  Shame, Pain, or Poverty shall I endure,
+  When ropes or opium can my ease procure?
+  When money's gone, and I no debts can pay,
+  Self-murder is an honourable way.
+  As _Pasaran_ directs I'd end my life,
+  And kill myself, my daughter, and my wife.
+  Burn but that _Bible_ which the Parson quotes,
+  And men of spirit all shall cut their throats.
+    But not to writings I confine my pen,
+  I have a taste for buildings, musick, men.
+  Young travell'd coxcombs mighty knowledge boast,
+  With superficial Smatterings at Most.
+  Not so my mind, unsatisfied with hints,
+  Knows more than _Budgel_ writes, or _Roberts_ prints.
+  I know the town, all houses I have seen,
+  From _High-Park_ corner down to _Bednal-Green_.
+  Sure wretched _Wren_ was taught by bungling _Jones_,
+  To murder mortar, and disfigure stones!
+  Who in _Whitehall_ can symmetry discern?
+  I reckon _Convent-garden_ Church a _Barn_.
+  Nor hate I less thy vile Cathedral, _Paul_!
+  The choir's too big, the cupola's too small:
+  Substantial walls and heavy roofs I like,
+  'Tis _Vanbrug_'s structures that my fancy strike:
+  Such noble ruins ev'ry pile wou'd make,
+  I wish they'd tumble for the prospect's sake.
+  To lofty _Chelsea_ or to _Greenwich_ Dome,
+  Soldiers and sailors all are welcom'd home.
+  Her poor to palaces _Britannia_ brings,
+  St. _James_'s hospital may serve for kings.
+  Building so happily I understand,
+  That for one house I'd mortgage all my land.
+  _Dorick_, _Ionick_, shall not there be found,
+  But it shall cost me threescore thousand pound.
+  From out my honest workmen, I'll select
+  A _Bricklay'r_, and proclaim him architect;
+  First bid him build me a stupendous Dome,
+  Which _having finish'd_, we set out for _Rome_;
+  Take a weeks view of _Venice_ and the _Brent_,
+  Stare round, see nothing, and come home content.
+  I'll have my _Villa_ too, a sweet abode,
+  Its situation shall be _London_ road:
+  _Pots_ o'er the door I'll place like Cits balconies,
+  Which[1] _Bently_ calls the _Gardens of Adonis_.
+    I'll have my Gardens in the fashion too,
+  For what is beautiful that is not new?
+  Fair four-legg'd temples, theatres that vye,
+  With all the angles of a _Christmas_-pye.
+  Does it not merit the beholder's praise,
+  What's high to sink? and what is low to raise?
+  Slopes shall ascend where once a green-house stood,
+  And in my horse-pond I will plant a wood.
+  Let misers dread the hoarded gold to waste,
+  Expence and alteration shew a _Taste_.
+    In curious paintings I'm exceeding nice,
+  And know their several beauties by their _Price_.
+  _Auctions_ and _Sales_ I constantly attend,
+  But chuse my pictures by a _skilful friend_.
+  Originals and copies much the same,
+  The picture's value is the _painter's name_.
+    My taste in Sculpture from my choice is seen,
+  I buy no statues that are not obscene.
+  In spite of _Addison_ and ancient _Rome_,
+  Sir _Cloudesly Shovel_'s is my fav'rite tomb.
+  How oft have I with admiration stood,
+  To view some City-magistrate in wood?
+  I gaze with pleasure on a Lord May'r's head,
+  Cast with propriety in gilded lead.
+  Oh could I view through _London_ as I pass,
+  Some broad Sir _Balaam_ in _Corinthian_ brass;
+  High on a pedestal, ye Freemen, place
+  His magisterial Paunch and griping Face;
+  _Letter'd and Gilt_, let him adorn _Cheapside_,
+  And grant the _Tradesman_, what a _King_'s deny'd.
+    Old Coins and Medals I collect, 'tis true,
+  Sir _Andrew_ has 'em, and I'll have 'em too.
+  But among friends if I the truth might speak,
+  I like the modern, and despise th' antique.
+  Tho' in the draw'rs of my japan _Bureau_,
+  To Lady _Gripeall_ I the _Cæsars_ shew,
+  'Tis equal to her Ladyship or me,
+  A copper _Otho_, or a _Scotch Baubee_.
+    Without _Italian_, or without an ear,
+  To _Bononcini_'s musick I adhere:
+  Musick has charms to sooth a savage beast,
+  And therefore proper at a Sheriff's feast.
+  My soul has oft a secret pleasure found,
+  In the harmonious Bagpipe's lofty sound.
+  Bagpipes for men, shrill _German-flutes_ for boys,
+  I'm _English_ born, and love a grumbling noise.
+  The Stage should yield the solemn Organ's note,
+  And Scripture tremble in the Eunuch's throat.
+  Let _Senesino_ sing, what _David_ writ,
+  And _Hallelujahs_ charm the pious pit.
+  Eager in throngs the town to _Hester_ came,
+  And _Oratorio_ was a lucky name.
+  Thou, _Heeideggre!_ the _English_ taste has found,
+  And rul'st the mob of quality with sound.
+  In _Lent_, if Masquerades displease the town,
+  Call 'em _Ridotto_'s, and they still go down:
+  Go on, Prince _Phyz_! to please the British nation,
+  Call thy next _Masquerade_ a _Convocation_.
+    Bears, Lyons, Wolves, and Elephants I breed,
+  And _Philosophical Transactions_ read.
+  Next Lodge I'll be _Free-Mason_, nothing less,
+  Unless I happen to be _F.R.S._
+    I have a _Palate_, and (as yet) _two Ears_,
+  Fit company for _Porters_, or for _Peers_.
+  Of ev'ry useful knowledge I've a share,
+  But my top talent is a bill of fare.
+  Sir Loins and rumps of beef offend my eyes,
+  Pleas'd with frogs fricasseed, and coxcomb-pies.
+  Dishes I chuse though little, yet genteel,
+  _Snails_ the first course, and _Peepers_ crown the meal.
+  Pigs heads with hair on, much my fancy please,
+  I love young colly-flow'rs if stew'd in cheese,
+  And give ten guineas for a pint of peas.
+  No tatling servants to my table come,
+  My Grace is _Silence_, and my waiter _Dumb_.
+  Queer Country-puts extol Queen _Bess_'s reign,
+  And of lost hospitality complain.
+  Say thou that do'st thy father's table praise,
+  Was there _Mahogena_ in former days?
+    Oh! could a British Barony be sold!
+  I would bright honour buy with dazling gold.
+  Could I the _privilege_ of _Peer_ procure,
+  The rich I'd bully, and oppress the poor.
+  To _give_ is wrong, but it is wronger still,
+  On any terms to _pay_ a tradesman's bill.
+  I'd make the insolent Mechanicks stay,
+  And keep my ready money all for _play_.
+  I'd try if any pleasure could be found,
+  In _tossing-up_ for twenty thousand pound.
+  Had I whole Counties, I to _White_'s would go,
+  And set lands, woods, and rivers, at a throw.
+  But should I meet with an unlucky run,
+  And at a throw be gloriously undone;
+  My _debts of honour_ I'd discharge the first,
+  Let all my _lawful creditors_ be curst:
+  My _Title_ would preserve me from arrest,
+  And seising _hired horses_ is a jest.
+  I'd walk the mornings with an _oaken stick_,
+  With gloves and hat, like my own _footman, Dick_.
+  A footman I wou'd be, in outward show,
+  In sense, and education, _truly so_.
+  As for my _head_, it should ambiguous wear
+  _At once_ a periwig, _and_ its own hair.
+  My hair I'd powder in the women's way,
+  And _dress_, and _talk of dressing_, more than they.
+  I'll please the maids of honour, if I can;
+  Without black-velvet-britches, what is man?
+  I will my skill in _button-holes_ display,
+  And brag how oft I shift me ev'ry day.
+  Shall I wear cloaths, in _awkward England_ made?
+  And sweat in cloth, to help the _woollen trade_?
+  In _French_ embroid'ry and in _Flanders_ lace
+  I'll spend the income of a treasurer's place.
+  _Deard_'s bill for baubles shall to thousands mount,
+  And I'd out-di'mond ev'n the _Di'mond Count_.
+  I would convince the world by taudry cloa's,
+  That _Belles_ are less effeminate than beaux,
+  And Doctor _Lamb_ should pare my Lordship's toes.
+    To boon companions I my time would give,
+  With players, pimps, and parasites I'd live.
+  I would with _Jockeys_ from _Newmarket_ dine,
+  And to _Rough-riders_ give my choicest wine.
+  I would caress some _Stableman_ of note,
+  And imitate his language, and his _coat_.
+  My ev'nings all I would with _sharpers_ spend,
+  And make the _Thief-catcher_ my bosom friend.
+  In _Fig_ the Prize-fighter by day delight,
+  And sup with _Colly Cibber_ ev'ry night.
+    Should I perchance be fashionably ill,
+  I'd send for _Misaubin_, and take his pill.
+  I should abhor, though in the utmost need,
+  _Arbuthnot_, _Hollins_, _Wigan_, _Lee_, or _Mead_:
+  But if I found that I grew worse and worse,
+  I'd turn off _Misaubin_ and take a Nurse.
+  How oft, when eminent physicians fail,
+  Do good old womens remedies prevail?
+  When beauty's gone, and _Chloe_'s struck with years,
+  Eyes she can couch, or she can syringe ears.
+  Of Graduates I dislike the learned rout,
+  And chuse a _female Doctor_ for the gout.
+    Thus would I live, with no dull _pedants_ curs'd,
+  Sure, of all blockheads, _Scholars_ are the worst.
+  Back to your _Universitys_, ye fools,
+  And dangle Arguments on strings in schools:
+  Those schools which _Universitys_ they call,
+  'Twere well for _England_ were there none at all.
+  With ease that loss the nation might sustain,
+  Supply'd by _Goodman's Fields_ and _Drury-lane_.
+  _Oxford_ and _Cambridge_ are not worth one farthing,
+  Compar'd to _Haymarket_, and _Convent-garden_:
+  Quit those, ye British Youth, and follow these,
+  Turn players all, and take your 'Squires degrees.
+  Boast not your incomes now, as heretofore,
+  Ye book-learn'd Seats! the Theatres have more:
+  Ye stiff-rump'd heads of Colleges be dumb,
+  A singing Eunuch gets a larger Sum.
+  Have some of you three hundred by the Year,
+  _Booth_, _Rich_, and _Cibber_, twice three thousand clear.
+  Should _Oxford_ to her sister _Cambridge_ join
+  A Year's _Rack-rent_, and _Arbitrary fine_:
+  Thence not one winter's charge would be defray'd,
+  For Playhouse, Opera, Ball, and Masquerade.
+  Glad I congratulate the judging Age,
+  The players are the world, the world the stage.
+    I am a Politician too, and hate
+  Of any party, ministers of state:
+  I'm for an _Act_, that he, who sev'n whole Years
+  Has serv'd his _King_ and _Country_, lose his ears.
+    Thus from my birth I'm qualified you find,
+  To give the laws of _Taste_ to humane kind.
+  Mine are the gallant Schemes of Politesse,
+  For books, and buildings, politicks, and dress.
+  This is _True Taste_, and whoso likes it not,
+  Is blockhead, coxcomb, puppy, fool, and sot.
+
+      [1] Bently's Milton, Book 9. Ver. 439.
+
+
+
+
+_BOOKS printed for_ LAWTON GILLIVER _at_ Homer'_s_ _Head over-against
+St._ Dunitan's _Church in_ Fleetstreet.
+
+
+Of _False Taste_. An Epistle to the Earl of _Burlington_. By Mr. POPE.
+
+_The Use of Riches_, an Epistle to the Right Honourable _Allen_ Lord
+_Bathurst_. By the same Author.
+
+The first Satire of the Second Book of _Horace_, Imitated in a Dialogue
+between _Alexander Pope_, Esq; on the one Part, and his Learned Council
+on the other.
+
+The _Dunciad_: A New Edition with some additional Epigrams.
+
+_A Collection of Pieces_ in Prose and Verse; occasioned by the Dunciad.
+Dedicated to the Earl of _Middlesex_, by _Richard Savage_, Esq;
+
+_An Essay on Satyre_; particularly the Dunciad. By _Walter Hart_, A. M.
+
+_Harlequin-Horace_: Or, the Art of Modern Poetry.
+
+Two _Epistles_ to Mr. _Pope_, concerning the Authors of the Age. By Dr.
+_Young_.
+
+_Imperium Pelagi_: A Naval Lyrick in Imitation of _Pindar_.
+
+_Athelwold_: A Tragedy. By _Aaron Hill_, Esq;
+
+An _Epistle_ from a young Gentleman at _Rome_ to Mr. _Pope_.
+
+The Progress of Love, 8^o
+
+_Stowe_: The Gardens of Lord _Cobham_, 8^o
+
+The Works of the Right Honourable the Lord _Lansdowne_.
+
+M. Hieronimi Vidæ Opera Omnia Poetica, quibus nunc primum adjiciuntur
+Dialogi de Rei-publicæ Dignitate ex Recensione. R. Russel, A. M. 2 Toms
+12^o
+
+[GREEK: ANAKPE'ONTOS TÊI'OU ME'LÊ]: Anacreontis Teii Carmina acurate
+Edita cum Notis perpetuis & Versione Latina Numeris Elegiacis
+Paraphrastice expressa. Accedunt ejusdem, ut perhibentur, Fragmenta; &
+Poetriæ Sapphus quæ Supersunt.
+
+
+
+
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+UNIVERSITY OF CALIFORNIA, LOS ANGELES
+
+The Augustan Reprint Society
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+PUBLICATIONS IN PRINT
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+
+The Augustan Reprint Society
+
+PUBLICATIONS IN PRINT
+
+1948-1949
+
+ 16. Henry Nevil Payne, _The Fatal Jealousie_ (1673).
+
+ 18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719),
+and Aaron Hill, Preface to _The Creation_ (1720).
+
+
+1949-1950
+
+ 19. Susanna Centlivre, _The Busie Body_ (1709).
+
+ 20. Lewis Theobald, _Preface to the Works of Shakespeare_ (1734).
+
+ 22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and Two
+_Rambler_ papers (1750).
+
+ 23. John Dryden, _His Majesties Declaration Defended_ (1681).
+
+
+1951-1952
+
+ 26. Charles Macklin, _The Man of the World_ (1792).
+
+ 31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751), and
+_The Eton College Manuscript_.
+
+
+1952-1953
+
+ 41. Bernard Mandeville, _A Letter to Dion_ (1732).
+
+
+1964-1965
+
+110. John Tutchin, _Selected Poems_ (1685-1700).
+
+111. _Political Justice_ (1736).
+
+113. T. R., _An Essay Concerning Critical and Curious Learning_ (1698).
+
+
+1965-1966
+
+115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_
+(1705, 1706, 1720, 1722).
+
+116. Charles Macklin, _The Convent Garden Theatre_ (1752).
+
+117. Sir Roger L'Estrange, _Citt and Bumpkin_ (1680).
+
+118. Henry More, _Enthusiasmus Triumphatus_ (1662).
+
+120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_
+(1740).
+
+
+1966-1967
+
+124. _The Female Wits_ (1704).
+
+
+1968-1969
+
+133. John Courtenay, _A Poetical Review of the Literary and Moral
+Character of the Late Samuel Johnson_ (1786).
+
+134. John Downes, _Roscius Anglicanus_ (1708).
+
+135. John Hill, _Hypochondriasis, a Practical Treatise_ (1766).
+
+136. Thomas Sheridan, _A Discourse Being Introductory to His Course of
+Lectures on Elocution and the English Language_ (1759).
+
+137. Arthur Murphy, _The Englishman from Paris_ (1756).
+
+
+1969-1970
+
+138. [Catherine Trotter] _Olinda's Adventures_ (1718).
+
+139. John Ogilvie, _An Essay on the Lyric Poetry of the Ancients_
+(1762).
+
+140. _A Learned Dissertation on Dumpling_ (1726) and _Pudding and
+Dumpling Burnt to Pot or a Compleat Key to the Dissertation on
+Dumpling_ (1727).
+
+141. Sir Roger L'Estrange, Selections from _The Observator_
+(1681-1687).
+
+142. Anthony Collins, _A Discourse Concerning Ridicule and Irony in
+Writing_ (1729).
+
+143. _A Letter From a Clergyman to His Friend, with an Account of the
+Travels of Captain Lemuel Gulliver_ (1726).
+
+144. _The Art of Architecture, A Poem_ (1742).
+
+
+1970-1971
+
+145-146. Thomas Shelton, _A Tutor to Tachygraphy, or Short-writing_
+(1642) and _Tachygraphy_ (1647).
+
+147-148. _Deformities of Dr. Samuel Johnson_ (1782).
+
+149. _Poeta de Tristibus: or the Poet's Complaint_ (1682).
+
+150. Gerard Langbaine, _Momus Triumphans: or the Plagiaries of the
+English Stage_ (1687).
+
+
+1971-1972
+
+151-152. Evan Lloyd, _The Methodist. A Poem_ (1766).
+
+153. _Are These Things So?_ (1740), and _The Great Man's Answer to Are
+These Things So?_ (1740).
+
+154. Arbuthnotiana: _The Story of the St. Alb-ns Ghost_ (1712), and _A
+Catalogue of Dr. Arbuthnot's Library_ (1779).
+
+155-156. A Selection of Emblems from Herman Hugo's _Pia Desideria_
+(1624), with English Adaptations by Francis Quarles and Edmund Arwaker.
+
+
+1972-1973
+
+157. William Mountfort, _The Life and Death of Doctor Faustus_ (1697).
+
+158. Colley Cibber, _A Letter from Mr. Cibber to Mr. Pope_ (1742).
+
+159. [Catherine Clive], _The Case of Mrs. Clive_ (1744).
+
+160. [Thomas Tryon], _A Discourse ... of Phrensie, Madness or
+Distraction_ from _A Treatise of Dreams and Visions_ [1689].
+
+161. Robert Blair, _The Grave. A Poem_ (1743).
+
+162. [Bernard Mandeville], _A Modest Defence of Publick Stews_ (1724).
+
+
+1973-1974
+
+163. [William Rider], _An Historical and Critical Account of the Lives
+and Writings of the Living Authors of Great Britain_ (1762).
+
+164. Thomas Edwards, _The Sonnets of Thomas Edwards_ (1765, 1780).
+
+165. Hildebrand Jacob, _Of the Sister Arts; An Essay_ (1734).
+
+166. _Poems on the Reign of William III_ [1690, 1696, 1699, 1702].
+
+167. Kane O'Hara, _Midas: An English Burletta_ (1766).
+
+168. [Daniel Defoe], _A Short Narrative History of the Life and Actions
+of His Grace John, D. of Marlborough_ (1711).
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