diff options
Diffstat (limited to '33441-h/33441-h.htm')
| -rw-r--r-- | 33441-h/33441-h.htm | 3744 |
1 files changed, 3744 insertions, 0 deletions
diff --git a/33441-h/33441-h.htm b/33441-h/33441-h.htm new file mode 100644 index 0000000..d5099e9 --- /dev/null +++ b/33441-h/33441-h.htm @@ -0,0 +1,3744 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" + "http://www.w3.org/TR/html4/loose.dtd"> +<html lang="en"> +<head> +<meta http-equiv="content-type" content="text/html; charset=iso-8859-1"> +<title> +The Project Gutenberg eBook of The Man Of Taste, by James Bramston +</title> +<style type="text/css"> + + <!-- + body {margin-left: 12%; + margin-right: 12%;} + + p {text-indent: 0em; + text-align: justify; + margin-top: .85em; + margin-bottom: .85em; + line-height: 1.25em;} + + .ctr {text-align: center;} + .ctrbold {text-align: center; + font-weight: bold; + margin-top: 1.75em;} + + .ralign {margin-right: 25%; + float: right;} + + .sc {font-variant: small-caps;} + + .big {font-size: 175%;} + + p.dropcap:first-letter {float: left; + clear: left; + margin-right: .05em; + font-size: 160%; + line-height: 78%; + padding-top: 2.5px; + width: auto; + font-weight: normal;} + + .dcap {text-transform: uppercase;} + + .foot {margin-left: 6%; + margin-right: 6%; + margin-top: .0em; + margin-bottom: .0em; + text-decoration: none;} + + .fnlabel {font-size: 0.8em; + line-height: 3px; + text-decoration: none;} + + sup {vertical-align: .4em; + font-size: .6em;} + + .firstchapter {margin-top: 2em; + margin-bottom: 1em; + text-align: center; + font-size: 150%; + font-weight: bold;} + + .head {margin-top: 2em; + margin-bottom: 2em; + text-align: center;} + + .blockquote {text-align: justify; + margin-left: 7%; + margin-right: 7%; + font-size: 98%; + margin-top: 1.6em; + margin-bottom: 1.6em;} + + .ltrspacing {letter-spacing: 6px;} + + h1 {text-align: center; + margin-top: 1em; + margin-bottom: 1em; + line-height: 1.3em; + letter-spacing: 5px;} + + h2, h3, h4, h5, h6 {text-align: center; + margin-top: 1em; + margin-bottom: 1em; + line-height: 1.3em;} + + hr.med {width: 65%; + height: 1px; + margin-top: 2.5em; + margin-bottom: 2.5em;} + + hr.medclose {width: 65%; + height: 1px; + margin-top: 1em; + margin-bottom: 1em;} + + hr.short {width: 35%; + height: 1px; + margin-top: 2.25em; + margin-bottom: 2.25em;} + + ul {list-style-type: none;} + + table {margin-left: auto; + margin-right: auto;} + + td.r {text-align: right; + padding-right: 10px; + vertical-align: top; + width: 95px;} + + td.c {text-align: center; + font-weight: bold; + padding-top: 25px; + padding-bottom: 15px;} + + .titlepoem {margin-left:28%; margin-right:4%; + margin-bottom: 1em; margin-top: 1em; + text-align: left; font-size: 92%;} + .titlepoem .stanza {margin: 1em 0em 1em 0em;} + .titlepoem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .titlepoem p.i2 {margin-left: 1em;} + .titlepoem p.i4 {margin-left: 2em;} + .titlepoem p.i6 {margin-left: 3em;} + .titlepoem p.i8 {margin-left: 4em;} + .titlepoem p.i20 {margin-left: 10em;} + + .poem {margin-left:12%; margin-right:4%; + margin-bottom: 1.75em; margin-top: 1.75em; text-align: left;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem p.i2 {margin-left: 1em;} + .poem p.i4 {margin-left: 2em;} + .poem p.i10 {margin-left: 10em;} + + a:link {color: #33C; + background-color: inherit; + text-decoration: none;} + link {color: #33C; + background-color: inherit; + text-decoration: none;} + a:visited {color:#33C; + background-color: inherit; + text-decoration: none;} + a:hover {color:#F00; + background-color: inherit;} + +</style> +</head> +<body> + + +<pre> + +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 + + + + + + +</pre> + +<h3> +<span class="sc"> +The Augustan Reprint Society +</span> +</h3> +<br> +<br> +<h3> +[JAMES BRAMSTON] +</h3> +<br> +<h1> +<small> +THE +</small> +<br> +MAN of TASTE +</h1> +<h3> +(1733) +</h3> +<br> +<hr class="medclose"> +<h3> +<i> +Introduction by</i> +<br> +<br> +<span class="sc"> +F. P. Lock +</span> +</h3> +<hr class="medclose"> +<br> +<h4> +PUBLICATION NUMBER 171 +<br> +WILLIAM ANDREWS CLARK MEMORIAL LIBRARY +<br> +<span class="sc"> +University of California, Los Angeles +</span> +</h4> +<h4> +1975 +</h4> +<hr class="med"> +<p class="head"> +GENERAL EDITORS +</p> +<ul> +<li> +William E. Conway, William Andrews Clark Memorial Library +</li> +<li> +George Robert Guffey, University of California, Los Angeles +</li> +<li> +Maximillian E. Novak, University of California, Los Angeles +</li> +<li> +David S. Rodes, University of California, Los Angeles +</li> +</ul> +<p class="head"> +ADVISORY EDITORS +</p> +<ul> +<li> +Richard C. Boys, University of Michigan +</li> +<li> +James L. Clifford, Columbia University +</li> +<li> +Ralph Cohen, University of Virginia +</li> +<li> +Vinton A. Dearing, University of California, Los Angeles +</li> +<li> +Arthur Friedman, University of Chicago +</li> +<li> +Louis A. Landa, Princeton University +</li> +<li> +Earl Miner, Princeton University +</li> +<li> +Samuel H. Monk, University of Minnesota +</li> +<li> +Everett T. Moore, University of California, Los Angeles +</li> +<li> +Lawrence Clark Powell, William Andrews Clark Memorial Library +</li> +<li> +James Sutherland, University College, London +</li> +<li> +H. T. Swedenberg, Jr., University of California, Los Angeles +</li> +<li> +Robert Vosper, William Andrews Clark Memorial Library +</li> +</ul> +<p class="head"> +CORRESPONDING SECRETARY +</p> +<ul> +<li> +Beverly J. Onley, William Andrews Clark Memorial Library +</li> +</ul> +<hr class="med"> +<p class="head"> +INTRODUCTION +</p> +<div class="poem"> +<div class="stanza"> +<p> +For what has Virro painted, built, and planted? +</p> +<p> +Only to show, how many Tastes he wanted. +</p> +<p> +What brought Sir Visto's ill got wealth to waste? +</p> +<p> +Some Daemon whisper'd, "Visto! have a Taste." +</p> +</div> +<div class="stanza"> +<p class="i10"> +(Pope, Epistle to Burlington) +</p> +</div> +</div> +<p> +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. +</p> +<p> +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." +</p> +<p> +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 +<i> +Epistle to Burlington +</i> +(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. +</p> +<p> +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 +<i> +Characteristicks +</i> +(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: +</p> +<div class="blockquote"> +<p> +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 +<i> +Behaviour +</i> +and +<i> +Actions</i>, when presented to our Understanding, there must be found, of necessity, an apparent Difference, according to the Regularity or Irregularity of the Subjects.[2] +</p> +</div> +<p> +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 +<i> +Essay on the Nature and Conduct of the Passions and Affections +</i> +(1728). +</p> +<p> +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 +<i> +Epistle to Burlington</i>, 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 +<i> +Weekly Register +</i> +in 1731, deploring "the degeneracy of +<i> +Taste +</i> +since Mr. +<i> +Addison's +</i> +time."[3] +</p> +<p> +The publication of Pope's +<i> +Epistle to Burlington +</i> +in December 1731 was a literary event of some importance, especially since it was his first poem since the +<i> +Dunciad Variorum +</i> +of 1729. The +<i> +Epistle +</i> +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 +<i> +The Man of Taste</i>). +</p> +<p> +Several attacks on Pope and his poem were published in the following year or so. +<i> +A Miscellany on Taste +</i> +(1732) reprinted Pope's +<i> +Epistle +</i> +with combative critical notes. Pope himself was attacked, as "Mr. Alexander Taste," in an anonymous pamphlet +<i> +Mr. Taste the Poetical Fop +</i> +(1732), reissued in 1733 as +<i> +The Man of Taste</i>, apparently borrowing the title of Bramston's poem.[4] Bramston's +<i> +The Man of Taste +</i> +(1733) is an early example of the more positive reaction to Pope's +<i> +Epistle</i>, joining him rather than attempting to beat him. Bramston's poem in its turn occasioned an anonymous +<i> +The Woman of Taste +</i> +(1733), and suggested some details for the character of Lord Apemode in James Miller's comedy +<i> +The Man of Taste +</i> +(1735). Pope himself borrowed an idea from it (see p. 14, 11. 5-6) for a passage in the +<i> +Dunciad +</i> +(the allusion to Free-Masons and F.R.S.; IV, 567-71). +</p> +<p> +The cluster of works provoked by Pope's +<i> +Epistle +</i> +is evidence of the topicality of "taste" at the time Bramston wrote his poem, and it is his +<i> +Man of Taste +</i> +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 +<i> +Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful +</i> +(1757; a "Discourse Concerning Taste" was prefaced to the second edition, 1759), and Alexander Gerard's +<i> +Essay on Taste +</i> +(1759). Foote's farce +<i> +Taste +</i> +(1752) exposed the sham taste for the antique. There are numerous satiric portraits of the "Man of Taste": Mr. Sterling in +<i> +The Clandestine Marriage +</i> +(1766) is a good example clearly in the tradition of Pope's Timon, as is General Tilney in +<i> +Northanger Abbey +</i> +(1818, but written much earlier). +</p> +<p> +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 +<i> +Spectator +</i> +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 +<i> +Lyrical Ballads +</i> +(1802), Wordsworth deprecates those "who will converse with us as gravely about a +<i> +taste +</i> +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. +</p> +<hr class="short"> +<p> +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: +</p> +<div class="blockquote"> +<p> +1. +<i> +The Art of Politicks, in Imitation of Horace's Art of Poetry. +</i> +London: Lawton Gilliver, 1729. +</p> +<p> +2. +<i> +The Man of Taste. Occasion'd by an Epistle of Mr. Pope's on that Subject. +</i> +London: Lawton Gilliver, 1733. +</p> +<p> +3. +<i> +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. +</i> +London: Robert Dodsley, 1743. +</p> +</div> +<p> +Bramston also wrote Latin verses, and at least two unpublished poems survive; but his reputation rests on +<i> +The Art of Politicks +</i> +and +<i> +The Man of Taste</i>. Both poems are of interest to the political and cultural historian, but from a literary point of view +<i> +The Man of Taste +</i> +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." +</p> +<p> +Both in his targets and his techniques, Bramston is a disciple of Pope. Sometimes there is a conscious recollection of the master: +</p> +<div class="poem"> +<div class="stanza"> +<p> +I squal'd in Distichs, and in Triplets wept. (p. 6) +</p> +</div> +</div> +<p> +Elsewhere the imitation is less happy: +</p> +<div class="poem"> +<div class="stanza"> +<p> +Sure wretched +<i> +Wren +</i> +was taught by bungling +<i> +Jones</i>, +</p> +<p> +To murder mortar, and disfigure stones! (p. 10) +</p> +</div> +</div> +<p> +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: +</p> +<div class="poem"> +<div class="stanza"> +<p> +<i> +Oxford +</i> +and +<i> +Cambridge +</i> +are not worth one farthing, +</p> +<p> +Compar'd to +<i> +Haymarket</i>, and +<i> +Convent-garden</i>: +</p> +<p> +Quit those, ye British Youth, and follow these, +</p> +<p> +Turn players all, and take your Squires degrees. (p. 18) +</p> +</div> +</div> +<p> +There are also a number of verbal successes, such as: +</p> +<div class="poem"> +<div class="stanza"> +<p> +Nor barb'rous birch e'er brush'd my brawny bum. (p. 6) +</p> +</div> +</div> +<p> +Here insistent alliteration and strong rhythm are combined to excellent onomatopoeic effect. Another couplet: +</p> +<div class="poem"> +<div class="stanza"> +<p> +Tho' +<i> +Blackmore's +</i> +works my soul with raptures fill, +</p> +<p> +With notes by +<i> +Bently +</i> +they'd be better still. (p. 7) +</p> +</div> +</div> +<p> +shows considerable appreciation of the Art of Sinking; the second line especially is fine bathos. +</p> +<p> +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 +<i> +Epistle to Burlington</i>, which is largely concerned with false taste in building. +</p> +<p> +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 +<i> +Dunciad Variorum +</i> +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 +<i> +Spectator +</i> +(No. 26) rather than a visit to Westminster Abbey; the tomb had offended Addison because it portrayed the admiral in an alien character. +</p> +<p> +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 +<i> +Epistle to Bathurst</i>, only published in February, 1733, the month before the +<i> +Man of Taste</i>. 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: +</p> +<div class="poem"> +<div class="stanza"> +<p> +Not so my mind, unsatisfied with hints, +</p> +<p> +Knows more than +<i> +Budgel +</i> +writes, or +<i> +Roberts +</i> +prints. (p. 10) +</p> +</div> +</div> +<p> +These lines hit at a new readers' digest, +<i> +The Bee: or, Universal Weekly Pamphlet. Containing Something to Hit Every Man's Taste and Principles</i>, 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 +<i> +Esther +</i> +and the novelty of oratorio were as recent as 1732; Heidegger's ugliness ("Prince +<i> +Phyz</i>!") was proverbial, and his renaming of the masquerade a decade old. +</p> +<p> +This mixture is confusing, but certainly intentional, since it would have made the +<i> +Man of Taste +</i> +more ridiculous to a contemporary audience. There is also a vertical mixture of the tastes of different levels of society; the writer in the +<i> +Weekly Register +</i> +for February 1731, already quoted above, makes this distinction: "The gaming-table, and the royal diversion at +<i> +Newmarket</i>, are the ambition of the majority; and the rest prefer +<i> +Senesino +</i> +to +<i> +Shakespear</i>, 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). +</p> +<p> +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 ("<i>Ophelia</i>," 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 "<i>Di'mond Count</i>," 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." +</p> +<p> +<i> +The Man of Taste +</i> +(together with +<i> +The Art of Politicks</i>) was included in Dodsley's +<i> +Collection</i>; 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. +</p> +<p> +Bramston is a minor poet, but there is no need to apologize for +<i> +The Man of Taste</i>. 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. +</p> +<br> +<p> +University of Queensland +<br> +Brisbane +</p> +<hr class="med"> +<p class="head"> +NOTES TO THE INTRODUCTION +</p> +<p> +1. +<i> +New Bearings in English Poetry +</i> +(1932; new ed., London: Chatto & Windus, 1950), p. 11. +</p> +<p> +2. Treatise IV: "An Inquiry Concerning Virtue, or Merit," Book I, Part ii, Section 3, in +<i> +Characteristicks of Men, Manners, Opinions, Times +</i> +(London, 1711), II, 28-29. +</p> +<p> +3. Reprinted in the +<i> +Gentleman's Magazine</i>, 1 (1731), 55-56. +</p> +<p> +4. These attacks are described in J. V. Guerinot, +<i> +Pamphlet Attacks on Alexander Pope +</i> +1711-1744 (New York: New York Univ. Press, 1969), pp. 204-21. +</p> +<p> +5. +<i> +Literary Criticism of William Wordsworth</i>, ed. Paul M. Zall (Lincoln: Univ. of Nebraska Press, 1966), p. 50. +</p> +<p> +6. I owe these details (which correct the +<i> +DNB +</i> +account) to Mr. Michael Hunter of Worcester College, Oxford. +</p> +<p> +7. In his edition of Pope's +<i> +Works +</i> +(London, 1797), V, 285 (note on +<i> +The Dunciad</i>, IV, 570). +</p> +<p> +8. +<i> +Gentleman's Magazine</i>, I (1731), 55-56. +</p> +<hr class="med"> +<p class="head"> +A Note on the Text +</p> +<p> +<i> +The Man of Taste +</i> +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 +<a href="#note1" name="noteref1"> +<span class="fnlabel"> +<sup> +1</sup></span> +</a> +and Dublin. +</p> +<p> +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," +<a href="#note2" name="noteref2"> +<span class="fnlabel"> +<sup> +2</sup></span> +</a> +reversing the order previously suggested by Iolo A. Williams on internal evidence. +<a href="#note3" name="noteref3"> +<span class="fnlabel"> +<sup> +3</sup></span> +</a> +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. +</p> +<br> +<hr align="left" noshade size="2" width="40%"> +<a name="note1"> + +</a> +<p class="foot"> +<a href="#noteref1"> +<span class="fnlabel"> +<sup> +1</sup></span> +</a> +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 +<i> +The Man of Taste</i>, see D. F. Foxon, +<i> +English Verse +</i> +1701-1750 (Cambridge: Cambridge Univ. Press, forthcoming 1975), I, 78 (B396-401). +</p> +<a name="note2"> + +</a> +<p class="foot"> +<a href="#noteref2"> +<span class="fnlabel"> +<sup> +2</sup></span> +</a> +<i> +The Library</i>, 5th series, VIII (1953), 186-87. Todd here summarizes the evidence about publication. +</p> +<a name="note3"> + +</a> +<p class="foot"> +<a href="#noteref3"> +<span class="fnlabel"> +<sup> +3</sup></span> +</a> +<i> +Points in Eighteenth-Century Verse +</i> +(London: Constable, 1934), pp. 67-69. +</p> +<hr class="med"> +<p class="head"> +BIBLIOGRAPHICAL NOTE +</p> +<p> +The facsimile of Bramston's +<i> +The Man of Taste +</i> +(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. +</p> +<hr class="med"> +<h3> +THE +</h3> +<h2> +MAN of TASTE. +</h2> +<br> +<p class="ctr"> +<img src="images/001.jpg" alt="A collage of different faces and people" width="448" height="600"> +</p> +<br> +<br> +<h3> +THE +</h3> +<h1> +MAN of TASTE. +</h1> +<h3> +<span class="sc"> +Occasion'd +</span> +by an +</h3> +<h1> +EPISTLE +</h1> +<h3> +<i> +Of Mr. +</i> +POPE'<i>s +</i> +</h3> +<h2> +On that Subject. +</h2> +<hr class="medclose"> +<h3> +<i> +By the Author of the +</i> +<span class="sc"> +Art of Politicks</span>. +</h3> +<hr class="medclose"> +<h4> +<span class="ltrspacing"> +<i> +LONDON</i>: +</span> +</h4> +<h4> +Printed by +<i> +J. Wright</i>, for +<span class="sc"> +Lawton Gilliver</span> +<br> +at +<i> +Homer's Head +</i> +against +<i> +St. Dunstan's Church +</i> +in +<br> +<i> +Fleet Street</i>, 1733. +</h4> +<h4> +<span class="ralign"> +Price 1 +<i> +s.</i> +</span> +</h4> +<br> +<br> +<h4> +Where may be had the +<i> +Art of Politicks</i>, In Imitation of +<i> +Horace</i>'s +<br> +Art of Poetry. Price 1 +<i> +s. +</i> +</h4> +<hr class="med"> +<p class="firstchapter"> +The Man of Taste. +</p> +<div class="poem"> +<div class="stanza"> +<p> +<span class="big"> +W +</span> +<span class="dcap"> +hoe'er</span> he be that to a +<i> +Taste +</i> +aspires, +</p> +<p> +Let him read this, and be what he desires. +</p> +<p> +In men and manners vers'd from life I write, +</p> +<p> +Not what was once but what is now polite. +</p> +<p> +Those who of courtly +<i> +France +</i> +have made the tour, +</p> +<p> +Can scarce our +<i> +English +</i> +awkwardness endure. +</p> +<p> +But honest men who never were abroad, +</p> +<p> +Like +<i> +England +</i> +only, and its +<i> +Taste +</i> +applaud. +</p> +<p> +Strife still persists, which yields the better +<i> +goût</i>; +</p> +<p> +Books or the world, the many or the few. +</p> +<p class="i2"> +True +<i> +Taste +</i> +to me is by this touchstone known, +</p> +<p> +That's always best that's nearest to my own. +</p> +<p> +To shew that my pretensions are not vain, +</p> +<p> +My Father was a play'r in +<i> +Drury-lane</i>. +</p> +<p> +Pears and Pistachio-nuts my Mother sold, +</p> +<p> +He a Dramatick-poet, She a Scold. +</p> +<p> +His tragick muse could Countesses affright, +</p> +<p> +Her wit in boxes was my Lord's delight. +</p> +<p> +No mercenary +<i> +Priest +</i> +e'er join'd their hands, +</p> +<p> +Uncramp'd by wedlock's unpoetick bands. +</p> +<p> +<i> +Laws +</i> +my Pindarick parents matter'd not, +</p> +<p> +So I was tragi-comically got. +</p> +<p> +My infant tears a sort of measure kept, +</p> +<p> +I squal'd in Distichs, and in Triplets wept. +</p> +<p> +No youth did in I education waste, +</p> +<p> +Happy in an +<i> +Hereditary Taste</i>. +</p> +<p> +Writing ne'er cramp'd the sinews of my thumb, +</p> +<p> +Nor barb'rous birch e'er brush'd my brawny bum. +</p> +<p> +My guts ne'er suffer'd from a college-cook, +</p> +<p> +My name ne'er enter'd in a buttery-book. +</p> +<p> +<i> +Grammar +</i> +in vain the sons of +<i> +Priscian +</i> +teach, +</p> +<p> +Good Parts are better than +<i> +Eight Parts of Speech</i>: +</p> +<p> +Since these declin'd those undeclin'd they call, +</p> +<p> +I thank my Stars, that I declin'd 'em all. +</p> +<p> +To +<i> +Greek +</i> +or +<i> +Latin Tongues +</i> +without pretence, +</p> +<p> +I trust to mother Wit, and father Sense. +</p> +<p> +<i> +Nature</i>'s my guide, all Sciences I scorn, +</p> +<p> +Pains I abhor, I was a +<i> +Poet born</i>. +</p> +<p class="i2"> +Yet is my +<i> +goût +</i> +for criticism such, +</p> +<p> +I've got some +<i> +French</i>, and know a little +<i> +Dutch</i>. +</p> +<p> +Huge commentators grace my learned shelves, +</p> +<p> +Notes upon books out-do the books themselves. +</p> +<p> +Criticks indeed are valuable men, +</p> +<p> +But hyper-criticks are as good agen. +</p> +<p> +Tho' +<i> +Blackmore</i>'s works my soul with raptures fill, +</p> +<p> +With notes by +<i> +Bently +</i> +they'd be better still. +</p> +<p> +The +<i> +Boghouse-Miscellany</i>'s well design'd, +</p> +<p> +To ease the body, and improve the mind. +</p> +<p> +<i> +Swift</i>'s whims and jokes for my resentment call, +</p> +<p> +For he displeases me, that pleases all. +</p> +<p> +Verse without rhyme I never could endure, +</p> +<p> +Uncouth in numbers, and in sense obscure. +</p> +<p> +To him as Nature, when he ceas'd to see, +</p> +<p> +<i> +Milton</i>'s an +<i> +universal Blank +</i> +to me. +</p> +<p> +Confirm'd and settled by the Nations voice, +</p> +<p> +Rhyme is the poet's pride, and peoples choice. +</p> +<p> +Always upheld by national Support, +</p> +<p> +Of Market, University, and Court: +</p> +<p> +<i> +Thompson</i>, write blank; but know that for that reason, +</p> +<p> +These lines shall live, when thine are out of season. +</p> +<p> +Rhyme binds and beautifies the Poet's lays, +</p> +<p> +As +<i> +London +</i> +Ladies owe their shape to stays. +</p> +<p class="i2"> +Had +<i> +Cibber</i>'s self the +<i> +Careless Husband +</i> +wrote, +</p> +<p> +He for the Laurel ne'er had had my Vote: +</p> +<p> +But for his Epilogues and other Plays, +</p> +<p> +He thoroughly deserves the +<i> +Modern Bays</i>. +</p> +<p> +It pleases me, that +<i> +Pope +</i> +unlaurell'd goes, +</p> +<p> +While +<i> +Cibber +</i> +wears the Bays for Playhouse Prose. +</p> +<p> +So +<i> +Britain</i>'s Monarch once uncover'd fate, +</p> +<p> +While +<i> +Bradshaw +</i> +bully'd in a broad-brimm'd hat. +</p> +<p class="i2"> +Long live old +<i> +Curl! +</i> +he ne'er to publish fears, +</p> +<p> +The speeches, verses, and last wills of Peers. +</p> +<p> +How oft has he a publick spirit shewn, +</p> +<p> +And pleas'd our ears regardless of his own? +</p> +<p> +But to give Merit due, though +<i> +Curl</i>'s the same? +</p> +<p> +Are not his Brother-booksellers the same? +</p> +<p> +Can Statutes keep the +<i> +British +</i> +Press in awe, +</p> +<p> +While that sells best, that's most against the Law? +</p> +<p class="i2"> +<i> +Lives +</i> +of dead +<i> +Play'rs +</i> +my leisure hours beguile, +</p> +<p> +And +<i> +Sessions-Papers +</i> +tragedize my stile. +</p> +<p> +'Tis charming reading in +<i> +Ophelia</i>'s life, +</p> +<p> +So oft a Mother, and not once a Wife: +</p> +<p> +She could with just propriety behave, +</p> +<p> +Alive with Peers, with Monarchs in her grave: +</p> +<p> +Her lot how oft have envious harlots wept, +</p> +<p> +By Prebends bury'd and by Generals kept. +</p> +<p class="i2"> +T'improve in Morals +<i> +Mandevil +</i> +I read, +</p> +<p> +And +<i> +Tyndal</i>'s Scruples are my settled Creed. +</p> +<p> +I travell'd early, and I soon saw through +</p> +<p> +Religion all, e'er I was twenty-two. +</p> +<p> +Shame, Pain, or Poverty shall I endure, +</p> +<p> +When ropes or opium can my ease procure? +</p> +<p> +When money's gone, and I no debts can pay, +</p> +<p> +Self-murder is an honourable way. +</p> +<p> +As +<i> +Pasaran +</i> +directs I'd end my life, +</p> +<p> +And kill myself, my daughter, and my wife. +</p> +<p> +Burn but that +<i> +Bible +</i> +which the Parson quotes, +</p> +<p> +And men of spirit all shall cut their throats. +</p> +<p class="i2"> +But not to writings I confine my pen, +</p> +<p> +I have a taste for buildings, musick, men. +</p> +<p> +Young travell'd coxcombs mighty knowledge boast, +</p> +<p> +With superficial Smatterings at Most. +</p> +<p> +Not so my mind, unsatisfied with hints, +</p> +<p> +Knows more than +<i> +Budgel +</i> +writes, or +<i> +Roberts +</i> +prints. +</p> +<p> +I know the town, all houses I have seen, +</p> +<p> +From +<i> +High-Park +</i> +corner down to +<i> +Bednal-Green</i>. +</p> +<p> +Sure wretched +<i> +Wren +</i> +was taught by bungling +<i> +Jones</i>, +</p> +<p> +To murder mortar, and disfigure stones! +</p> +<p> +Who in +<i> +Whitehall +</i> +can symmetry discern? +</p> +<p> +I reckon +<i> +Convent-garden +</i> +Church a +<i> +Barn</i>. +</p> +<p> +Nor hate I less thy vile Cathedral, +<i> +Paul</i>! +</p> +<p> +The choir's too big, the cupola's too small: +</p> +<p> +Substantial walls and heavy roofs I like, +</p> +<p> +'Tis +<i> +Vanbrug</i>'s structures that my fancy strike: +</p> +<p> +Such noble ruins ev'ry pile wou'd make, +</p> +<p> +I wish they'd tumble for the prospect's sake. +</p> +<p> +To lofty +<i> +Chelsea +</i> +or to +<i> +Greenwich +</i> +Dome, +</p> +<p> +Soldiers and sailors all are welcom'd home. +</p> +<p> +Her poor to palaces +<i> +Britannia +</i> +brings, +</p> +<p> +St. +<i> +James</i>'s hospital may serve for kings. +</p> +<p> +Building so happily I understand, +</p> +<p> +That for one house I'd mortgage all my land. +</p> +<p> +<i> +Dorick</i>, +<i> +Ionick</i>, shall not there be found, +</p> +<p> +But it shall cost me threescore thousand pound. +</p> +<p> +From out my honest workmen, I'll select +</p> +<p> +A +<i> +Bricklay'r</i>, and proclaim him architect; +</p> +<p> +First bid him build me a stupendous Dome, +</p> +<p> +Which +<i> +having finish'd</i>, we set out for +<i> +Rome</i>; +</p> +<p> +Take a weeks view of +<i> +Venice +</i> +and the +<i> +Brent</i>, +</p> +<p> +Stare round, see nothing, and come home content. +</p> +<p> +I'll have my +<i> +Villa +</i> +too, a sweet abode, +</p> +<p> +Its situation shall be +<i> +London +</i> +road: +</p> +<p> +<i> +Pots +</i> +o'er the door I'll place like Cits balconies, +</p> +<p> +Which +<a href="#note1_1" name="noteref1_1"> +<span class="fblabel"> +<sup> +1</sup></span> +</a> +<i> +Bently +</i> +calls the +<i> +Gardens of Adonis</i>. +</p> +<p class="i2"> +I'll have my Gardens in the fashion too, +</p> +<p> +For what is beautiful that is not new? +</p> +<p> +Fair four-legg'd temples, theatres that vye, +</p> +<p> +With all the angles of a +<i> +Christmas</i>-pye. +</p> +<p> +Does it not merit the beholder's praise, +</p> +<p> +What's high to sink? and what is low to raise? +</p> +<p> +Slopes shall ascend where once a green-house stood, +</p> +<p> +And in my horse-pond I will plant a wood. +</p> +<p> +Let misers dread the hoarded gold to waste, +</p> +<p> +Expence and alteration shew a +<i> +Taste</i>. +</p> +<p class="i2"> +In curious paintings I'm exceeding nice, +</p> +<p> +And know their several beauties by their +<i> +Price</i>. +</p> +<p> +<i> +Auctions +</i> +and +<i> +Sales +</i> +I constantly attend, +</p> +<p> +But chuse my pictures by a +<i> +skilful friend</i>. +</p> +<p> +Originals and copies much the same, +</p> +<p> +The picture's value is the +<i> +painter's name</i>. +</p> +<p class="i2"> +My taste in Sculpture from my choice is seen, +</p> +<p> +I buy no statues that are not obscene. +</p> +<p> +In spite of +<i> +Addison +</i> +and ancient +<i> +Rome</i>, +</p> +<p> +Sir +<i> +Cloudesly Shovel</i>'s is my fav'rite tomb. +</p> +<p> +How oft have I with admiration stood, +</p> +<p> +To view some City-magistrate in wood? +</p> +<p> +I gaze with pleasure on a Lord May'r's head, +</p> +<p> +Cast with propriety in gilded lead. +</p> +<p> +Oh could I view through +<i> +London +</i> +as I pass, +</p> +<p> +Some broad Sir +<i> +Balaam +</i> +in +<i> +Corinthian +</i> +brass; +</p> +<p> +High on a pedestal, ye Freemen, place +</p> +<p> +His magisterial Paunch and griping Face; +</p> +<p> +<i> +Letter'd and Gilt</i>, let him adorn +<i> +Cheapside</i>, +</p> +<p> +And grant the +<i> +Tradesman</i>, what a +<i> +King</i>'s deny'd. +</p> +<p class="i2"> +Old Coins and Medals I collect, 'tis true, +</p> +<p> +Sir +<i> +Andrew +</i> +has 'em, and I'll have 'em too. +</p> +<p> +But among friends if I the truth might speak, +</p> +<p> +I like the modern, and despise th' antique. +</p> +<p> +Tho' in the draw'rs of my japan +<i> +Bureau</i>, +</p> +<p> +To Lady +<i> +Gripeall +</i> +I the +<i> +Cæsars +</i> +shew, +</p> +<p> +'Tis equal to her Ladyship or me, +</p> +<p> +A copper +<i> +Otho</i>, or a +<i> +Scotch Baubee</i>. +</p> +<p class="i2"> +Without +<i> +Italian</i>, or without an ear, +</p> +<p> +To +<i> +Bononcini</i>'s musick I adhere: +</p> +<p> +Musick has charms to sooth a savage beast, +</p> +<p> +And therefore proper at a Sheriff's feast. +</p> +<p> +My soul has oft a secret pleasure found, +</p> +<p> +In the harmonious Bagpipe's lofty sound. +</p> +<p> +Bagpipes for men, shrill +<i> +German-flutes +</i> +for boys, +</p> +<p> +I'm +<i> +English +</i> +born, and love a grumbling noise. +</p> +<p> +The Stage should yield the solemn Organ's note, +</p> +<p> +And Scripture tremble in the Eunuch's throat. +</p> +<p> +Let +<i> +Senesino +</i> +sing, what +<i> +David +</i> +writ, +</p> +<p> +And +<i> +Hallelujahs +</i> +charm the pious pit. +</p> +<p> +Eager in throngs the town to +<i> +Hester +</i> +came, +</p> +<p> +And +<i> +Oratorio +</i> +was a lucky name. +</p> +<p> +Thou, +<i> +Heeideggre! +</i> +the +<i> +English +</i> +taste has found, +</p> +<p> +And rul'st the mob of quality with sound. +</p> +<p> +In +<i> +Lent</i>, if Masquerades displease the town, +</p> +<p> +Call 'em +<i> +Ridotto</i>'s, and they still go down: +</p> +<p> +Go on, Prince +<i> +Phyz</i>! to please the British nation, +</p> +<p> +Call thy next +<i> +Masquerade +</i> +a +<i> +Convocation</i>. +</p> +<p class="i2"> +Bears, Lyons, Wolves, and Elephants I breed, +</p> +<p> +And +<i> +Philosophical Transactions +</i> +read. +</p> +<p> +Next Lodge I'll be +<i> +Free-Mason</i>, nothing less, +</p> +<p> +Unless I happen to be +<i> +F.R.S.</i> +</p> +<p class="i2"> +I have a +<i> +Palate</i>, and (as yet) +<i> +two Ears</i>, +</p> +<p> +Fit company for +<i> +Porters</i>, or for +<i> +Peers</i>. +</p> +<p> +Of ev'ry useful knowledge I've a share, +</p> +<p> +But my top talent is a bill of fare. +</p> +<p> +Sir Loins and rumps of beef offend my eyes, +</p> +<p> +Pleas'd with frogs fricasseed, and coxcomb-pies. +</p> +<p> +Dishes I chuse though little, yet genteel, +</p> +<p> +<i> +Snails +</i> +the first course, and +<i> +Peepers +</i> +crown the meal. +</p> +<p> +Pigs heads with hair on, much my fancy please, +</p> +<p> +I love young colly-flow'rs if stew'd in cheese, +</p> +<p> +And give ten guineas for a pint of peas. +</p> +<p> +No tatling servants to my table come, +</p> +<p> +My Grace is +<i> +Silence</i>, and my waiter +<i> +Dumb</i>. +</p> +<p> +Queer Country-puts extol Queen +<i> +Bess</i>'s reign, +</p> +<p> +And of lost hospitality complain. +</p> +<p> +Say thou that do'st thy father's table praise, +</p> +<p> +Was there +<i> +Mahogena +</i> +in former days? +</p> +<p class="i2"> +Oh! could a British Barony be sold! +</p> +<p> +I would bright honour buy with dazling gold. +</p> +<p> +Could I the +<i> +privilege +</i> +of +<i> +Peer +</i> +procure, +</p> +<p> +The rich I'd bully, and oppress the poor. +</p> +<p> +To +<i> +give +</i> +is wrong, but it is wronger still, +</p> +<p> +On any terms to +<i> +pay +</i> +a tradesman's bill. +</p> +<p> +I'd make the insolent Mechanicks stay, +</p> +<p> +And keep my ready money all for +<i> +play</i>. +</p> +<p> +I'd try if any pleasure could be found, +</p> +<p> +In +<i> +tossing-up +</i> +for twenty thousand pound. +</p> +<p> +Had I whole Counties, I to +<i> +White</i>'s would go, +</p> +<p> +And set lands, woods, and rivers, at a throw. +</p> +<p> +But should I meet with an unlucky run, +</p> +<p> +And at a throw be gloriously undone; +</p> +<p> +My +<i> +debts of honour +</i> +I'd discharge the first, +</p> +<p> +Let all my +<i> +lawful creditors +</i> +be curst: +</p> +<p> +My +<i> +Title +</i> +would preserve me from arrest, +</p> +<p> +And seising +<i> +hired horses +</i> +is a jest. +</p> +<p> +I'd walk the mornings with an +<i> +oaken stick</i>, +</p> +<p> +With gloves and hat, like my own +<i> +footman, Dick</i>. +</p> +<p> +A footman I wou'd be, in outward show, +</p> +<p> +In sense, and education, +<i> +truly so</i>. +</p> +<p> +As for my +<i> +head</i>, it should ambiguous wear +</p> +<p> +<i> +At once +</i> +a periwig, +<i> +and +</i> +its own hair. +</p> +<p> +My hair I'd powder in the women's way, +</p> +<p> +And +<i> +dress</i>, and +<i> +talk of dressing</i>, more than they. +</p> +<p> +I'll please the maids of honour, if I can; +</p> +<p> +Without black-velvet-britches, what is man? +</p> +<p> +I will my skill in +<i> +button-holes +</i> +display, +</p> +<p> +And brag how oft I shift me ev'ry day. +</p> +<p> +Shall I wear cloaths, in +<i> +awkward England +</i> +made? +</p> +<p> +And sweat in cloth, to help the +<i> +woollen trade</i>? +</p> +<p> +In +<i> +French +</i> +embroid'ry and in +<i> +Flanders +</i> +lace +</p> +<p> +I'll spend the income of a treasurer's place. +</p> +<p> +<i> +Deard</i>'s bill for baubles shall to thousands mount, +</p> +<p> +And I'd out-di'mond ev'n the +<i> +Di'mond Count</i>. +</p> +<p> +I would convince the world by taudry cloa's, +</p> +<p> +That +<i> +Belles +</i> +are less effeminate than beaux, +</p> +<p> +And Doctor +<i> +Lamb +</i> +should pare my Lordship's toes. +</p> +<p class="i2"> +To boon companions I my time would give, +</p> +<p> +With players, pimps, and parasites I'd live. +</p> +<p> +I would with +<i> +Jockeys +</i> +from +<i> +Newmarket +</i> +dine, +</p> +<p> +And to +<i> +Rough-riders +</i> +give my choicest wine. +</p> +<p> +I would caress some +<i> +Stableman +</i> +of note, +</p> +<p> +And imitate his language, and his +<i> +coat</i>. +</p> +<p> +My ev'nings all I would with +<i> +sharpers +</i> +spend, +</p> +<p> +And make the +<i> +Thief-catcher +</i> +my bosom friend. +</p> +<p> +In +<i> +Fig +</i> +the Prize-fighter by day delight, +</p> +<p> +And sup with +<i> +Colly Cibber +</i> +ev'ry night. +</p> +<p class="i2"> +Should I perchance be fashionably ill, +</p> +<p> +I'd send for +<i> +Misaubin</i>, and take his pill. +</p> +<p> +I should abhor, though in the utmost need, +</p> +<p> +<i> +Arbuthnot</i>, +<i> +Hollins</i>, +<i> +Wigan</i>, +<i> +Lee</i>, or +<i> +Mead</i>: +</p> +<p> +But if I found that I grew worse and worse, +</p> +<p> +I'd turn off +<i> +Misaubin +</i> +and take a Nurse. +</p> +<p> +How oft, when eminent physicians fail, +</p> +<p> +Do good old womens remedies prevail? +</p> +<p> +When beauty's gone, and +<i> +Chloe</i>'s struck with years, +</p> +<p> +Eyes she can couch, or she can syringe ears. +</p> +<p> +Of Graduates I dislike the learned rout, +</p> +<p> +And chuse a +<i> +female Doctor +</i> +for the gout. +</p> +<p class="i2"> +Thus would I live, with no dull +<i> +pedants +</i> +curs'd, +</p> +<p> +Sure, of all blockheads, +<i> +Scholars +</i> +are the worst. +</p> +<p> +Back to your +<i> +Universitys</i>, ye fools, +</p> +<p> +And dangle Arguments on strings in schools: +</p> +<p> +Those schools which +<i> +Universitys +</i> +they call, +</p> +<p> +'Twere well for +<i> +England +</i> +were there none at all. +</p> +<p> +With ease that loss the nation might sustain, +</p> +<p> +Supply'd by +<i> +Goodman's Fields +</i> +and +<i> +Drury-lane</i>. +</p> +<p> +<i> +Oxford +</i> +and +<i> +Cambridge +</i> +are not worth one farthing, +</p> +<p> +Compar'd to +<i> +Haymarket</i>, and +<i> +Convent-garden</i>: +</p> +<p> +Quit those, ye British Youth, and follow these, +</p> +<p> +Turn players all, and take your 'Squires degrees. +</p> +<p> +Boast not your incomes now, as heretofore, +</p> +<p> +Ye book-learn'd Seats! the Theatres have more: +</p> +<p> +Ye stiff-rump'd heads of Colleges be dumb, +</p> +<p> +A singing Eunuch gets a larger Sum. +</p> +<p> +Have some of you three hundred by the Year, +</p> +<p> +<i> +Booth</i>, +<i> +Rich</i>, and +<i> +Cibber</i>, twice three thousand clear. +</p> +<p> +Should +<i> +Oxford +</i> +to her sister +<i> +Cambridge +</i> +join +</p> +<p> +A Year's +<i> +Rack-rent</i>, and +<i> +Arbitrary fine</i>: +</p> +<p> +Thence not one winter's charge would be defray'd, +</p> +<p> +For Playhouse, Opera, Ball, and Masquerade. +</p> +<p> +Glad I congratulate the judging Age, +</p> +<p> +The players are the world, the world the stage. +</p> +<p class="i2"> +I am a Politician too, and hate +</p> +<p> +Of any party, ministers of state: +</p> +<p> +I'm for an +<i> +Act</i>, that he, who sev'n whole Years +</p> +<p> +Has serv'd his +<i> +King +</i> +and +<i> +Country</i>, lose his ears. +</p> +<p class="i2"> +Thus from my birth I'm qualified you find, +</p> +<p> +To give the laws of +<i> +Taste +</i> +to humane kind. +</p> +<p> +Mine are the gallant Schemes of Politesse, +</p> +<p> +For books, and buildings, politicks, and dress. +</p> +<p> +This is +<i> +True Taste</i>, and whoso likes it not, +</p> +<p> +Is blockhead, coxcomb, puppy, fool, and sot. +</p> +</div> +</div> +<hr align="left" noshade size="2" width="40%"> +<a name="note1_1"> + +</a> +<p class="foot"> +<a href="#noteref1_1"> +<span class="label"> +<sup> +1</sup></span> +</a> +Bently's Milton, Book 9. Ver. 439. +</p> +<br> +<br> +<p class="ctr"> +<img src="images/002.jpg" alt="Figure of a man holding a staff" width="132" height="200"> +</p> +<hr class="med"> +<p class="ctr"> +<i> +BOOKS printed for +</i> +<span class="sc"> +Lawton Gilliver +</span> +<i> +at +</i> +Homer'<i>s +</i> +<i> +Head over-against St. +</i> +Dunitan's +<i> +Church in +</i> +Fleetstreet. +</p> +<br> +<p class="dropcap"> +<span class="dcap"> +Of +</span> +<i> +False Taste</i>. An Epistle to the Earl of +<i> +Burlington</i>. By Mr. +<span class="sc"> +Pope</span>. +</p> +<p> +<i> +The Use of Riches</i>, an Epistle to the Right Honourable +<i> +Allen +</i> +Lord +<i> +Bathurst</i>. By the same Author. +</p> +<p> +The first Satire of the Second Book of +<i> +Horace</i>, Imitated in a Dialogue between +<i> +Alexander Pope</i>, Esq; on the one Part, and his Learned Council on the other. +</p> +<p> +The +<i> +Dunciad</i>: A New Edition with some additional Epigrams. +</p> +<p> +<i> +A Collection of Pieces +</i> +in Prose and Verse; occasioned by the Dunciad. Dedicated to the Earl of +<i> +Middlesex</i>, by +<i> +Richard Savage</i>, Esq; +</p> +<p> +<i> +An Essay on Satyre</i>; particularly the Dunciad. By +<i> +Walter Hart</i>, A. M. +</p> +<p> +<i> +Harlequin-Horace</i>: Or, the Art of Modern Poetry. +</p> +<p> +Two +<i> +Epistles +</i> +to Mr. +<i> +Pope</i>, concerning the Authors of the Age. By Dr. +<i> +Young</i>. +</p> +<p> +<i> +Imperium Pelagi</i>: A Naval Lyrick in Imitation of +<i> +Pindar</i>. +</p> +<p> +<i> +Athelwold</i>: A Tragedy. By +<i> +Aaron Hill</i>, Esq; +</p> +<p> +An +<i> +Epistle +</i> +from a young Gentleman at +<i> +Rome +</i> +to Mr. +<i> +Pope</i>. +</p> +<p> +The Progress of Love, 8<sup>o +</sup> +</p> +<p> +<i> +Stowe</i>: The Gardens of Lord +<i> +Cobham</i>, 8<sup>o +</sup> +</p> +<p> +The Works of the Right Honourable the Lord +<i> +Lansdowne</i>. +</p> +<p> +M. Hieronimi Vidæ Opera Omnia Poetica, quibus nunc primum adjiciuntur Dialogi de Rei-publicæ Dignitate ex Recensione. R. Russel, A. M. 2 Toms 12<sup>o +</sup> +</p> +<p> +<small> +ΑΝΑΚΡΕ´ΟΝΤΟΣ ΤΗΙ´ΟΤ ΜΕ´ΑΗ +</small> +: Anacreontis Teii Carmina acurate Edita cum Notis perpetuis & Versione Latina Numeris Elegiacis Paraphrastice expressa. Accedunt ejusdem, ut perhibentur, Fragmenta; & Poetriæ Sapphus quæ Supersunt. +</p> +<hr class="med"> +<p class="ctr"> +WILLIAM ANDREWS CLARK MEMORIAL LIBRARY +<br> +UNIVERSITY OF CALIFORNIA, LOS ANGELESn +</p> +<p class="ctr"> +<img src="images/003.jpg" alt="Decoration" width="95" height="63"> +</p> +<h2> +The Augustan Reprint Society +</h2> +<p class="ctr"> +PUBLICATIONS IN PRINT +</p> +<hr class="med"> +<p class="ctr"> +<big> +<b> +The Augustan Reprint Society</b> +</big> +</p> +<p class="ctr"> +PUBLICATIONS IN PRINT +</p> +<table summary="Publications in Print"> +<tr> +<td class="c" colspan="2"> +1948-1949 +</td> +</tr> +<tr> +<td class="r"> +16. +</td> +<td> +Henry Nevil Payne, +<i> +The Fatal Jealousie +</i> +(1673). +</td> +</tr> +<tr> +<td class="r"> +18. +</td> +<td> +"Of Genius," in +<i> +The Occasional Paper</i>, Vol. III, No. 10 (1719), and Aaron Hill, Preface to +<i> +The Creation +</i> +(1720). +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1949-1950 +</td> +</tr> +<tr> +<td class="r"> +19. +</td> +<td> +Susanna Centlivre, +<i> +The Busie Body +</i> +(1709). +</td> +</tr> +<tr> +<td class="r"> +20. +</td> +<td> +Lewis Theobald, +<i> +Preface to the Works of Shakespeare +</i> +(1734). +</td> +</tr> +<tr> +<td class="r"> +22. +</td> +<td> +Samuel Johnson, +<i> +The Vanity of Human Wishes +</i> +(1749), and Two +<i> +Rambler +</i> +papers (1750). +</td> +</tr> +<tr> +<td class="r"> +23. +</td> +<td> +John Dryden, +<i> +His Majesties Declaration Defended +</i> +(1681). +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1951-1952 +</td> +</tr> +<tr> +<td class="r"> +26. +</td> +<td> +Charles Macklin, +<i> +The Man of the World +</i> +(1792). +</td> +</tr> +<tr> +<td class="r"> +31. +</td> +<td> +Thomas Gray, +<i> +An Elegy Wrote in a Country Churchyard +</i> +(1751), and +<i> +The Eton College Manuscript</i>. +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1952-1953 +</td> +</tr> +<tr> +<td class="r"> +41. +</td> +<td> +Bernard Mandeville, +<i> +A Letter to Dion +</i> +(1732). +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1964-1965 +</td> +</tr> +<tr> +<td class="r"> +110. +</td> +<td> +John Tutchin, +<i> +Selected Poems +</i> +(1685-1700). +</td> +</tr> +<tr> +<td class="r"> +111. +</td> +<td> +<i> +Political Justice +</i> +(1736). +</td> +</tr> +<tr> +<td class="r"> +113. +</td> +<td> +T. R., +<i> +An Essay Concerning Critical and Curious Learning +</i> +(1698). +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1965-1966 +</td> +</tr> +<tr> +<td class="r"> +115. +</td> +<td> +Daniel Defoe and others, +<i> +Accounts of the Apparition of Mrs. Veal +</i> +(1705, 1706, 1720, 1722). +</td> +</tr> +<tr> +<td class="r"> +116. +</td> +<td> +Charles Macklin, +<i> +The Convent Garden Theatre +</i> +(1752). +</td> +</tr> +<tr> +<td class="r"> +117. +</td> +<td> +Sir Roger L'Estrange, +<i> +Citt and Bumpkin +</i> +(1680). +</td> +</tr> +<tr> +<td class="r"> +118. +</td> +<td> +Henry More, +<i> +Enthusiasmus Triumphatus +</i> +(1662). +</td> +</tr> +<tr> +<td class="r"> +120. +</td> +<td> +Bernard Mandeville, +<i> +Aesop Dress'd or a Collection of Fables +</i> +(1740). +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1966-1967 +</td> +</tr> +<tr> +<td class="r"> +124. +</td> +<td> +<i> +The Female Wits +</i> +(1704). +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1968-1969 +</td> +</tr> +<tr> +<td class="r"> +133. +</td> +<td> +John Courtenay, +<i> +A Poetical Review of the Literary and Moral Character of the Late Samuel Johnson +</i> +(1786). +</td> +</tr> +<tr> +<td class="r"> +134. +</td> +<td> +John Downes, +<i> +Roscius Anglicanus +</i> +(1708). +</td> +</tr> +<tr> +<td class="r"> +135. +</td> +<td> +John Hill, +<i> +Hypochondriasis, a Practical Treatise +</i> +(1766). +</td> +</tr> +<tr> +<td class="r"> +136. +</td> +<td> +Thomas Sheridan, +<i> +A Discourse Being Introductory to His Course of Lectures on Elocution and the English Language +</i> +(1759). +</td> +</tr> +<tr> +<td class="r"> +137. +</td> +<td> +Arthur Murphy, +<i> +The Englishman from Paris +</i> +(1756). +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1969-1970 +</td> +</tr> +<tr> +<td class="r"> +138. +</td> +<td> +[Catherine Trotter] +<i> +Olinda's Adventures +</i> +(1718). +</td> +</tr> +<tr> +<td class="r"> +139. +</td> +<td> +John Ogilvie, +<i> +An Essay on the Lyric Poetry of the Ancients +</i> +(1762). +</td> +</tr> +<tr> +<td class="r"> +140. +</td> +<td> +<i> +A Learned Dissertation on Dumpling +</i> +(1726) and +<i> +Pudding and Dumpling Burnt to Pot or a Compleat Key to the Dissertation on Dumpling +</i> +(1727). +</td> +</tr> +<tr> +<td class="r"> +141. +</td> +<td> +Sir Roger L'Estrange, Selections from +<i> +The Observator +</i> +(1681-1687). +</td> +</tr> +<tr> +<td class="r"> +142. +</td> +<td> +Anthony Collins, +<i> +A Discourse Concerning Ridicule and Irony in Writing +</i> +(1729). +</td> +</tr> +<tr> +<td class="r"> +143. +</td> +<td> +<i> +A Letter From a Clergyman to His Friend, with an Account of the Travels of Captain Lemuel Gulliver +</i> +(1726). +</td> +</tr> +<tr> +<td class="r"> +144. +</td> +<td> +<i> +The Art of Architecture, A Poem +</i> +(1742). +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1970-1971 +</td> +</tr> +<tr> +<td class="r"> +145-146. +</td> +<td> +Thomas Shelton, +<i> +A Tutor to Tachygraphy, or Short-writing +</i> +(1642) and +<i> +Tachygraphy +</i> +(1647). +</td> +</tr> +<tr> +<td class="r"> +147-148. +</td> +<td> +<i> +Deformities of Dr. Samuel Johnson +</i> +(1782). +</td> +</tr> +<tr> +<td class="r"> +149. +</td> +<td> +<i> +Poeta de Tristibus: or the Poet's Complaint +</i> +(1682). +</td> +</tr> +<tr> +<td class="r"> +150. +</td> +<td> +Gerard Langbaine, +<i> +Momus Triumphans: or the Plagiaries of the English Stage +</i> +(1687). +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1971-1972 +</td> +</tr> +<tr> +<td class="r"> +151-152. +</td> +<td> +Evan Lloyd, +<i> +The Methodist. A Poem +</i> +(1766). +</td> +</tr> +<tr> +<td class="r"> +153. +</td> +<td> +<i> +Are These Things So? +</i> +(1740), and +<i> +The Great Man's Answer to Are These Things So? +</i> +(1740). +</td> +</tr> +<tr> +<td class="r"> +154. +</td> +<td> +Arbuthnotiana: +<i> +The Story of the St. Alb-ns Ghost +</i> +(1712), and +<i> +A Catalogue of Dr. Arbuthnot's Library +</i> +(1779). +</td> +</tr> +<tr> +<td class="r"> +155-156. +</td> +<td> +A Selection of Emblems from Herman Hugo's +<i> +Pia Desideria +</i> +(1624), with English Adaptations by Francis Quarles and Edmund Arwaker. +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1972-1973 +</td> +</tr> +<tr> +<td class="r"> +157. +</td> +<td> +William Mountfort, +<i> +The Life and Death of Doctor Faustus +</i> +(1697). +</td> +</tr> +<tr> +<td class="r"> +158. +</td> +<td> +Colley Cibber, +<i> +A Letter from Mr. Cibber to Mr. Pope +</i> +(1742). +</td> +</tr> +<tr> +<td class="r"> +159. +</td> +<td> +[Catherine Clive], +<i> +The Case of Mrs. Clive +</i> +(1744). +</td> +</tr> +<tr> +<td class="r"> +160. +</td> +<td> +[Thomas Tryon], +<i> +A Discourse ... of Phrensie, Madness or Distraction +</i> +from +<i> +A Treatise of Dreams and Visions +</i> +[1689]. +</td> +</tr> +<tr> +<td class="r"> +161. +</td> +<td> +Robert Blair, +<i> +The Grave. A Poem +</i> +(1743). +</td> +</tr> +<tr> +<td class="r"> +162. +</td> +<td> +[Bernard Mandeville], +<i> +A Modest Defence of Publick Stews +</i> +(1724). +</td> +</tr> +<tr> +<td class="c" colspan="2"> +1973-1974 +</td> +</tr> +<tr> +<td class="r"> +163. +</td> +<td> +[William Rider], +<i> +An Historical and Critical Account of the Lives and Writings of the Living Authors of Great Britain +</i> +(1762). +</td> +</tr> +<tr> +<td class="r"> +164. +</td> +<td> +Thomas Edwards, +<i> +The Sonnets of Thomas Edwards +</i> +(1765, 1780). +</td> +</tr> +<tr> +<td class="r"> +165. +</td> +<td> +Hildebrand Jacob, +<i> +Of the Sister Arts; An Essay +</i> +(1734). +</td> +</tr> +<tr> +<td class="r"> +166. +</td> +<td> +<i> +Poems on the Reign of William III +</i> +[1690, 1696, 1699, 1702]. +</td> +</tr> +<tr> +<td class="r"> +167. +</td> +<td> +Kane O'Hara, +<i> +Midas: An English Burletta +</i> +(1766). +</td> +</tr> +<tr> +<td class="r"> +168. +</td> +<td> +[Daniel Defoe], +<i> +A Short Narrative History of the Life and Actions of His Grace John, D. of Marlborough +</i> +(1711). +</td> +</tr> +</table> +<hr class="short"> +<p> +Publications of the first fifteen years of the Society (numbers 1-90) are available in paperbound units of six issues at $16.00 per unit, from Kraus Reprint Company, 16 East 46th Street, New York, N.Y. 10017. +</p> +<p> +Publications in print are available at the regular membership rate of $5.00 for individuals and $8.00 for institutions per year. Prices of single issues may be obtained upon request. Subsequent publications may be checked in the annual prospectus. +</p> +<p class="ctr"> +<i> +Make check or money order payable to +</i> +</p> +<p class="ctr"> +<span class="sc"> +The Regents of the University of California +</span> +</p> +<p class="ctr"> +<i> +and send to +</i> +</p> +<p class="ctr"> +The William Andrews Clark Memorial Library +<br> +2520 Cimarron Street, Los Angeles, California 90018 +</p> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Man of Taste, by James Bramston + +*** END OF THIS PROJECT GUTENBERG EBOOK THE MAN OF TASTE *** + +***** This file should be named 33441-h.htm or 33441-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/3/4/4/33441/ + +Produced by Chris Curnow, Joseph Cooper and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +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 1.F.3. 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> + |