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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/34821-8.txt b/34821-8.txt new file mode 100644 index 0000000..7b56342 --- /dev/null +++ b/34821-8.txt @@ -0,0 +1,1860 @@ +The Project Gutenberg EBook of The Scribleriad and The Difference Between +Verbal and Practical Virtue, by Anonymous and Lord Hervey + +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 Scribleriad and The Difference Between Verbal and Practical Virtue + +Author: Anonymous + Lord Hervey + +Editor: A. J. Sambrook + +Release Date: January 3, 2011 [EBook #34821] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE SCRIBLERIAD AND THE *** + + + + +Produced by Chris Curnow, Joseph Cooper and the Online +Distributed Proofreading Team at http://www.pgdp.net. + + + + + + + + + + THE AUGUSTAN REPRINT SOCIETY + + THE SCRIBLERIAD + + (Anonymous) + + (1742) + + + LORD HERVEY + + THE DIFFERENCE BETWEEN + VERBAL AND PRACTICAL VIRTUE + + (1742) + + + _Introduction by_ + A. J. SAMBROOK + + + PUBLICATION NUMBER 125 + WILLIAM ANDREWS CLARK MEMORIAL LIBRARY + UNIVERSITY OF CALIFORNIA, LOS ANGELES + 1967 + + + + +GENERAL EDITORS + + George Robert Guffey, _University of California, Los Angeles_ + Earl Miner, _University of California, Los Angeles_ + Maximillian E. Novak, _University of California, Los Angeles_ + Robert Vosper, _William Andrews Clark Memorial Library_ + + +ADVISORY EDITORS + + Richard C. Boys, _University of Michigan_ + James L. Clifford, _Columbia University_ + Ralph Cohen, _University of California, Los Angeles_ + Vinton A. Dearing, _University of California, Los Angeles_ + Arthur Friedman, _University of Chicago_ + Louis A. Landa, _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_ + + +CORRESPONDING SECRETARY + + Edna C. Davis, _William Andrews Clark Memorial Library_ + + + + +INTRODUCTION + + +Though they are never particularly edifying, literary quarrels may at +times be educative. Always savage, attacks on Pope reached their lowest +depths of scurrility in 1742, when, in addition to the usual prose and +doggerel verse pamphlets, engravings were being circulated portraying Pope +in a brothel--this on the basis of the story told in the notorious _Letter +from Mr. Cibber to Mr. Pope_, dated 7 July 1742.[1] The Augustan Reprint +Society has already reissued three of the anonymous Grub Street attacks +made upon Pope in this busy year,[2] but the present volume is intended to +complete the picture of the battle-lines by reprinting a verse attack +launched from the court--by Hervey presenting himself as Cibber's +ally--and a verse defence that comes, in point of artistry, clearly from +or near Grub Street itself. + +Lord Hervey's verses, _The Difference between Verbal and Practical +Virtue_, were published between 21 and 24 August 1742, less than a week +after the same author's prose pamphlet (_A Letter to Mr. C--b--r, On his +Letter to Mr. P----._) which had compared the art of Pope and Cibber to +Cibber's advantage, and had roundly concluded that Pope was "_a +second-rate Poet_, a _bad Companion_, a _dangerous Acquaintance_, an +_inveterate, implacable Enemy_, _nobody's Friend_, a _noxious Member of +Society_, and _a thorough bad Man_." In the course of the prose pamphlet +Hervey had suggested that there was a certain incongruity between Pope's +true character and his assumed _persona_ of the "virtuous man," and this +incongruity forms the main subject of his verse attack. Here Hervey finds +examples of "the difference between verbal and practical virtue" in the +lives of Horace, Seneca, and Sallust, before turning to lampoon Pope +crossly and ineptly. The attack on Horace is well conceived for Hervey's +purpose and calculated to damage Pope who was in so many eyes, including +his own, the modern heir of that ancient poet, but the straight abuse +directed against Pope's person is sad stuff. Such lines as those on the +"yelping Mungril" (p. 6) serve only to show how squarely the "well-bred +Spaniels" taunt in the _Epistle to Dr. Arbuthnot_ had hit its target. +Hervey's poem carried a prefatory letter headed "Mr. C--b--er to Mr. P.," +making out that Cibber had a hand in writing the poem itself. Coming so +soon after Hervey's _Letter to Cibber_, which had carried the markedly +intimate subscription "With the greatest Gratitude and Truth, most +affectionately yours," this prefatory letter to the poem further +emphasized Hervey's firm and deliberate alliance with Cibber. + +Evidently it was the strangeness of this alliance between the two +opponents of Pope that struck the fancy of that unidentified "Scriblerus" +whose "Epistle to the Dunces," _The Scribleriad_, was published between 30 +September and 2 October 1742. When Hervey was "affectionately yours" to +Cibber, the two stood shoulder to shoulder so temptingly open to a single +volley that the author of _The Scribleriad_ could fairly claim, as Pope +had claimed in the appendix to _The Dunciad Variorum_ of 1729, that "the +_Poem was not made for these Authors, but these Authors for the Poem_." +Hervey appears as "Narcissus," the nickname Pope had used for him in _The +New Dunciad_. A "late Vice-Chamberlain" (because he had been dismissed +from that post in July 1742) still gorged with the fulsome dedication of +Conyers Middleton's _Life of Cicero_ (1741), he is shown (pp. 11-13) +rousing Cibber. Cibber's situation, reclining on the lap of Dulness where +he is found by Hervey, is taken from _The New Dunciad_, while his general +Satanic role parallels Theobald's in _The Dunciad Variorum_. This may +reflect common knowledge that Pope was at work on revisions that would +raise Cibber to the Dunces' throne, but the belief that Cibber was King of +the Dunces had been widespread from the date of his appointment as Poet +Laureate.[3] _The Scribleriad_ follows the general run of satires against +Cibber--attacking his senile infatuation for Peg Woffington, his violently +demagogic and chauvinistic _Nonjuror_ (first acted in 1717 but still +drawing an audience in 1741), his laureate odes and his frank +commercialization of art. + +Although the writer of _The Scribleriad_ was obviously prompted by the +example of _The Dunciad_ and borrows many details from Pope, his poem has +very little of that mock-epic quality its title might lead a reader to +expect. There are slight traces of parody of Virgil when, on page 16, +Cibber appears as Aeneas (the character he was soon to assume in _The +Dunciad in Four Books_) and the epicene Hervey is portrayed as a +rejuvenated Sybil guiding the hero through a hell of duncery. There are +hints of _Paradise Lost_ too, when Cibber, Satan-like, undertakes his +mission (p. 17) and the dunces, Belial-like, agree "they're better in a +cursed State,/Than to be totally annihilate" (p. 5). But "Scriblerus'" use +of Virgil and Milton, unlike Pope's, does not import some graver meaning +into his poem; it provides him with neither a framework of moral symbols +nor a continuous narrative thread. + +The action is slight and its setting vague. Sometimes we are in a brothel, +crowded with bullies, punks, lords, draymen and linkboys, and managed by +Cibber (pp. 11-12) or by Dulness (p. 10). This setting, together with the +claim that Cibber's own muse is a prostitute (p. 8), serves as a retort to +the Tom-Tit in the brothel story in Cibber's _Letter to Pope_ and to +emphasize the element of literary prostitution in the activities of Cibber +and his like. At other times the setting is a regular dunces' club (pp. 9, +16) of the type chronicled in the pages of _The Grub Street Journal_. +Towards the end of the poem it is an Assembly Room (p. 19) presided over +by the Goddess of Puffs (a happy development of that more commonplace +mythical figure "Fame," Dulness' handmaiden in _The New Dunciad_) who sets +a test for the dunces and judges their performance. Only in this +concluding episode can this rather shapeless poem (which certainly is +neither the mock epic nor the epistle that its title-page promises) be +assigned to any regular literary "kind." This "kind" is that favorite of +the seventeenth and early eighteenth centuries, the "Sessions Poem."[4] + +"Scriblerus'" account of the sessions of the dunces is more allusive and +particularized than the rest of the poem and consequently calls for +somewhat more detailed comment. The chief cases at the sessions embrace +the pamphlet battle of summer 1742 and theatrical rivalry in the 1741-42 +London season. Cibber's contribution to the paper-war, the _Letter to +Pope_ (written according to Cibber "At the Desire of several Persons of +Quality"), is introduced at page 17 and consigned on page 19 to William +Lewis its printer. Hervey stalks in "under VIRTUE's Name" in a "borrow'd +Shape" (p. 24), an allusion to the suggestion in the prefatory epistle to +_The Difference between Verbal and Practical Virtue_ that the poem was +Cibber's work. (The "horse him" on 25 of _The Scribleriad_ refers to +Cibber's adaptation of Shakespeare's _Richard III._) Other pamphlets +issued in August 1742 are mentioned on page 24--_Sawney and Colley_,[5] +which "Scriblerus" calls "CLODDY's Dialogue," and _A Blast upon Bays_.[6] + +Turning to the theatre, "Scriblerus" attacks all three major companies of +the 1741-42 London season. He first introduces the two patented theatres, +Drury Lane and Covent Garden, as rivals only in that debased dramatic form +the pantomime. "The angry _Quack_" (p. 25) is John Weaver, dancing master +at Drury Lane and author of _Anatomical and Mechanical Lectures upon +Dancing_ (1721), who claimed for himself[7] the credit of having +originated pantomime upon the English stage. Weaver's _Orpheus and +Eurydice_ at Drury Lane (1718) was hardly noticed, whereas John Rich had +more recently bestowed "an ORPHEUS on the Town" (p. 25) to very different +effect. Rich's _Orpheus and Eurydice: With the Metamorphoses of Harlequin_ +had opened on 12 February 1740 at Covent Garden, where he was manager. +With Rich himself as Harlequin, it was a wild success that +season--remaining a regular and highly popular afterpiece through the +1741-42 season and later. + +What _The Scribleriad_ tells us of "_Ambivius Turpio_, the Stage 'Squire" +(p. 26) suggests that he is to be identified with Charles Fleetwood, +Esq.,[8] the wealthy, inexperienced amateur who managed Drury Lane (this +even though the original Ambivius Turpio was an actor, while Fleetwood, +apparently, was not). All managers were frequently involved in disputes +over actors' pay, but Fleetwood's were the most notorious. It was the +Drury Lane company that included "the contending POLLYS" (p. 27)--Mrs. +Cibber and Mrs. Clive who had bitterly quarrelled in 1736 over who should +play that role in _The Beggar's Opera_. Fleetwood, like Rich, gave a play +for the benefit of Shakespeare's monument in Westminster Abbey.[9] What +little that Fleetwood knew of management he might well have learned from +his one-time under-manager Theophilus Cibber, the "young PTOLOMY" (p. 27) +who, of course, had derived his knowledge from his "great Sire alone." + +The third theatre attacked in _The Scribleriad_ is Goodman's Fields. Its +manager, Henry Giffard, had no patent, but contrived to evade the +Licensing Act by the subterfuge of charging admission to a concert in two +parts and then offering, "gratis" in the interval, a regular full-length +play and afterpiece. The "City Wrath" (p. 26) arose from the fact that the +theatre was inside the City boundaries and was thought to encourage vice; +indeed, Sir John Barnard and his fellow aldermen managed to prevent it +opening for the 1742-43 season and thereafter. Allusions in the poem are +to the theatre's highly successful 1741-42 season when Garrick sprang to +fame as Cibber's Richard III and also played Tate's King Lear. On page 26 +"Scriblerus" sneers at Garrick's small stature,[10] and refers to the +impropriety of including the figure of Cato in the décor at Goodman's +Fields. + +Targets outside the three theatrical companies are chosen from among the +obvious ones already attacked by Pope. Mrs. Haywood, who in 1742 had +turned publisher under the sign of "Fame," is shown (p. 21) appropriately +enough as the first dunce to recognize the Goddess of Puffs. "The Chief of +the translating Bards" (p. 23) is the aged and industrious Ozell, and his +fellows include Theobald and Thomas Cooke (p. 24).[11] The satire extends +to touch the Administration and the City, with references to Britain's +hitherto inactive part in the War of the Austrian Succession (p. 9) and to +the manner in which stock-jobbers used false war news to aid their +financial speculations (p. 4). It alludes to the "grand Debate" (p. 8) of +the committee set up in March 1742 to consider charges of corruption +against the deposed Walpole (created Lord Orford in February), which by +the end of the summer had fizzled out, doubtless because so many members +of the new government, including the numerous "Peers new-made" (p. 9), had +shared Walpole's peculations and wished to cover their tracks. When it +hits at the King for his patronage of Cibber (p. 13), at the Queen for her +ridiculous Merlin's Cave and waxworks in Richmond Gardens (p. 16),[12] and +at the _Daily Gazeteer_ which, until Walpole's fall, had been expensively +subsidized from the government secret service fund and had numbered among +its journalists such highly placed statesmen as Walpole's brother +Horatio--then, _The Scribleriad_ suggests, there is a general conspiracy +between high ranks and low to encourage Dulness. The Hervey-Cibber +alliance is merely the most recent manifestation of this conspiracy. + +Although it so obviously arises immediately out of the pamphlet battle of +summer 1742, _The Scribleriad_ manages to range more widely in its satire +than the anti-Pope lampoons it replies to. Further, it contrives to bring +in Pope himself without degrading him to the level of his antagonists. +This is done by mounting him on Pegasus and likening the dunces to curs +(pp. 13-14), or comparing him to the sun whose warmth hatches out maggots +(pp. 6, 29): + + How many, who have Reams of Paper spoil'd, + Have often sleepless Nights obscurely toil'd, + And buried in their Eggs, like Silkworms, lay + 'Till his warm Satire shew'd them Life and Day? + Here then, my Sons, is all your living Hope, + To be immortal Scriblers, rail at POPE. + +The image, the attitude and the phrasing alike are borrowed from Pope, for +_The Scribleriad_ is highly derivative throughout. Only two or three times +does "Scriblerus" improve at all upon the many hints he steals from Pope. +I have already mentioned the Goddess Puffs, but other happy touches are to +be found in a spirited travesty (pp. 16-17) of the opening lines from +Ovid's _Metamorphoses_, Book XIII:[13] + + The Chiefs were sate, the Scriblers waited round + + * * * * * + + When he, the Master of the Seven-fold Face, + Rose gleaming thro' his own _Corinthian_ Brass. + +Pope had written in _The Dunciad Variorum_, "The heroes sit; the vulgar +form a ring" (II, 352), but one of the most memorable phrases in _The +Dunciad in Four Books_ of 1743--the ingeniously insolent "sev'nfold Face" +(I, 244)--may well have been borrowed from _The Scribleriad_. "Corinthian +Brass" is good also, economically combining as it does a hit against +Cibber's effrontery and a hint of his sexual irregularities. Such strokes +of wit are rare; _The Scribleriad_ is the work of a writer who in skill is +far closer to Grub Street than to Pope, but it may serve as "a voice from +the crowd" to remind us that Pope had his humbler literary supporters. + + The University + Southampton + + + + +NOTES TO THE INTRODUCTION + + +1. The engravings are numbered 2571-2573 in F. G. Stephens, _Catalogue of +Prints and Drawings in the British Museum, Division 1--Satires_ (London, +1877), Vol. III, Part I. For lists of pamphlets attacking, and in some +cases defending, Pope in 1742, see R. W. Rogers, _The Major Satires of +Alexander Pope_ (Urbana, 1955), pp. 150, 151 and C. D. Peavy, "The +Pope-Cibber Controversy: A Bibliography," in _Restoration and Eighteenth +Century Theatre Research_, III (1964), 53, 54. For accounts of the +Pope-Cibber quarrel see R. H. Barker, _Mr. Cibber of Drury Lane_ (New +York, 1939), pp. 204-220, and N. Ault, _New Light on Pope_ (London, 1949), +pp. 298-324. + +2. _Sawney and Colley_ and _Blast upon Blast_ in Number 83 (1960), and +_The Blatant Beast_ in Number 114 (1965). + +3. E.g., in _The New Session of the Poets_ (_The Universal Spectator_, 6 +Feb. 1731) the Goddess Dulness calls a session and awards the crown to +Cibber. + +4. See Hugh Macdonald, "Introduction," _A Journal from Parnassus_ (London, +1937) and A. L. Williams, "Literary Backgrounds to Book Four of the +_Dunciad_," _PMLA_, LXVIII (1953), 806-813. + +5. See note 2 above. + +6. An anti-Cibber work in prose. It is doubtful that "Scriblerus," who +thought this work did more harm than good to Pope's cause, would have +endorsed the British Museum catalogue's attribution of it to Pope himself. + +7. In _The History of the Mimes and Pantomimes_ (1728). + +8. Some account of Fleetwood may be found in R. W. Buss, _Charles +Fleetwood, Holder of the Drury Lane Theatre Patent_ (privately printed, +1915). There are hostile contemporary accounts of Fleetwood in Henry +Carey's epistle _Of Stage Tyrants_ [(1735) reprinted in _The Poems of +Henry Carey_, ed. F. T. Wood (1930)], in Charlotte Charke's _The Art of +Management_ (1735), and in _A Narrative of the Life of Mrs. Charlotte +Charke, Youngest Daughter of Colley Cibber, Written by Herself_ (1735). + +9. _Julius Caesar_, on 28 April 1738. Rich offered _Hamlet_ on 10 April +1739. + +10. A lady once asked Foote, "Pray, Sir, are your puppets to be as large +as life?" "Oh dear, Madam, no: not much above the size of Garrick." See +William Cooke, _Memoirs of Samuel Foote_ (1805), II, 58. + +11. Theobald never published his long promised translation of Aeschylus; +but, by bracketing it with Cooke's musical farce from Terence, _The +Eunuch_, which _was_ performed (Drury Lane, 17 May 1737), "Scriblerus" +seems to imply that he did complete it. + +12. The immediate target of this shaft was the waxwork show kept by Mrs. +Salmon near St. Dunstan's Church in Fleet Street, but the original +"Merlin's Cave" built for Queen Caroline in 1735 remained a standing jest +into the 1740's. + +13. "Consedere duces et vulgi stante corona surgit ad hos clipei dominus +septemplicis" (_Met._, XIII, 1-2). Dryden translates: + + The Chiefs were set; the Soldiers crown'd the Field: + To these the Master of the seven-fold Shield + Upstarted fierce. + + + + +BIBLIOGRAPHICAL NOTE + + +The text of this edition of _The Scribleriad_ is reproduced from a copy in +the Library of St. David's College, Lampeter, and that of _The Difference +between Verbal and Practical Virtue_ from a copy in the British Museum. + + + + + THE SCRIBLERIAD. + + BEING AN EPISTLE + TO THE DUNCES, + + On RENEWING their + ATTACK upon Mr. _POPE_, + UNDER THEIR + LEADER the _LAUREAT_. + + + By SCRIBLERUS. + + + _No Author ever spares a Brother; + Wits are_ Game Cocks _to one another._ GAY. + + + _LONDON_: + Printed for W. WEBB, near St. _Paul_'s. 1742. + [Price Six-pence.] + + + + +THE SCRIBLERIAD. + +AN EPISTLE + + + The Wits are jarring, and the Witlings strive, + To keep the _dying_ Quarrel still _alive_; + So shallow Gamesters, tho' they nothing get, + All blind the _Dupe_, and aid the _sly Deceit_. + Attend, ye SCRIBLERS! to your Leader's Call, + Good Sense condemn, and pointed Satire maul; + Ye DUNCES too! for ye not differ more + Than _Bluff_ and _Wittol_, or than _Bawd_ and _Whore_: + High on the Pedestal of Rank and State, + Mounts rich _Sir Dunce_, and seems to ape the Great; + Whilst low beneath the wretched Scribler lies, + And his Inscription unrewarded eyes; + Equal are they, whom _blund'ring Measures_ raise, + And Bards who sasly censure, as they praise; + The _Statesman_, well examin'd, will appear + But Counterpart of his dear _Gazetteer_: + Tho' One in his gilt Chariot proudly rolls, + Or heads in _D----g-Room_ his Brother Tools-- + And Th' other labours hard whate'er he says, + Shining in Coffee-house with doubtful Phrase; + Still restless in all Stations, pleas'd with none; + For ever climbing, yet for ever down: + Oft have we seen, that _Noblemen_ have wrote, + And _Authors_ sometimes, strutting in _lac'd Coat_; + But widely then from Nature's Ends they err, + And play the Farce quite out of Character. + As well may pious Jobbers of the Alley + Pretend the _flying_ Troops of _France_ to rally. + To proper Spheres, my Friends! yourselves confine! + When COLLEY writes, a _Dunce_ may praise each Line; + Whether _my Lord at Length_, he views the Plan, + Or sculks beneath a _certain Gentleman_; + But if that Lord the _Pen_ or _Press_ invade, + Rouse, rouse, ye Tribe! he'll undermine your Trade, + Tho' not one brilliant Thought should hurt the whole, + And ev'ry Verse be bad, or lame, or stole, + Still, like a _mad Dog_, hunt th' Usurper dead, } + Tho' he _for Fame_, ye scribble to _be fed_; } + He stands condemn'd, who robs ye of your _Bread_. } + But if a Genius rise, whose pointed Wit + Corrects your Morals, and all Tastes shall fit, + Claim then the Privilege to be his Foes, + Ye cannot shine, but when ye Worth oppose. + When ye _deny_ him _Fame_, ye _fix_ your _own_, + And to be satirized, is to be known. + Some hold, they're better in a cursed State, + Than to be totally annihilate; + Thrice happy then, ye deathless, duncely Train! + The Subjects of the higher DUNCIAD's Strain. + How many, who have Reams of Paper spoil'd, + Have often sleepless Nights obscurely toil'd, + And buried in their Eggs, like Silkworms, lay + 'Till his warm Satire shew'd them Life and Day? + Here then, my Sons, is all your living Hope, + To be immortal Scriblers, rail at POPE. + Snatch'd from Oblivion, there the _Dunces_ soar, + TIBBALD their Monarch dubb'd, can ask no more, + Nor less shall ye----now COLLEY gives the Word, + Rouse up! and crowd into the next Record, + Or, lost to Memory, no other Page + Can possibly retrieve ye half an Age; + And now the glad Occasion aptly calls, + To _break_ more _Printers_, and to _spread_ more _Stalls_; + To save your _Names_ from _Lethe_, tho' your Books + Are doom'd the Prize of _Fruiterers_ and _Cooks_. + The Streams of _Helicon_ once clearly flow'd, + And Heav'n in their resplendent Bosom shew'd, + Whilst verdant Groves the sacred Mountain spread; + Then _Pegasus_ on Balms and Myrtles fed: + Now blighted _Thistles_ only crown the Top, + Which Herds of young _poetic Asses_ crop; + And, choak'd with common Sew'rs, like _Fleet-ditch_ Flood, + Its sable Waters writhe along the Mud; + Nor murm'ring wake, nor seem they quite asleep, + Whilst _Wits_, like _Water-rats_, around them creep. + If any shou'd attempt to cleanse your Streams, + Or wake ye from your kind lethargic Dreams, + Assert your Right, and render vain their Toil; + Yours is the Filth, then join and guard your Soil! + And lest ye're diffident to aid the Cause, + Not wholly yet broke loose from Reason's Laws, + View the strange Wonders of the present Times, + Let Empires sleep, but hear the Fate of Rhimes. + Let POPE lull all his _Dunces_ with a Yawn, + Wrapt in their Robes of _P--ple_ or of _L--wn_, + Whilst he shall leave one tatter'd _Muse_ awake; + That _Muse_ his own and others Rest shall break. + A Prostitute, her Charms their Vigour lose, + Now COLLEY keeps her, and she sups on Prose; + But free and common, hack'd about the Town, + Each of ye claim her! for she's all your own. + With him, unmov'd by Salary or Sack, + She d----ns his Impotence of _Brain_ and _Back_; + That thus in Age he strains at Wit's Embrace, + And follows W--FF--N from Place to Place; + But tho' _cold Prose_ to him she'll only give, + Ye, my pert Sons! who with more Ardour strive, + May raise the bastard Issue of a Verse, + To wear the wither'd _Bays_, or deck his _Hearse_. + Now for six Months had O----D shook the State + With _grand Removals_, and _a grand Debate_: + _Dunce_ elbow'd _Dunce_, each foremost wou'd advance, + But backward fell, as in old _Bayes_'s Dance: + When _Dulness_ spread her pow'rful YAWN around, + "And Sense and Shame, and Right and Wrong were drown'd, + _Enquiry_ ceas'd, and, touch'd by magic Wand, + Ev'n _Opposition's_ self was at a Stand; + On well-oil'd Hinges creaks the Prison Gate, + And _Pains and Penalties_ will come too late. + 'Twas Night's high Noon at _P--is_ and the _H--ge_, + And _Politics_ had died, but for poor _P--gue_; + For why, "The Goddess bade BRITANNIA sleep, + "And pour'd her Spirit o'er the Land and Deep." + And now the _Scriblers_, motionless and mute, + Sit down to count their Gains by the Dispute, + To see on which Side Victory hath run; } + Like _Mackbeth's Witches_, when the Mischief's done, } + They tell ye, that the Battle's _lost_ and _won_: } + Contriving whom to _greet_, or whom _disgrace_, + As _Gazettes_ speak them _in_ or _out_ of _Place_; + For _Panegyrics_ drein their tilted Wit + On Peers _new-made_, against the House shall sit, + Or saucily appear before their Betters + In _sage Advice_, or on an _old Member's Letters_: + Thus fate, they waiting the approaching Yawn, + Wishing for Sleep till the next _Sessions' Dawn_, + When the kind Goddess did her Jaws unclose, + She snor'd aloud, and strait a Vapour rose, + Unwholsome as the Damps a Collier meets + Too often in his subterraneous Pits; + For _Dulness_ taints all round her where she breathes, + As witness, COLLEY, thy dry blighted Wreaths: + Nor cou'd the upward Gasp disperse the Steam, + But from below disturb'd her _Consort's_ Dream; + Yet from her downy Lap he started not, + But mutter'd something thus--as loose of Thought; + "He hurts not me--my CÆSAR--Satire--dull, + "Why all the World knows I've been long--a F--l; + "But now--I'll do't--Yae--ough"--so said, he drops, + Salutes his Queen's Effulgence, and thus stops. + The Throne where _Dulness_ sate, maintaining Right, + Resembled much some Monarch's of the Night, + Where gloomy Myrmidons and Punks resort, + And snore on Benches round his ample Court. + Both there and here, as in the busy World, + Lords, Draymen, Linkboys, in Confusion hurl'd; + Beneath the Monarch, fond to be employ'd, + NARCISSUS lay with _too much_ TULLY cloy'd; + As Gluttons gorg'd at City Feasts too soon, + Oft get their Naps before the rest lye down; + Their heaving Stomachs turn'd at something tart, + When others doze, oft make them wildly start: + So he--"Why, what a Pax! who'd be a L--d, + "If Worth and Merit only Praise afford? + "I can't be prais'd as _Poet_, _Wit_, or _P----r_, + "But that dem'd _Twick'nam_ Bard my Parts will jeer; + "If I can't write myself, here's COLLEY shall; + "I've often heard him swear--he'll stand _'em all_: + "If he refuse me, I have still another, + "I'll _hammer_ him conjointly with my B----r; + "But sure the _Laureat Harp_ must tune a Strain, + "New mended by a late _V----e C--mb--n_; + "For he, to give his Due unto the _Devil_, + "Was always to us Folks of Fashion civil." + Resolv'd at once, he tweaks the Monarch's Nose, + The Monarch snor'd--new Streams from _Dulness_ rose. + Close to his Ear he lays his dimpled Cheek, + And in soft Accents speaks, or seem'd to speak, + "Dear _Laureate_, rouse, the Enemy's at Hand, + "Another DUNCIAD travels round the Land, + "Whence all the sole Proprietors of Trash, + "Thy Friends and mine, most justly fear the Lash. + Vain are his Efforts--yet again he tries, + "Thy _Odes_!--oh save thy _Odes_!--dear _Laureat_ rise; + "If not for _Odes_--yet for _Love's Riddle_ wake-- + "Nor that?--thy _Careless Husband_'s then at Stake. + All wou'd not do--his soft Distress preferr'd, + Nor the great Mother, nor the _Laureat_ heard; + For on her Lap so _daintily_ he lay, + His Senses, breath'd into her, stole away; + All Aims at a Recovery were vain, + Till she vouchsaf'd to breathe them back again. + "One gentle Imprecation more and then, + "He cries, Farewel the _Laureat_ and his _Pen_: + "Thy Country calls, if thou resign'st thy Sense, + "Yet rouse to be a Man of Consequence. + "Who calls thee _Dunce_, abuses too thy K--g, + "Whose Praises, by thy Place, thou'rt bound to sing; + "O! grant me Aid, assume the pleasing Task, + "In thy _Nonjuror_'s fav'rite Name I ask. + Thrice groan'd the _Ompha_, and in Thunder spoke, + The Blast his Sense return'd, and Slumber broke; + _Nonjure!_ That Word alone unbinds the Charms, + For _Party_-Dulness always sounds to _Arms_; + Upstarts the Sire--"Mistake me not, he cries, + "Whoever says I was asleep------he lies; + "You know, my L--d, how I my Wits exert, + "How always pleasing, and how always pert; + "I know your Grief, before the Cause is told; + "Then here my Pen in Readiness I hold. + "Since by Desire I enter thus the Lists, + "I vow Revenge--know, COLLEY ne'er desists: + "Then I'll pursue him with my latest Breath, + "Nor drop _this Pen_ 'till quite _benum'd_ with _Death_. + High on the Muses _Pegasus_ DAN P--PE + Mounts _full of Spirit_, nor vouchsafes to stoop, + But hears the Murmurs of the Dull upborn, + Low empty Curses, or vain stingless Scorn; + One Dash strikes all the mean Revilers down, + As sure as JOVE should swear by ACHERON: + Whether his _Person_ be their standing Jest, + Or his _Religion_ suits their Libels best; + Whether the _Author_ forms his crude Designs, + As the _deserted Bookseller_ repines, + Who, after all his _Boasts_, is tumbled by, + And looks at D----LEY with an evil Eye; + Or if their standing Topics, _Spleen_ and _Spite_, + _A Jesuit_,----an _Atheist_,----_Jacobite_. + In all their hard-strain'd Labours, squeez'd by Bits, + Mark well the Triumph of these wou'd-be Wits; + Like _Village Curs_, kick'd backward by the _Steed_, + Their _Noise_ and _Yelping_ their _Destruction_ breed; + Or if the Rider _smacks_ them with his _Whip_, + 'Tis more _t' unbend the Lash_, than make them _skip_: + Yet still they rise and at it----Goddess hail! + Who o'er thy Suns spread'st such a thick'ning Veil, + That Sense of Pain, as well as Shame, is lost, + And you _reward_ those best, who _blunder_ most; + For where are Honours, Places, Gifts bestow'd, + But where thy Influence is most avow'd? + Rest, while more modern Miracles I sing, + Of _Minor Dunces_ that from thee first spring; + But all who Recreants thy Pow'r disclaim, + And, Laureat-like, to _Pertness_ change thy Name; + And ye, her Sons, who've nothing else to do, + Wait, if you please, the----Vision thro': + You, who in Manuscript your Works retale, + And tag with Rhimes the latter Ends of Ale, + But vow th' ungrateful Age shall never see, + In Print, how wond'rous wise and smart ye be; + Or you, whose Muse has run you out of Breath, + Or rode you like a Night-mare hagg'd to Death; + Attend and learn from _Dulness'_ sleeping Shade, + Another Goddess rises to your Aid. + Pleas'd with the Vow, the glad submissive P--r, + Thence leads the Monarch to a nobler Chair; + For why shou'd he at _Dulness'_ Footstool wait, + Who knows so well to entertain with Prate; + Some _g--rt--r'd Dupes_ no nobler Titles boast, + Than to have been the Objects of his _Roast_; + For which they fill his Groupe, his Praises have, + And shine like SALMON'_s Dolls_ in MERLIN'_s Cave_. + The young NARCISSUS, whom (wou'd you believe, + The _Cornhill_ Priest, who never cou'd deceive) + Had robb'd the _Sibil_ of whate'er was sage, + Or _Good_, or _Wise_, except her _Gums_ and _Age_, + Was the old Woman, tho' in Youth renew'd, + Who led ÆNEAS when he _H--ll_ review'd; + Wrapt in the Steam that spread from _Dulness'_ Jaws, + From her Posterior's, perch'd, pert C----R draws, + Conveys him to the Club--the Club despair, + Till they the Snuff-box smell, and see the Chair. + Then all the _Dunciad_ d----n, and, grown elate, + Prick up their Ears, and bray, "_To the Debate!_ + "The Chiefs were sate, the Scriblers waited round + "The Board with Bottles, and with Glasses crown'd, + "When he, the Master of the Seven-fold Face, + "Rose" gleaming thro' his own _Corinthian_ Brass, + And thus--my L--s, we once again are met, + Nor Sense hath robb'd us of a Vot'ry yet; + Pleas'd, I the present Danger undertake, + And gladly suffer, for my Country's Sake; + For I a prompt Alacrity agnize + To be esteem'd or witty, smart or wise. + This present War then with the POPE be mine; + But one Thing beg, I, bending to your Shrine, + Due Preference of Honour, Time and Place, + And _your Desires_ my Title Page to grace, + He said and bow'd--a Whisper trill'd the Air + Much as when C--MP--N wou'd have been L--d M--r. + However, each assents, then forth he drew + An Oglio Letter ready cook'd for _View_; + _Taste_ it had none; for, having long lain by, + 'Twas lost like Camphire that doth quickly fly; + But, as it never was in Print before, + 'Twas new, they all believe, for COLLEY swore. + When one, as Deputy for all the rest, + Thus, in due Form, their Advocate addrest. + _Great Laureat_, thou whose yearly tuneful Notes + Deafen the Court from Chappel-royal Throats, + Oft has this Enemy to our Repose + Wak'd us from Slumbers where we quiet doze, + Reeking with Malice, and of Satire full, + He neither lets us sin in quiet, or be dull: + You too, with us, have his Attacks withstood, + Have answer'd not, or wou'd not, if you cou'd; + And to receive his Insults, in your _Life_, + You offer'd him Release from all your Strife: + So once did CU--L, but he accepted not, + As if ye both contemptible he thought; + But sure this last Affront must give you Pain; + Can you your usual Temper now retain? + If this not rouse you, all our Hopes we'll quit, + And sue out Bankruptcy against your Wit: + Therefore, as _Monarch_ of the _scribling Crew_, } + This is a Debt to both our Int'rests due, } + For us he _d--ns_ at once, in _lashing_ you. } + Let L--IS then the happy Offspring rear, + Tis safe, if once committed to his Care. + He yields to their Intreaties, and then smil'd, + The Goddess spread her Vapour round more mild, + And strait a Form appear'd, like _ancient Fame_, } + Her Wings, her Trumpet, and her Robe the same, } + Each rous'd at once, and thought he grasp'd the Dame; } + But found 'twas all a Cloud or empty Space; + No Substance, tho' the Out-line they cou'd trace. + And, thus disturb'd, a strange unsav'ry Fume + Diffus'd itself around th' Assembly Room: + The Scent each mad'ning Brain did instant strike, + All star'd, and thought it FAME, it look'd so like; + COLLEY at once disclaim'd her--"For, says he, + "I even _Bread and Cheese_ prefer to _thee_; + "The Smiles of Monarchs may no Comfort bring; + "But then the _Sack's_ a wholsome pleasing Thing: + "Had I won thee, I might have scap'd a Sneer, + "And lost the _twice One Hundred Pounds a Year_. + "Then pray, dear Madam, if you please, be gone; + "Come you a Spy to make our Counsels known?" + When thus the Fantom----"Ye're my Children all; + "Thee, COLLEY, I my eldest Darling call; + "Mistake not, I usurp no borrow'd Name, + "And hate, as much as you, the Sound of FAME; + "Tho' I a Shadow on her Steps attend, + "When she appears, my Empire's at an End: + "Your stern Antagonist draws _Dulness_ right, + "Daughter of CHAOS, and _eternal Night_; + "Wits boast their PALLAS sprung from Brain of JOVE; + "We too had our Original above, + "And claim the Heraldry of God-like Race, + "Part of the Cloud IXION did embrace; + "Whence form'd in Aid of _Dulness_ and her Train, + "I oft her sinking Works in Air sustain; + "And when they otherwise wou'd fall downright, + "I waft them upwards to a second Flight: + "So when the new-made Honours were confer'd + "On all your earthly Recantation Herd, + "The Deities of Air, in Mirth and Sport, + "Made me a Goddess, and allow'd a Court; + "Long ye have known me--I o'er PUFFS preside, + "But ne'er, till now, appear'd in so much Pride. + The whole Assembly to her Presence press, } + All own her, but, their Ignorance, confess, } + Was wholly owing to th' inverted Dress: } + But both her Hands _Eliza_ first uprear'd, + Insisting only she the Pow'r rever'd: + Oh make my Shop, she cries, thy fav'rite Shrine; + You must, you shall, I have you on my Sign: + All scold, and Indignation bent each Brow, + None wou'd the other's Privilege allow; + When lo, a Youth of most distinguish'd Grace + (Well known for pressing first in ev'ry Place, + Whether he heads the _Orders_ in the _Pit_, + Or doth at _B----n_'s Judge of Boxing sit) + Conspicuous mounts, and thus, in formal Speech, + Begins----"Statesmen and Morals I impeach, + "Write Satires, and deny them for my own + "In Advertisements, that I may be known; + "Grant me thy Aid, great Goddess, but once more; + "Not for myself alone I thee implore, + "But for this _Saint_, who breathing now her last, + "Wou'd fain retrieve Disreputation past. + "If Gold you ask, long-hoarded Bags shall fly"-- + The Goddess smil'd, and puff'd it to the Sky. + "Children, says she, Distinction should be made + "To _Scriblers_, who are thus above the Trade; + "For ye, who equal in all Prospects are, + "To gain our Favour, we a _Test_ prepare. + "He that has oft'nest most disguis'd the Truth, + "And render'd Sense and Reason quite uncouth; + "Who Learning hath, by Artifice abus'd, + "And by false Glasses vulgar Eyes amus'd; + "Who seldom in his real Shape was seen, + "For ever different to what h' hath been; + "Him for our royal Consort we select: + "Begin--and Pertness all your Aims direct; + "And still to urge ye on to further Hope, + "These Trophies wait the Man who lashes POPE. + "The Wings from one of MERCURY's new Suits; + "These grac'd his _Cap_, and these adorn'd his _Boots_; + "But who shall mention _Merit_, or presume + "To talk of _Wit_, him we forbid the Room." + Then first a Sage, of rev'rend hoary Years, + The Chief of the translating Bards appears; + And thus, in their Behalf--O pow'rful Maid! + "Daily and nightly we invoke thy Aid; + "In Pamphlets, numberless, have fully shown, + "Nor Language _dead_ or _live_ to SAWNEY's known; + "Yet, spite of all the Methods we can try, + "The silly _World_ will yet his HOMER buy: + "But next we think"--the Goddess stopt them short! + "All ye have done, but makes the _Learned_ Sport; + "To rail and call his HOMER wretched Stuff; + "To censure and condemn, is well enough; + "But here's the Curse on't, ye're such silly Elves + "To shew the _Diff'rence_ ye _translate_ yourselves, + "Or T----LD else had, not five Years and more, + "Hawk'd ÆSCHYLUS about from Door to Door. + "TERENCE's Eunuch the same Fate partook, + "Murder'd by merciless and mangling C----K. + "But cease we this, the recent Matter try, + "All who the present pidling Quarrel ply, + "Stand forth"----In Party-colour'd Vest + CLODDY appear'd, his _Dialogue_ addrest, + And swore he'd study'd SWIFT with so much Pains, + He thought, at last, he'd gain'd his very Strains: + The Piece perus'd, this Answer she return'd, + "Obscenity, when dull, is always scorn'd; + "And who _puffs_ this, will, to his Sorrow, find + "'Tis but a _F--t_ will _stink_ to all _Mankind_." + BLAST claim'd the Prize, and said, he did deride + The POET, by appearing on his Side; + The Goddess sent her Maid to kick him down, + But e'er she rais'd her Foot, the Wretch was gone. + Next, in a borrow'd Shape, by CLYTUS worn, + In fierce theatric Battles hackt and torn, + A Wight stalkt in, and, under VIRTUE's Name, + On HORACE, SALUST, SENECA and POPE cry'd Shame; + _False English!_ baul'd he loud--the Goddess heard, + And to the School-boys his Address preferr'd. + He disappear'd, nor know we if he's found, + But _horse him, horse him_, dy'd in distant Sound. + And now of ev'ry Sort came rushing in, + _Scriblers_ and _Puffers_, with a horrid Din; + All who in various Occupations strive + To keep their sev'ral Mist'ries alive, + From _Statesmen_, who, for Coronets resign'd, + To the _Dutch Kettle_, and the Window-Blind; + But far above the rest, each Rival Stage + The Favour of the Goddess wou'd engage; + The angry _Quack_ his Nostrums all forsakes, + And, in Revenge, his Gallipots he breaks, + 'Cause _R--ch_ bestows an ORPHEUS on the Town, + When _he_ had, long before, run mad with one: + Then Paper Wars, and long-ear'd Quarrels rise, + And each the Goddess sues for fresh Supplies. + In spite of City Wrath and Aldermen, + A _Concert_ takes the Dregs of _Drury-Lane_: + In pompous Stanzas they their Genius raise, + And sound, in ev'ry Paper, their own Praise, + From _Rome_ and Death old surly CATO tear, + To see the modern _Liliputian_ lear, + _Greece_ is outdone, and learned _Athens_ yields + To the politer Stage of _G------n's-F--ds_. + _Ambivius Turpia_, the Stage 'Squire appear'd, + The Nurse, who ev'ry modern TERENCE rear'd; + A meagre Shade, quite uninform'd and wild, + Yet still he flatter'd, smooth'd, and still he smil'd: + Ne'er, but when frighten'd, cou'd he be sincere, + And ne'er ap'd _Honesty_, but 'twas thro' _Fear_; + Revil'd, exploded on a rival Stage, + To dull the Sting the Libellers engage; + If double Pay is given them on his own, + He smil'd Consent, and turns them on the Town. + Then thus--Great Pow'r! thy darling Child behold, + I've courted thee with _Orders_ and with _Gold_, + This Scheme let the contending POLLYS tell, + This ev'ry _Inns o' Court_ Man knows full well. + But mark, dear Goddess, this my Master-piece, + Thus I revive the Arts of _Rome_ and _Greece_; + For SHAKESPEAR's Monument I gave a Play, } + And stopp'd the starving Actors hard-got Pay, } + Yet bore I all the _Praise_ and _Puff_ away. } + _Beasts_ graze the _Plain_, the _Fishes_ skim the _Sea_, + _Cars_ are for _Peers_, _Streets_ for _Mechanics_ free; + Thy Empire, Goddess, still hath been my Care, + My _Life_'s a _Puff_, my _Deeds_, like _Words_, are _Air_. + He spake, to grasp the Prize his Fingers stretch, + As feeble Reeds spent Swimmers strive to catch; + But finds himself pusht instantly away, + And by young PTOLOMY is kept at Bay. + Give him the Prize, O Goddess, if thou durst, + A _Wretch_ beneath his lowest Puppets curst. + The Claim he makes is owing to my Parts; + I taught him _Management_, and all its Arts, + From my great Sire alone deriv'd, to me + He gave it yet a living Legacy: + In what theatric Region are unknown + Our _Puffs_ in ev'ry Bill, in ev'ry Paper shown? + And where his short ones fail'd, I, better skill'd, + The groaning Page with long Epistles fill'd: + If Falsehood claims it, end the vain Dispute; + 'Tis mine, avaunt, ye _Puffers_, and be mute; + All _Grubstreet_ tells----At this CONUNDRUM rose, + And thus--Fond Youth, no more thy Gifts expose; + Tho' the Foundation of this Art is Lies, + Yet TRUTH is sometimes proper for Disguise: + He who is always false, is ne'er believ'd, + Who's always _honest_, is sometimes _deceiv'd_; + The Prize we'll yield, prove it upon Record, + That _he_ or _you_ e'er spoke but one _true Word_. + Dismist--The Fantoms hover round the Place, + And shew their Crimes in Mirrors to their Face? + Each on the other gazing, ghastly stood, + And wou'd have _blush'd_, or hid them, _if they cou'd_. + Then thus the Goddess--"Cease all further Strife, + "COLLEY, thy Hand! I'm thine alone for Life; + "Thine be the Prize, an Emblem of thy _Wit_, + "Which tho' not so, yet some will take for it: + "But 'tis not long, ev'n me thou must forsake; + "My last, my best, Advice then friendly take, + "Dear Scriblers, all Adventurers in _Wit_, + "Who scorn the Field of fell Debate to quit, + "Howe'er he lash ye, still the War pursue, + "Your _Ignorance_ brings all his _Wit_ to View; + "The Insects hov'ring in the breezy Air + "Shew th' approaching vernal Season near; + "The _Maggot_ that in Sun-beams basking lies, + "Tho' the _Heat_ scorch him, by that _Heat_ he flies." + She spake, and then, unseen, unheard retir'd, + Born in a Breath, she with a Sigh expir'd. + + +_FINIS._ + + + + +(_Just Publish'd, Price 6d._) + +The Political Padlock, and the English Key. A Fable. Translated from the +_Italian_ of Father M----r _S----ini_, who is now under Confinement for +the same in _Naples_, by Order of Don _Carlos_. With Explanatory Notes. + + _I grant all_ Courses _are in vain, + Unless we can_ get in _again: + The only Way that's left us now, + But all the Difficulty's_ How? + + + + + THE DIFFERENCE BETWEEN + VERBAL and PRACTICAL VIRTUE. + + + _Dicendi Virtus, nisi ei, qui dicit, ea, de quibus dicit, percepta + sint, extare non potest._ CIC. + + + WITH A Prefatory Epistle from Mr. _C--b--r_ to Mr. _P._ + + + _Sic ulciscar genera singula, quemadmodum à quibus sum provocatus._ + + CIC. post Redit. ad Quir. + + + _LONDON_: + Printed for J. ROBERTS, near the _Oxford-Arms_ in _Warwick-Lane_. + MDCCXLII. + + + + +Mr. _C--b--r_ to Mr. _P._ + + +Have at you again, Sir. I gave you fair Warning that I would have the last +Word; and by ---- (I will not swear in Print) you shall find me no Lyar. I +own, I am greatly elate on the Laurels the Town has bestow'd upon me for +my Victory over you in my Prose Combat; and, encouraged by that Triumph, I +now resolve to fight you on your own Dunghil of Poetry, and with your own +jingling Weapons of Rhyme and Metre. I confess I have had some Help; but +what then? since the greatest Princes are rather proud than asham'd of +Allies and Auxiliaries when they make War in the Field, why should I +decline such Assistance when I make War in the Press? And since you +thought most unrighteously and unjustly to fall upon me and crush me, only +because you imagin'd your Self strong and Me weak, as _France_ fell upon +the Queen of _Hungary_; if I like her (_si parva licet componere magnis_) +by first striking a bold and desperate Stroke myself with a little +Success, have encouraged such a Friend to me, as _England_ has been to +her, to espouse my Cause, and turn all the Weight of the War upon you, +till you wish you had never begun it; with what reasonable and equitable +Pleasure may I not pursue my Blow till I make you repent, by laying you on +your Back, the ungrateful Returns you have made me for saving you from +Destruction when you laid yourself on your Belly. I am, Sir, not your +humble, but your devoted Servant; for I will follow you as long as I live; +and as _Terence_ says in the _Eunuch_, _Ego pol te pro istis dictis & +factis, scelus, ulciscar, ut ne impune in nos illus eris_. + + + + +THE DIFFERENCE BETWEEN Verbal and Practical VIRTUE EXEMPLIFY'D, + +In some Eminent Instances both Ancient and Modern. + + + What awkard Judgments must they make of Men, + Who think their Hearts are pictur'd by their Pen; + That _this_ observes the Rules which _that_ approves, + And what one praises, that the other loves. + Few Authors tread the Paths they recommend, + Or when they shew the Road, pursue the End: + Few give Examples, whilst they give Advice, + Or tho' they scourge the vicious, shun the Vice; + But lash the Times as Swimmers do the Tide, + And kick and cuff the Stream on which they ride. + + His tuneful Lyre when polish'd _Horace_ strung, + [a]And all the Sweets of calm Retirement sung, + In Practice still his courtly Conduct show'd + His Joy was Luxury, and Power his God; + [b]With great _Mæcenas_ meanly proud to dine, + [c]And fond to load _Augustus_ flatter'd Shrine; + [d]And whilst he rail'd at _Menas_ ill-got Sway, + [e]His numerous Train that choak'd the _Appian_ Way, + His Talents still to Perfidy apply'd, + Three Times a Friend and Foe to either Side. + _Horace_ forgot, or hop'd his Readers would, + [f]His Safety on the same Foundation stood. + That he who once had own'd his Country's Cause, + Now kiss'd the Feet that trampled on her Laws: + That till the Havock of _Philippi_'s Field, + Where Right to Force, by Fate was taught to yield, + He follow'd _Brutus_, and then hail'd the Sword, + Which gave Mankind, whom _Brutus_ freed, a Lord: + Nor to the Guilt of a Deserter's Name, } + Like _Menas_ great (tho' with dishonest Fame) } + Added the Glory, tho' he shar'd the Shame. } + For whilst with Fleets and Armies _Menas_ warr'd, + Courage his Leader, Policy his Guard, + Poor _Horace_ only follow'd with a Verse + That Fate the Freedman balanc'd, to rehearse; + Singing the Victor for whom _Menas_ fought, + And following Triumph which the other brought. + + [g]Thus graver _Seneca_, in canting Strains, + Talk'd of fair Virtue's Charms and Vice's Stains, + And said the happy were the chaste and poor; } + Whilst plunder'd Provinces supply'd his Store, } + And _Rome_'s Imperial Mistress was his Whore. } + But tho' he rail'd at Flattery's dangerous Smile, + A _Claudius_, and a _Nero_, all the while, + With every Vice that reigns in Youth or Age, } + The Gilding of his venal Pen engage, } + And fill the slavish Fable of each Page. } + + See _Sallust_ too, whose Energy divine + Lashes a vicious Age in ev'ry Line: + With Horror painting the flagitious Times, + The profligate, profuse, rapacious Crimes, + That reign'd in the degenerate Sons of _Rome_, + And made them first deserve, then caus'd their Doom; + With all the Merit of his virtuous Pen, + Leagu'd with the worst of these corrupted Men; + The Day in Riot and Excess to waste, + The Night in Taverns and in Brothels past: + [h]And when the _Censors_, by their high Controll, + Struck him, indignant, from the _Senate_'s Roll, + From Justice he appeal'd to _Cæsar_'s Sword, + [i]And by Law exil'd, was by Force restor'd. + [k]What follow'd let _Numidia_'s Sons declare, + Harrass'd in Peace with Ills surpassing War; + Each Purse by Peculate and Rapine drain'd, + Each House by Murder and Adult'ries stain'd: + Till _Africk_ Slaves, gall'd by the Chains of _Rome_, + Wish'd their own Tyrants as a milder Doom. + + If then we turn our Eyes from Words to Fact, + Comparing how Men write, with how they act, + How many Authors of this Contrast kind + In ev'ry Age, and ev'ry Clime we find. + Thus scribbling _P----_ who _Peter_ never spares, + Feeds on extortious Interest from young Heirs: + And whilst he made Old _S--lkerk_'s Bows his Sport, + Dawb'd minor Courtiers, of a minor Court. + If _Sallust_, _Horace_, _Seneca_, and _He_ + Thus in their Morals then so well agree; + By what Ingredient is the Difference known? } + The Difference only in their Wit is shown, } + For all their Cant and Falshood is his own. } + He rails at Lies, and yet for half a Crown, + Coins and disperses Lies thro' all the Town: + Of his own Crimes the Innocent accuses, + And those who clubb'd to make him eat, abuses. + But whilst such Features in his Works we trace, + And Gifts like these his happy Genius grace; + Let none his haggard Face, or Mountain Back, + The Object of mistaken Satire make; + Faults which the best of Men, by Nature curs'd, + May chance to share in common with the worst. + In Vengeance for his Insults on Mankind, } + Let those who blame, some truer Blemish find, } + And lash that worse Deformity, his Mind. } + Like prudent Foes attack some weaker Part, + And make the War upon his Head or Heart. + Prove his late Works dishonest as they're dull; } + That try'd by Moral or Poetic Rule, } + The Verdict must be either Knave or Fool. } + [l]Whilst his false _English_, and false Facts combin'd, + Betray the double Darkness of his Mind; + [m]That Mind so suited to its vile Abode, + The Temple so adapted to the God, + It seems the Counterpart by Heav'n design'd + A Symbol and a Warning to Mankind: + As at some Door we find hung out a Sign, + Type of the Monster to be found within. + From his own Words this Scoundrel let 'em prove + Unjust in Hate, incapable of Love; + For all the Taste he ever has of Joy, } + Is like some yelping Mungril to annoy } + And teaze that Passenger he can't destroy. } + To cast a Shadow o'er the spotless Fame, + Or dye the Cheek of Innocence with Shame; + To swell the Breast of Modesty with Care, + Or force from Beauty's Eye a secret Tear; + And, not by Decency or Honour sway'd, + Libel the Living, and asperse the Dead: + Prone where he ne'er receiv'd to give Offence, + But most averse to Merit and to Sense; + Base to his Foe, but baser to his Friend, + Lying to blame, and sneering to commend: + Defaming those whom all but he must love, + And praising those whom none but he approve. + Then let him boast that honourable Crime, + Of making those who fear not God, fear him; + When the great Honour of that Boast is such + That Hornets and Mad Dogs may boast as much. + Such is th' Injustice of his daily Theme, + And such the Lust that breaks his nightly Dream; + That vestal Fire of undecaying Hate, + Which Time's cold Tide itself can ne'er abate, + But like _Domitian_, with a murd'rous Will, + Rather than nothing, Flies he likes to kill. + And in his Closet stabs some obscure Name, + [n]Brought by this Hangman first to Light and Shame. + Such now his Works to all the World are known, + Who undeceiv'd, their former Error own; + Whilst not one Man who likes his rhyming Art, + Allows him Genius, or defends his Heart: + But thus from Triumph snatch'd, and giv'n to Shame + Lash'd _into_ Penitence, and _out_ of Fame. + Since all Mankind these certain Truths allow, + And speak so freely what so well they know; + No wonder doom'd such Treatment to receive, + That he _can_ feel, and that he _can't_ forgive. + Were I dispos'd to curse the Man I hate, + Such would I wish his miserable Fate. + Thus striving to inflict, to meet Disgrace, + And wasted to the Ghost of what he was; + And like all Ghosts which Men of Sense despise, + Only the Dread of Folly's coward Eyes. + Thus would I have him despicably live, + Himself, his Friends, and Credit to survive, + Into Contempt from Reputation hurl'd, + His own Detractor thro' a scoffing World. + + +_FINIS._ + + + + +Footnotes: + + +[a] Beatus ille qui procul negotiis, &c. Epod. 2. Cum magnis vixisse +invita fatebirur usque invidia. _Sat. 1. Lib. 2._ + +[b] Nunc quia Mæcenas tibi sum convictor. _Sat. 6. Lib. 1._ + + ----Tu pulses omne quod obstat + Ad Mæcenatem memori si mente recurras. + Hoc juvat, & melli est; ne mentiar. _Sat. 6. Lib. 2._ + +[c] All his Works are full of Examples of Flattery to _Augustus_. + +[d] Epod. 4. _Mænas_ was a Freedman of _Pompey_ the younger; and he +deserted from him to _Augustus_, then back from _Augustus_ to _Pompey_, +and then from _Pompey_ to _Augustus_ again. This is in all the Histories. +_Appian. Dion._ + +[e] Et Appiam mannis terit. _Epod. 4._ + +[f] + + O sæpe mecum tempus in ultimum + Deducte, Bruto militiæ Duce.---- + Tecum Philippos & celerem fugam + Sensi, relictâ non bene parmulâ + Cum fracta virtus, & minaces + Turpe solum tetigere mento. HOR. _Ode. 7. B. 2._ + +[g] In his Seneca reus factus est multorum scelerum, sed præsertim quod +cum Agrippinâ rem haberet, nec enim in hâc re solum, sed in plerisque +aliis contra facere visus est quam Philosophabatur. Quum enim Tyrannidem +improbaret, Tyranni præceptor erat: quumque insultaret iis qui cum +principibus versarentur, ipse à Palatio non discedebat. Assentatores +detestabatur, quum ipse Reginas coleret & libertos, ac Laudationes +quorundam componeret. Reprehendebat divites is, cujus facultates erant ter +millies sestertium: quique luxum aliorum damnabat quingentes tripodas +habuit de ligno cedrino, pedibus eburneis, similes & pares inter se, in +quibus coenabat. Ex quibus omnibus ea quæ sunt his consentanea, quæque +ipse libidinose fecit, facile intelligi possunt. Nuptias enim cum +nobilissimâ atque illustrissimâ foeminâ contraxit. Delectabatur +exoletis, idque Neronem facere docuerat etsi antea tanta fuerat in morum +severitate ut ab eo peteret, ne se oscularetur, neve una secum coenandi +causa discumberet. + + Vid. _Dion. Excerpta per Xiphilinum, Lib. 61._ + +[h] Collegæ tamen, multos Nobilium, atque inter eos Crispum etiam +Sallustium, eum, qui historiam conscripsit, Senatu ejicienti non +repugnavit. DION. _Lib. 40._ + +[i] Ab his Sallustius (qui ut Senatoriam dignitatem recupararet tum Prætor +factus erat) propemodum occisus. DION. _Lib. 42._ + +[k] Numidas quoque in suam potestarem Cæsar accepit, iisque Sallustium +præfecit. Sallustius & pecuniæ captæ & compilatæ provinciæ accusatus, +summam infamiam reportavit, quod quum ejusmodi libros composuisset, in +quibus multis acerbisque verbis eos, qui ex provinciis quæstum facerent, +notasset, nequaquam suis scriptis in agendo sterisset. Itaque etsi à +Cæsare absolutus fuit, tamen suis ipsius verbis proprium crimen abunde +quasi in tabulâ propositum divulgavit. DION. _L. 43._ + +[l] See at least a hundred and fifty Places in his late Works. + +[m] In quo deformitas corporis cum turpitudine cerrabat ingenii; adco ut +animus eius dignissimo domicilio inclusus videretur. VEL. PAT. _L. 2. B. +69._ + +[n] See the Dunciad. + + + + +The Augustan Reprint Society + +WILLIAM ANDREWS CLARK MEMORIAL LIBRARY + +University of California, Los Angeles + + +Publications in Print + + +1948-1949 + +15. John Oldmixon, _Reflections on Dr. Swift's Letter to Harley_ +(1712), and Arthur Mainwaring, _The British Academy_ (1712). + +16. Henry Nevil Payne, _The Fatal Jealousie_ (1673). + +17. Nicholas Rowe, _Some Account of the Life of Mr. William +Shakespear_ (1709). + +18. Anonymous, "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). + + +1950-1951 + +26. Charles Macklin, _The Man of the World_ (1792). + + +1951-1952 + +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). + + +1958-1959 + +77-78. David Hartley, _Various Conjectures on the Perception, Motion, and +Generation of Ideas_ (1746). + + +1959-1960 + +79. William Herbert, Third Earl of Pembroke, _Poems_ (1660). + +81. Two Burlesques of Lord Chesterfield's Letters: _The Graces_ (1774), +and _The Fine Gentleman's Etiquette_ (1776). + + +1960-1961 + +85-86. _Essays on the Theatre from Eighteenth-Century Periodicals._ + + +1961-1962 + +93. John Norris, _Cursory Reflections Upon a Book Call'd, An Essay +Concerning Human Understanding_ (1690). + +94. An. Collins, _Divine Songs and Meditacions_ (1653). + +96. _Ballads and Songs Loyal to the Hanoverian Succession_ +(1703-1761). + + +1962-1963 + +97. Myles Davies, [Selections from] _Athenae Britannicae_ (1716-1719). + +98. _Select Hymns Taken Out of Mr. Herbert's Temple_ (1697). + +99. Thomas Augustine Arne, _Artaxerxes_ (1761). + +100. Simon Patrick, _A Brief Account of the New Sect of Latitude-Men_ +(1662). + +101-102. Richard Hurd, _Letters on Chivalry and Romance_ (1762). + + +1963-1964 + +103. Samuel Richardson, _Clarissa_: Preface, Hints of Prefaces, and +Postscript. + +104. Thomas D'Urfey, _Wonders in the Sun; or, The Kingdom of the +Birds_ (1706). + +105. Bernard Mandeville, _An Enquiry into the Causes of the Frequent +Executions at Tyburn_ (1725). + +106. Daniel Defoe, _A Brief History of the Poor Palatine Refugees_ (1709). + +107-108. John Oldmixon, _An Essay on Criticism_ (1728). + + +1964-1965 + +109. Sir William Temple, _An Essay Upon the Original and Nature of +Government_ (1680). + +110. John Tutchin, _Selected Poems_ (1685-1700). + +111. Anonymous, _Political Justice_ (1736). + +112. Robert Dodsley, _An Essay on Fable_ (1764). + +113. T. R., _An Essay Concerning Critical and Curious Learning_ (1698). + +114. _Two Poems Against Pope_: Leonard Welsted, _One Epistle to Mr. A. +Pope_ (1730), and Anonymous, _The Blatant Beast_ (1740). + + +1965-1966 + +115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_. + +116. Charles Macklin, _The Covent Garden Theatre_ (1752). + +117. Sir Roger L'Estrange, _Citt and Bumpkin_ (1680). + +118. Henry More, _Enthusiasmus Triumphatus_ (1662). + +119. Thomas Traherne, _Meditations on the Six Days of the Creation_ +(1717). + +120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_ (1704). + + + + +William Andrews Clark Memorial Library: University of California, Los +Angeles + +THE AUGUSTAN REPRINT SOCIETY + +_General Editors_: George Robert Guffey, University of California, Los +Angeles; Earl Miner, University of California, Los Angeles; Maximillian E. +Novak, University of California, Los Angeles; Robert Vosper, William +Andrews Clark Memorial Library + +_Corresponding Secretary_: Mrs. Edna C. Davis, William Andrews Clark +Memorial Library + + +The Society's purpose is to publish reprints (usually facsimile +reproductions) of rare seventeenth and eighteenth century works. All +income of the Society is devoted to defraying costs of publication and +mailing. + +Correspondence concerning subscriptions in the United States and Canada +should be addressed to the William Andrews Clark Memorial Library, 2520 +Cimarron St., Los Angeles, California. Correspondence concerning editorial +matters may be addressed to any of the general editors. Manuscripts of +introductions should conform to the recommendations of the _MLA Style +Sheet_. The membership fee is $5.00 a year for subscribers in the United +States and Canada and 30/-- for subscribers in Great Britain and Europe. +British and European subscribers should address B. H. Blackwell, Broad +Street, Oxford, England. Copies of back issues in print may be obtained +from the Corresponding Secretary. + + +PUBLICATIONS FOR 1966-1967 + +HENRY HEADLEY, _Poems_ (1786). Introduction by Patricia Meyer Spacks. + +JAMES MACPHERSON, _Fragments of Ancient Poetry_ (1760). Introduction by +John J. Dunn. + +EDMOND MALONE, _Cursory Observations on the Poems Attributed to Thomas +Rowley_ (1782). Introduction by James M. Kuist. + +Anonymous, _The Female Wits_ (1704). Introduction by Lucyle Hook. + +Anonymous, _Scribleriad_ (1742). LORD HERVEY, _The Difference Between +Verbal and Practical Virtue_ (1742). Introduction by A. J. Sambrook. + +_Le Lutrin: an Heroick Poem, Written Originally in French by Monsieur +Boileau: Made English by N. O._ (1682). Introduction by Richard Morton. + + +_ANNOUNCEMENTS_: + +The Society announces a series of special publications beginning with a +reprint of JOHN OGILBY, _The Fables of Aesop Paraphras'd in Verse_ (1668), +with an Introduction by Earl Miner. Ogilby's book is commonly thought one +of the finest examples of seventeenth-century bookmaking and is +illustrated with eighty-one plates. The next in this series will be JOHN +GAY'S _Fables_ (1728), with an Introduction by Vinton A. Dearing. +Publication is assisted by funds from the Chancellor of the University of +California, Los Angeles. Price to members of the Society, $2.50 for the +first copy and $3.25 for additional copies. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Scribleriad and The Difference Between Verbal and Practical Virtue + +Author: Anonymous + Lord Hervey + +Editor: A. J. Sambrook + +Release Date: January 3, 2011 [EBook #34821] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE SCRIBLERIAD AND THE *** + + + + +Produced by Chris Curnow, Joseph Cooper and the Online +Distributed Proofreading Team at http://www.pgdp.net. + + + + + + +</pre> + + + + +<p class="center"><span class="smcap">The Augustan Reprint Society</span></p> +<p> </p> +<p class="center"><span class="large">THE SCRIBLERIAD</span></p> +<p class="center">(Anonymous)<br />(1742)</p> +<p> </p><p> </p> +<p class="center">LORD HERVEY</p> +<p class="center"><span class="large">THE DIFFERENCE BETWEEN<br /> +VERBAL AND PRACTICAL VIRTUE</span></p> +<p class="center">(1742)</p> +<p> </p><p> </p> +<p class="center"><i>Introduction by</i>A. J. SAMBROOK</p> +<p> </p><p> </p> +<p class="center">PUBLICATION NUMBER 125<br /> +WILLIAM ANDREWS CLARK MEMORIAL LIBRARY<br /> +<span class="smcap">University of California, Los Angeles</span><br /> +1967</p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p class="center">GENERAL EDITORS</p> +<p class="center">George Robert Guffey, <i>University of California, Los Angeles</i><br /> +Earl Miner, <i>University of California, Los Angeles</i><br /> +Maximillian E. Novak, <i>University of California, Los Angeles</i><br /> +Robert Vosper, <i>William Andrews Clark Memorial Library</i></p> + +<p> </p> +<p class="center">ADVISORY EDITORS</p> +<p class="center">Richard C. Boys, <i>University of Michigan</i><br /> +James L. Clifford, <i>Columbia University</i><br /> +Ralph Cohen, <i>University of California, Los Angeles</i><br /> +Vinton A. Dearing, <i>University of California, Los Angeles</i><br /> +Arthur Friedman, <i>University of Chicago</i><br /> +Louis A. Landa, <i>Princeton University</i><br /> +Samuel H. Monk, <i>University of Minnesota</i><br /> +Everett T. Moore, <i>University of California, Los Angeles</i><br /> +Lawrence Clark Powell, <i>William Andrews Clark Memorial Library</i><br /> +James Sutherland, <i>University College, London</i><br /> +H. T. Swedenberg, Jr., <i>University of California, Los Angeles</i></p> + +<p> </p> +<p class="center">CORRESPONDING SECRETARY</p> +<p class="center">Edna C. Davis, <i>William Andrews Clark Memorial Library</i></p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum">[Pg i]</span></p> +<h2>INTRODUCTION</h2> + +<p>Though they are never particularly edifying, literary quarrels may at +times be educative. Always savage, attacks on Pope reached their lowest +depths of scurrility in 1742, when, in addition to the usual prose and +doggerel verse pamphlets, engravings were being circulated portraying Pope +in a brothel—this on the basis of the story told in the notorious <i>Letter +from Mr. Cibber to Mr. Pope</i>, dated 7 July 1742.<small><a name="f1.1" id="f1.1" href="#f1">[1]</a></small> The Augustan Reprint +Society has already reissued three of the anonymous Grub Street attacks +made upon Pope in this busy year,<small><a name="f2.1" id="f2.1" href="#f2">[2]</a></small> but the present volume is intended to +complete the picture of the battle-lines by reprinting a verse attack +launched from the court—by Hervey presenting himself as Cibber’s +ally—and a verse defence that comes, in point of artistry, clearly from +or near Grub Street itself.</p> + +<p>Lord Hervey’s verses, <i>The Difference between Verbal and Practical +Virtue</i>, were published between 21 and 24 August 1742, less than a week +after the same author’s prose pamphlet (<i>A Letter to Mr. C—b—r, On his +Letter to Mr. P——.</i>) which had compared the art of Pope and Cibber to +Cibber’s advantage, and had roundly concluded that Pope was “<i>a +second-rate Poet</i>, a <i>bad Companion</i>, a <i>dangerous Acquaintance</i>, an +<i>inveterate, implacable Enemy</i>, <i>nobody’s Friend</i>, a <i>noxious Member of +Society</i>, and <i>a thorough bad Man</i>.” In the course of the prose pamphlet +Hervey had suggested that there was a certain incongruity between Pope’s +true character and his assumed <i>persona</i> of the “virtuous man,” and this +incongruity forms the main subject of his verse attack. Here Hervey finds +examples of “the difference between verbal and practical virtue” in the +lives of Horace, Seneca, and Sallust, before turning to lampoon Pope +crossly and ineptly. The attack on Horace is well conceived for Hervey’s +purpose and calculated to damage Pope who was in so many eyes, including +his own, the modern heir of that ancient poet, but the straight abuse +directed<span class="pagenum">[Pg ii]</span> against Pope’s person is sad stuff. Such lines as those on the +“yelping Mungril” (p. <a href="#Page_6">6</a>) serve only to show how squarely the “well-bred +Spaniels” taunt in the <i>Epistle to Dr. Arbuthnot</i> had hit its target. +Hervey’s poem carried a prefatory letter headed “Mr. C—b—er to Mr. P.,” +making out that Cibber had a hand in writing the poem itself. Coming so +soon after Hervey’s <i>Letter to Cibber</i>, which had carried the markedly +intimate subscription “With the greatest Gratitude and Truth, most +affectionately yours,” this prefatory letter to the poem further +emphasized Hervey’s firm and deliberate alliance with Cibber.</p> + +<p>Evidently it was the strangeness of this alliance between the two +opponents of Pope that struck the fancy of that unidentified “Scriblerus” +whose “Epistle to the Dunces,” <i>The Scribleriad</i>, was published between 30 +September and 2 October 1742. When Hervey was “affectionately yours” to +Cibber, the two stood shoulder to shoulder so temptingly open to a single +volley that the author of <i>The Scribleriad</i> could fairly claim, as Pope +had claimed in the appendix to <i>The Dunciad Variorum</i> of 1729, that “the +<i>Poem was not made for these Authors, but these Authors for the Poem</i>.” +Hervey appears as “Narcissus,” the nickname Pope had used for him in <i>The +New Dunciad</i>. A “late Vice-Chamberlain” (because he had been dismissed +from that post in July 1742) still gorged with the fulsome dedication of +Conyers Middleton’s <i>Life of Cicero</i> (1741), he is shown (pp. <a href="#Page_11">11-13</a>) +rousing Cibber. Cibber’s situation, reclining on the lap of Dulness where +he is found by Hervey, is taken from <i>The New Dunciad</i>, while his general +Satanic role parallels Theobald’s in <i>The Dunciad Variorum</i>. This may +reflect common knowledge that Pope was at work on revisions that would +raise Cibber to the Dunces’ throne, but the belief that Cibber was King of +the Dunces had been widespread from the date of his appointment as Poet +Laureate.<small><a name="f3.1" id="f3.1" href="#f3">[3]</a></small> <i>The Scribleriad</i> follows the general run of satires against +Cibber—attacking his senile infatuation for Peg Woffington, his violently +demagogic and chauvinistic <i>Nonjuror</i> (first acted in 1717 but still +drawing an audience in 1741), his laureate odes and his frank +commercialization of art.</p> + +<p>Although the writer of <i>The Scribleriad</i> was obviously prompted by the +example of <i>The Dunciad</i> and borrows many details from Pope,<span class="pagenum">[Pg iii]</span> his poem has +very little of that mock-epic quality its title might lead a reader to +expect. There are slight traces of parody of Virgil when, on page <a href="#Page_16">16</a>, +Cibber appears as Aeneas (the character he was soon to assume in <i>The +Dunciad in Four Books</i>) and the epicene Hervey is portrayed as a +rejuvenated Sybil guiding the hero through a hell of duncery. There are +hints of <i>Paradise Lost</i> too, when Cibber, Satan-like, undertakes his +mission (p. <a href="#Page_17">17</a>) and the dunces, Belial-like, agree “they’re better in a +cursed State,/Than to be totally annihilate” (p. <a href="#Page_5">5</a>). But “Scriblerus’” use +of Virgil and Milton, unlike Pope’s, does not import some graver meaning +into his poem; it provides him with neither a framework of moral symbols +nor a continuous narrative thread.</p> + +<p>The action is slight and its setting vague. Sometimes we are in a brothel, +crowded with bullies, punks, lords, draymen and linkboys, and managed by +Cibber (pp. <a href="#Page_11">11-12</a>) or by Dulness (p. <a href="#Page_10">10</a>). This setting, together with the +claim that Cibber’s own muse is a prostitute (p. <a href="#Page_8">8</a>), serves as a retort to +the Tom-Tit in the brothel story in Cibber’s <i>Letter to Pope</i> and to +emphasize the element of literary prostitution in the activities of Cibber +and his like. At other times the setting is a regular dunces’ club (pp. <a href="#Page_9">9</a>, +<a href="#Page_16">16</a>) of the type chronicled in the pages of <i>The Grub Street Journal</i>. +Towards the end of the poem it is an Assembly Room (p. <a href="#Page_19">19</a>) presided over +by the Goddess of Puffs (a happy development of that more commonplace +mythical figure “Fame,” Dulness’ handmaiden in <i>The New Dunciad</i>) who sets +a test for the dunces and judges their performance. Only in this +concluding episode can this rather shapeless poem (which certainly is +neither the mock epic nor the epistle that its title-page promises) be +assigned to any regular literary “kind.” This “kind” is that favorite of +the seventeenth and early eighteenth centuries, the “Sessions Poem.”<small><a name="f4.1" id="f4.1" href="#f4">[4]</a></small></p> + +<p>“Scriblerus’” account of the sessions of the dunces is more allusive and +particularized than the rest of the poem and consequently calls for +somewhat more detailed comment. The chief cases at the sessions embrace +the pamphlet battle of summer 1742 and theatrical rivalry in the 1741-42 +London season. Cibber’s contribution to the paper-war, the <i>Letter to +Pope</i> (written according to Cibber “At the Desire of several Persons of +Quality”), is<span class="pagenum">[Pg iv]</span> introduced at page <a href="#Page_17">17</a> and consigned on page <a href="#Page_19">19</a> to William +Lewis its printer. Hervey stalks in “under VIRTUE’s Name” in a “borrow’d +Shape” (p. <a href="#Page_24">24</a>), an allusion to the suggestion in the prefatory epistle to +<i>The Difference between Verbal and Practical Virtue</i> that the poem was +Cibber’s work. (The “horse him” on <a href="#Page_25">25</a> of <i>The Scribleriad</i> refers to +Cibber’s adaptation of Shakespeare’s <i>Richard III.</i>) Other pamphlets +issued in August 1742 are mentioned on page <a href="#Page_24">24</a>—<i>Sawney and Colley</i>,<small><a name="f5.1" id="f5.1" href="#f5">[5]</a></small> +which “Scriblerus” calls “CLODDY’s Dialogue,” and <i>A Blast upon Bays</i>.<small><a name="f6.1" id="f6.1" href="#f6">[6]</a></small></p> + +<p>Turning to the theatre, “Scriblerus” attacks all three major companies of +the 1741-42 London season. He first introduces the two patented theatres, +Drury Lane and Covent Garden, as rivals only in that debased dramatic form +the pantomime. “The angry <i>Quack</i>” (p. <a href="#Page_25">25</a>) is John Weaver, dancing master +at Drury Lane and author of <i>Anatomical and Mechanical Lectures upon +Dancing</i> (1721), who claimed for himself<small><a name="f7.1" id="f7.1" href="#f7">[7]</a></small> the credit of having +originated pantomime upon the English stage. Weaver’s <i>Orpheus and +Eurydice</i> at Drury Lane (1718) was hardly noticed, whereas John Rich had +more recently bestowed “an ORPHEUS on the Town” (p. <a href="#Page_25">25</a>) to very different +effect. Rich’s <i>Orpheus and Eurydice: With the Metamorphoses of Harlequin</i> +had opened on 12 February 1740 at Covent Garden, where he was manager. +With Rich himself as Harlequin, it was a wild success that +season—remaining a regular and highly popular afterpiece through the +1741-42 season and later.</p> + +<p>What <i>The Scribleriad</i> tells us of “<i>Ambivius Turpio</i>, the Stage ’Squire” +(p. <a href="#Page_26">26</a>) suggests that he is to be identified with Charles Fleetwood, +Esq.,<small><a name="f8.1" id="f8.1" href="#f8">[8]</a></small> the wealthy, inexperienced amateur who managed Drury Lane (this +even though the original Ambivius Turpio was an actor, while Fleetwood, +apparently, was not). All managers were frequently involved in disputes +over actors’ pay, but Fleetwood’s were the most notorious. It was the +Drury Lane company that included “the contending POLLYS” (p. <a href="#Page_27">27</a>)—Mrs. +Cibber and Mrs. Clive who had bitterly quarrelled in 1736 over who should +play that role in <i>The Beggar’s Opera</i>. Fleetwood, like Rich, gave a play +for the benefit of Shakespeare’s monument in Westminster Abbey.<small><a name="f9.1" id="f9.1" href="#f9">[9]</a></small> What +little that Fleetwood knew of management he might well have learned from +his one-time under-manager Theophilus Cibber, the<span class="pagenum">[Pg v]</span> “young PTOLOMY” (p. <a href="#Page_27">27</a>) +who, of course, had derived his knowledge from his “great Sire alone.”</p> + +<p>The third theatre attacked in <i>The Scribleriad</i> is Goodman’s Fields. Its +manager, Henry Giffard, had no patent, but contrived to evade the +Licensing Act by the subterfuge of charging admission to a concert in two +parts and then offering, “gratis” in the interval, a regular full-length +play and afterpiece. The “City Wrath” (p. <a href="#Page_26">26</a>) arose from the fact that the +theatre was inside the City boundaries and was thought to encourage vice; +indeed, Sir John Barnard and his fellow aldermen managed to prevent it +opening for the 1742-43 season and thereafter. Allusions in the poem are +to the theatre’s highly successful 1741-42 season when Garrick sprang to +fame as Cibber’s Richard III and also played Tate’s King Lear. On page <a href="#Page_26">26</a> +“Scriblerus” sneers at Garrick’s small stature,<small><a name="f10.1" id="f10.1" href="#f10">[10]</a></small> and refers to the +impropriety of including the figure of Cato in the décor at Goodman’s +Fields.</p> + +<p>Targets outside the three theatrical companies are chosen from among the +obvious ones already attacked by Pope. Mrs. Haywood, who in 1742 had +turned publisher under the sign of “Fame,” is shown (p. <a href="#Page_21">21</a>) appropriately +enough as the first dunce to recognize the Goddess of Puffs. “The Chief of +the translating Bards” (p. <a href="#Page_23">23</a>) is the aged and industrious Ozell, and his +fellows include Theobald and Thomas Cooke (p. <a href="#Page_24">24</a>).<small><a name="f11.1" id="f11.1" href="#f11">[11]</a></small> The satire extends +to touch the Administration and the City, with references to Britain’s +hitherto inactive part in the War of the Austrian Succession (p. <a href="#Page_9">9</a>) and to +the manner in which stock-jobbers used false war news to aid their +financial speculations (p. <a href="#Page_4">4</a>). It alludes to the “grand Debate” (p. <a href="#Page_8">8</a>) of +the committee set up in March 1742 to consider charges of corruption +against the deposed Walpole (created Lord Orford in February), which by +the end of the summer had fizzled out, doubtless because so many members +of the new government, including the numerous “Peers new-made” (p. <a href="#Page_9">9</a>), had +shared Walpole’s peculations and wished to cover their tracks. When it +hits at the King for his patronage of Cibber (p. <a href="#Page_13">13</a>), at the Queen for her +ridiculous Merlin’s Cave and waxworks in Richmond Gardens (p. <a href="#Page_16">16</a>),<small><a name="f12.1" id="f12.1" href="#f12">[12]</a></small> and +at the <i>Daily Gazeteer</i> which, until Walpole’s fall, had been expensively +subsidized from the government secret<span class="pagenum">[Pg vi]</span> service fund and had numbered among +its journalists such highly placed statesmen as Walpole’s brother +Horatio—then, <i>The Scribleriad</i> suggests, there is a general conspiracy +between high ranks and low to encourage Dulness. The Hervey-Cibber +alliance is merely the most recent manifestation of this conspiracy.</p> + +<p>Although it so obviously arises immediately out of the pamphlet battle of +summer 1742, <i>The Scribleriad</i> manages to range more widely in its satire +than the anti-Pope lampoons it replies to. Further, it contrives to bring +in Pope himself without degrading him to the level of his antagonists. +This is done by mounting him on Pegasus and likening the dunces to curs +(pp. <a href="#Page_13">13-14</a>), or comparing him to the sun whose warmth hatches out maggots +(pp. <a href="#Page_6">6</a>, <a href="#Page_29">29</a>):</p> + +<p class="poem">How many, who have Reams of Paper spoil’d,<br /> +Have often sleepless Nights obscurely toil’d,<br /> +And buried in their Eggs, like Silkworms, lay<br /> +’Till his warm Satire shew’d them Life and Day?<br /> +Here then, my Sons, is all your living Hope,<br /> +To be immortal Scriblers, rail at POPE.</p> + +<p>The image, the attitude and the phrasing alike are borrowed from Pope, for +<i>The Scribleriad</i> is highly derivative throughout. Only two or three times +does “Scriblerus” improve at all upon the many hints he steals from Pope. +I have already mentioned the Goddess Puffs, but other happy touches are to +be found in a spirited travesty (pp. <a href="#Page_16">16-17</a>) of the opening lines from +Ovid’s <i>Metamorphoses</i>, Book XIII:<small><a name="f13.1" id="f13.1" href="#f13">[13]</a></small></p> + +<p class="poem">The Chiefs were sate, the Scriblers waited round<br /> +<span style="margin-left: 2em;"><span class="spacer">·</span><span class="spacer">·</span><span class="spacer">·</span><span class="spacer">·</span><span class="spacer">·</span><span class="spacer">·</span></span><br /> +When he, the Master of the Seven-fold Face,<br /> +Rose gleaming thro’ his own <i>Corinthian</i> Brass.</p> + +<p>Pope had written in <i>The Dunciad Variorum</i>, “The heroes sit; the vulgar +form a ring” (II, 352), but one of the most memorable phrases in <i>The +Dunciad in Four Books</i> of 1743—the ingeniously insolent “sev’nfold Face” +(I, 244)—may well have been borrowed from <i>The<span class="pagenum">[Pg vii]</span> Scribleriad</i>. “Corinthian +Brass” is good also, economically combining as it does a hit against +Cibber’s effrontery and a hint of his sexual irregularities. Such strokes +of wit are rare; <i>The Scribleriad</i> is the work of a writer who in skill is +far closer to Grub Street than to Pope, but it may serve as “a voice from +the crowd” to remind us that Pope had his humbler literary supporters.</p> + +<p>The University<br />Southampton</p> + + +<p> </p><p> </p> +<p><span class="pagenum">[Pg viii]</span></p> +<h2>NOTES TO THE INTRODUCTION</h2> + +<p><a name="f1" id="f1" href="#f1.1">1. </a> The engravings are numbered 2571-2573 in F. G. Stephens, <i>Catalogue of +Prints and Drawings in the British Museum, Division 1—Satires</i> (London, +1877), Vol. III, Part I. For lists of pamphlets attacking, and in some +cases defending, Pope in 1742, see R. W. Rogers, <i>The Major Satires of +Alexander Pope</i> (Urbana, 1955), pp. 150, 151 and C. D. Peavy, “The +Pope-Cibber Controversy: A Bibliography,” in <i>Restoration and Eighteenth +Century Theatre Research</i>, III (1964), 53, 54. For accounts of the +Pope-Cibber quarrel see R. H. Barker, <i>Mr. Cibber of Drury Lane</i> (New +York, 1939), pp. 204-220, and N. Ault, <i>New Light on Pope</i> (London, 1949), +pp. 298-324.</p> + +<p><a name="f2" id="f2" href="#f2.1">2.</a> <i>Sawney and Colley</i> and <i>Blast upon Blast</i> in Number 83 (1960), and +<i>The Blatant Beast</i> in Number 114 (1965).</p> + +<p><a name="f3" id="f3" href="#f3.1">3.</a> E.g., in <i>The New Session of the Poets</i> (<i>The Universal Spectator</i>, 6 +Feb. 1731) the Goddess Dulness calls a session and awards the crown to +Cibber.</p> + +<p><a name="f4" id="f4" href="#f4.1">4.</a> See Hugh Macdonald, “Introduction,” <i>A Journal from Parnassus</i> (London, +1937) and A. L. Williams, “Literary Backgrounds to Book Four of the +<i>Dunciad</i>,” <i>PMLA</i>, LXVIII (1953), 806-813.</p> + +<p><a name="f5" id="f5" href="#f5.1">5.</a> See note 2 above.</p> + +<p><a name="f6" id="f6" href="#f6.1">6.</a> An anti-Cibber work in prose. It is doubtful that “Scriblerus,” who +thought this work did more harm than good to Pope’s cause, would have +endorsed the British Museum catalogue’s attribution of it to Pope himself.</p> + +<p><a name="f7" id="f7" href="#f7.1">7.</a> In <i>The History of the Mimes and Pantomimes</i> (1728).</p> + +<p><a name="f8" id="f8" href="#f8.1">8.</a> Some account of Fleetwood may be found in R. W. Buss, <i>Charles +Fleetwood, Holder of the Drury Lane Theatre Patent</i> (privately printed, +1915). There are hostile contemporary accounts of Fleetwood in Henry +Carey’s epistle <i>Of Stage Tyrants</i> [(1735) reprinted in <i>The Poems of +Henry Carey</i>, ed. F. T. Wood (1930)], in Charlotte Charke’s <i>The Art of +Management</i> (1735), and in <i>A Narrative of the Life of Mrs. Charlotte +Charke, Youngest Daughter of Colley Cibber, Written by Herself</i> (1735).</p> + +<p><span class="pagenum">[Pg ix]</span><a name="f9" id="f9" href="#f9.1">9.</a> <i>Julius Caesar</i>, on 28 April 1738. Rich offered <i>Hamlet</i> on 10 April +1739.</p> + +<p><a name="f10" id="f10" href="#f10.1">10.</a> A lady once asked Foote, “Pray, Sir, are your puppets to be as large +as life?” “Oh dear, Madam, no: not much above the size of Garrick.” See +William Cooke, <i>Memoirs of Samuel Foote</i> (1805), II, 58.</p> + +<p><a name="f11" id="f11" href="#f11.1">11.</a> Theobald never published his long promised translation of Aeschylus; +but, by bracketing it with Cooke’s musical farce from Terence, <i>The +Eunuch</i>, which <i>was</i> performed (Drury Lane, 17 May 1737), “Scriblerus” +seems to imply that he did complete it.</p> + +<p><a name="f12" id="f12" href="#f12.1">12.</a> The immediate target of this shaft was the waxwork show kept by Mrs. +Salmon near St. Dunstan’s Church in Fleet Street, but the original +“Merlin’s Cave” built for Queen Caroline in 1735 remained a standing jest +into the 1740’s.</p> + +<p><a name="f13" id="f13" href="#f13.1">13.</a> “Consedere duces et vulgi stante corona surgit ad hos clipei dominus +septemplicis” (<i>Met.</i>, XIII, 1-2). Dryden translates:</p> + +<p class="poem">The Chiefs were set; the Soldiers crown’d the Field:<br /> +To these the Master of the seven-fold Shield<br /> +Upstarted fierce.</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<h2>BIBLIOGRAPHICAL NOTE</h2> + +<p class="note">The text of this edition of <i>The Scribleriad</i> is reproduced from a copy in +the Library of St. David’s College, Lampeter, and that of <i>The Difference +between Verbal and Practical Virtue</i> from a copy in the British Museum.</p> + + + +<p> </p><p> </p> +<p><span class="pagenum">[Pg 1]</span></p> +<p class="center">THE<br /> +<span class="large">SCRIBLERIAD.</span><br /> +<br /> +BEING AN<br /> +<span class="large">EPISTLE</span><br /> +TO THE<br /> +<span class="large">DUNCES,</span><br /> +<br /> +On <span class="smcap">Renewing</span> their<br /> +<span class="big"><span class="smcap">Attack</span> upon Mr. <i>POPE</i>,</span><br /> +UNDER THEIR<br /> +<span class="big"><span class="smcap">Leader</span> the <i>LAUREAT</i>.</span></p> +<p> </p> +<p class="center">By <span class="smcap">Scriblerus</span>.</p> +<p> </p> +<table border="0" cellpadding="0" cellspacing="5" summary="table"> +<tr><td><i>No Author ever spares a Brother;<br /> +Wits are</i> Game Cocks <i>to one another.</i></td><td><span class="smcap">Gay.</span></td></tr></table> +<p> </p> +<p class="center"><i>LONDON</i>:<br /> +Printed for <span class="smcap">W. Webb</span>, near St. <i>Paul</i>’s. 1742.<br /> +[Price Six-pence.]</p> + +<p><span class="pagenum">[Pg 2]</span></p> + + +<p> </p><p> </p> +<p><span class="pagenum">[Pg 3]</span></p> +<p class="center">THE<br /><br /> +<span class="large">SCRIBLERIAD.</span><br /> +<br />AN<br /><br /><span class="big">EPISTLE</span></p> + +<p> </p> +<table border="0" cellpadding="0" cellspacing="5" summary="table"> +<tr><td>The Wits are jarring, and the Witlings strive,<br /> +To keep the <i>dying</i> Quarrel still <i>alive</i>;<br /> +So shallow Gamesters, tho’ they nothing get,<br /> +All blind the <i>Dupe</i>, and aid the <i>sly Deceit</i>.<br /> +<span style="margin-left: 1em;">Attend, ye <span class="smcap">Scriblers</span>! to your Leader’s Call,</span><br /> +Good Sense condemn, and pointed Satire maul;<br /> +Ye <span class="smcap">Dunces</span> too! for ye not differ more<br /> +Than <i>Bluff</i> and <i>Wittol</i>, or than <i>Bawd</i> and <i>Whore</i>:<br /> +<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>High on the Pedestal of Rank and State,<br /> +Mounts rich <i>Sir Dunce</i>, and seems to ape the Great;<br /> +Whilst low beneath the wretched Scribler lies,<br /> +And his Inscription unrewarded eyes;<br /> +Equal are they, whom <i>blund’ring Measures</i> raise,<br /> +And Bards who sasly censure, as they praise;<br /> +The <i>Statesman</i>, well examin’d, will appear<br /> +But Counterpart of his dear <i>Gazetteer</i>:<br /> +Tho’ One in his gilt Chariot proudly rolls,<br /> +Or heads in <i>D——g-Room</i> his Brother Tools—<br /> +And Th’ other labours hard whate’er he says,<br /> +Shining in Coffee-house with doubtful Phrase;<br /> +Still restless in all Stations, pleas’d with none;<br /> +For ever climbing, yet for ever down:<br /> +Oft have we seen, that <i>Noblemen</i> have wrote,<br /> +And <i>Authors</i> sometimes, strutting in <i>lac’d Coat</i>;<br /> +But widely then from Nature’s Ends they err,<br /> +And play the Farce quite out of Character.<br /> +As well may pious Jobbers of the Alley<br /> +Pretend the <i>flying</i> Troops of <i>France</i> to rally.<br /> +<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span>To proper Spheres, my Friends! yourselves confine!<br /> +When <span class="smcap">Colley</span> writes, a <i>Dunce</i> may praise each Line;<br /> +Whether <i>my Lord at Length</i>, he views the Plan,<br /> +Or sculks beneath a <i>certain Gentleman</i>;<br /> +But if that Lord the <i>Pen</i> or <i>Press</i> invade,<br /> +Rouse, rouse, ye Tribe! he’ll undermine your Trade,<br /> +Tho’ not one brilliant Thought should hurt the whole,<br /> +And ev’ry Verse be bad, or lame, or stole,<br /> +Still, like a <i>mad Dog</i>, hunt th’ Usurper dead,<br /> +Tho’ he <i>for Fame</i>, ye scribble to <i>be fed</i>;<br /> +He stands condemn’d, who robs ye of your <i>Bread</i>.<br /> +<span style="margin-left: 1em;">But if a Genius rise, whose pointed Wit</span><br /> +Corrects your Morals, and all Tastes shall fit,<br /> +Claim then the Privilege to be his Foes,<br /> +Ye cannot shine, but when ye Worth oppose.<br /> +When ye <i>deny</i> him <i>Fame</i>, ye <i>fix</i> your <i>own</i>,<br /> +And to be satirized, is to be known.<br /> +Some hold, they’re better in a cursed State,<br /> +Than to be totally annihilate;<br /> +<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span>Thrice happy then, ye deathless, duncely Train!<br /> +The Subjects of the higher <span class="smcap">Dunciad</span>’s Strain.<br /> +How many, who have Reams of Paper spoil’d,<br /> +Have often sleepless Nights obscurely toil’d,<br /> +And buried in their Eggs, like Silkworms, lay<br /> +’Till his warm Satire shew’d them Life and Day?<br /> +Here then, my Sons, is all your living Hope,<br /> +To be immortal Scriblers, rail at <span class="smcap">Pope</span>.<br /> +Snatch’d from Oblivion, there the <i>Dunces</i> soar,<br /> +<span class="smcap">Tibbald</span> their Monarch dubb’d, can ask no more,<br /> +Nor less shall ye——now <span class="smcap">Colley</span> gives the Word,<br /> +Rouse up! and crowd into the next Record,<br /> +Or, lost to Memory, no other Page<br /> +Can possibly retrieve ye half an Age;<br /> +And now the glad Occasion aptly calls,<br /> +To <i>break</i> more <i>Printers</i>, and to <i>spread</i> more <i>Stalls</i>;<br /> +To save your <i>Names</i> from <i>Lethe</i>, tho’ your Books<br /> +Are doom’d the Prize of <i>Fruiterers</i> and <i>Cooks</i>.<br /> +The Streams of <i>Helicon</i> once clearly flow’d,<br /> +And Heav’n in their resplendent Bosom shew’d,<br /> +<span class="pagenum">[Pg 7]</span>Whilst verdant Groves the sacred Mountain spread;<br /> +Then <i>Pegasus</i> on Balms and Myrtles fed:<br /> +Now blighted <i>Thistles</i> only crown the Top,<br /> +Which Herds of young <i>poetic Asses</i> crop;<br /> +And, choak’d with common Sew’rs, like <i>Fleet-ditch</i> Flood,<br /> +Its sable Waters writhe along the Mud;<br /> +Nor murm’ring wake, nor seem they quite asleep,<br /> +Whilst <i>Wits</i>, like <i>Water-rats</i>, around them creep.<br /> +If any shou’d attempt to cleanse your Streams,<br /> +Or wake ye from your kind lethargic Dreams,<br /> +Assert your Right, and render vain their Toil;<br /> +Yours is the Filth, then join and guard your Soil!<br /> +And lest ye’re diffident to aid the Cause,<br /> +Not wholly yet broke loose from Reason’s Laws,<br /> +View the strange Wonders of the present Times,<br /> +Let Empires sleep, but hear the Fate of Rhimes.<br /> +Let <span class="smcap">Pope</span> lull all his <i>Dunces</i> with a Yawn,<br /> +Wrapt in their Robes of <i>P—ple</i> or of <i>L—wn</i>,<br /> +Whilst he shall leave one tatter’d <i>Muse</i> awake;<br /> +That <i>Muse</i> his own and others Rest shall break.<br /> +<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>A Prostitute, her Charms their Vigour lose,<br /> +Now <span class="smcap">Colley</span> keeps her, and she sups on Prose;<br /> +But free and common, hack’d about the Town,<br /> +Each of ye claim her! for she’s all your own.<br /> +With him, unmov’d by Salary or Sack,<br /> +She d——ns his Impotence of <i>Brain</i> and <i>Back</i>;<br /> +That thus in Age he strains at Wit’s Embrace,<br /> +And follows <span class="smcap">W—ff—n</span> from Place to Place;<br /> +But tho’ <i>cold Prose</i> to him she’ll only give,<br /> +Ye, my pert Sons! who with more Ardour strive,<br /> +May raise the bastard Issue of a Verse,<br /> +To wear the wither’d <i>Bays</i>, or deck his <i>Hearse</i>.<br /> +<span style="margin-left: 1em;">Now for six Months had <span class="smcap">O——d</span> shook the State</span><br /> +With <i>grand Removals</i>, and <i>a grand Debate</i>:<br /> +<i>Dunce</i> elbow’d <i>Dunce</i>, each foremost wou’d advance,<br /> +But backward fell, as in old <i>Bayes</i>’s Dance:<br /> +When <i>Dulness</i> spread her pow’rful <span class="smcap">Yawn</span> around,<br /> +“And Sense and Shame, and Right and Wrong were drown’d,<br /> +<i>Enquiry</i> ceas’d, and, touch’d by magic Wand,<br /> +Ev’n <i>Opposition’s</i> self was at a Stand;<br /> +<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>On well-oil’d Hinges creaks the Prison Gate,<br /> +And <i>Pains and Penalties</i> will come too late.<br /> +’Twas Night’s high Noon at <i>P—is</i> and the <i>H—ge</i>,<br /> +And <i>Politics</i> had died, but for poor <i>P—gue</i>;<br /> +For why, “The Goddess bade <span class="smcap">Britannia</span> sleep,<br /> +“And pour’d her Spirit o’er the Land and Deep.”<br /> +And now the <i>Scriblers</i>, motionless and mute,<br /> +Sit down to count their Gains by the Dispute,<br /> +To see on which Side Victory hath run;<br /> +Like <i>Mackbeth’s Witches</i>, when the Mischief’s done,<br /> +They tell ye, that the Battle’s <i>lost</i> and <i>won</i>:<br /> +Contriving whom to <i>greet</i>, or whom <i>disgrace</i>,<br /> +As <i>Gazettes</i> speak them <i>in</i> or <i>out</i> of <i>Place</i>;<br /> +For <i>Panegyrics</i> drein their tilted Wit<br /> +On Peers <i>new-made</i>, against the House shall sit,<br /> +Or saucily appear before their Betters<br /> +In <i>sage Advice</i>, or on an <i>old Member’s Letters</i>:<br /> +Thus fate, they waiting the approaching Yawn,<br /> +Wishing for Sleep till the next <i>Sessions’ Dawn</i>,<br /> +<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>When the kind Goddess did her Jaws unclose,<br /> +She snor’d aloud, and strait a Vapour rose,<br /> +Unwholsome as the Damps a Collier meets<br /> +Too often in his subterraneous Pits;<br /> +For <i>Dulness</i> taints all round her where she breathes,<br /> +As witness, <span class="smcap">Colley</span>, thy dry blighted Wreaths:<br /> +Nor cou’d the upward Gasp disperse the Steam,<br /> +But from below disturb’d her <i>Consort’s</i> Dream;<br /> +Yet from her downy Lap he started not,<br /> +But mutter’d something thus—as loose of Thought;<br /> +“He hurts not me—my <span class="smcap">Cæsar</span>—Satire—dull,<br /> +“Why all the World knows I’ve been long—a F—l;<br /> +“But now—I’ll do’t—Yae—ough”—so said, he drops,<br /> +Salutes his Queen’s Effulgence, and thus stops.<br /> +<span style="margin-left: 1em;">The Throne where <i>Dulness</i> sate, maintaining Right,</span><br /> +Resembled much some Monarch’s of the Night,<br /> +Where gloomy Myrmidons and Punks resort,<br /> +And snore on Benches round his ample Court.<br /> +Both there and here, as in the busy World,<br /> +Lords, Draymen, Linkboys, in Confusion hurl’d;<br /> +<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>Beneath the Monarch, fond to be employ’d,<br /> +<span class="smcap">Narcissus</span> lay with <i>too much</i> <span class="smcap">Tully</span> cloy’d;<br /> +As Gluttons gorg’d at City Feasts too soon,<br /> +Oft get their Naps before the rest lye down;<br /> +Their heaving Stomachs turn’d at something tart,<br /> +When others doze, oft make them wildly start:<br /> +So he—“Why, what a Pax! who’d be a L—d,<br /> +“If Worth and Merit only Praise afford?<br /> +“I can’t be prais’d as <i>Poet</i>, <i>Wit</i>, or <i>P——r</i>,<br /> +“But that dem’d <i>Twick’nam</i> Bard my Parts will jeer;<br /> +“If I can’t write myself, here’s <span class="smcap">Colley</span> shall;<br /> +“I’ve often heard him swear—he’ll stand <i>’em all</i>:<br /> +“If he refuse me, I have still another,<br /> +“I’ll <i>hammer</i> him conjointly with my B——r;<br /> +“But sure the <i>Laureat Harp</i> must tune a Strain,<br /> +“New mended by a late <i>V——e C—mb—n</i>;<br /> +“For he, to give his Due unto the <i>Devil</i>,<br /> +“Was always to us Folks of Fashion civil.”<br /> +<span style="margin-left: 1em;">Resolv’d at once, he tweaks the Monarch’s Nose,</span><br /> +The Monarch snor’d—new Streams from <i>Dulness</i> rose.<br /> +<span class="pagenum">[Pg 12]</span>Close to his Ear he lays his dimpled Cheek,<br /> +And in soft Accents speaks, or seem’d to speak,<br /> +“Dear <i>Laureate</i>, rouse, the Enemy’s at Hand,<br /> +“Another <span class="smcap">Dunciad</span> travels round the Land,<br /> +“Whence all the sole Proprietors of Trash,<br /> +“Thy Friends and mine, most justly fear the Lash.<br /> +<span style="margin-left: 1em;">Vain are his Efforts—yet again he tries,</span><br /> +“Thy <i>Odes</i>!—oh save thy <i>Odes</i>!—dear <i>Laureat</i> rise;<br /> +“If not for <i>Odes</i>—yet for <i>Love’s Riddle</i> wake—<br /> +“Nor that?—thy <i>Careless Husband</i>’s then at Stake.<br /> +All wou’d not do—his soft Distress preferr’d,<br /> +Nor the great Mother, nor the <i>Laureat</i> heard;<br /> +For on her Lap so <i>daintily</i> he lay,<br /> +His Senses, breath’d into her, stole away;<br /> +All Aims at a Recovery were vain,<br /> +Till she vouchsaf’d to breathe them back again.<br /> +“One gentle Imprecation more and then,<br /> +“He cries, Farewel the <i>Laureat</i> and his <i>Pen</i>:<br /> +“Thy Country calls, if thou resign’st thy Sense,<br /> +“Yet rouse to be a Man of Consequence.<br /> +<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>“Who calls thee <i>Dunce</i>, abuses too thy K—g,<br /> +“Whose Praises, by thy Place, thou’rt bound to sing;<br /> +“O! grant me Aid, assume the pleasing Task,<br /> +“In thy <i>Nonjuror</i>’s fav’rite Name I ask.<br /> +<span style="margin-left: 1em;">Thrice groan’d the <i>Ompha</i>, and in Thunder spoke,</span><br /> +The Blast his Sense return’d, and Slumber broke;<br /> +<i>Nonjure!</i> That Word alone unbinds the Charms,<br /> +For <i>Party</i>-Dulness always sounds to <i>Arms</i>;<br /> +Upstarts the Sire—“Mistake me not, he cries,<br /> +“Whoever says I was asleep———he lies;<br /> +“You know, my L—d, how I my Wits exert,<br /> +“How always pleasing, and how always pert;<br /> +“I know your Grief, before the Cause is told;<br /> +“Then here my Pen in Readiness I hold.<br /> +“Since by Desire I enter thus the Lists,<br /> +“I vow Revenge—know, <span class="smcap">Colley</span> ne’er desists:<br /> +“Then I’ll pursue him with my latest Breath,<br /> +“Nor drop <i>this Pen</i> ’till quite <i>benum’d</i> with <i>Death</i>.<br /> +<span style="margin-left: 1em;">High on the Muses <i>Pegasus</i> <span class="smcap">Dan P—pe</span></span><br /> +Mounts <i>full of Spirit</i>, nor vouchsafes to stoop,<br /> +<span class="pagenum">[Pg 14]</span>But hears the Murmurs of the Dull upborn,<br /> +Low empty Curses, or vain stingless Scorn;<br /> +One Dash strikes all the mean Revilers down,<br /> +As sure as <span class="smcap">Jove</span> should swear by <span class="smcap">Acheron</span>:<br /> +Whether his <i>Person</i> be their standing Jest,<br /> +Or his <i>Religion</i> suits their Libels best;<br /> +Whether the <i>Author</i> forms his crude Designs,<br /> +As the <i>deserted Bookseller</i> repines,<br /> +Who, after all his <i>Boasts</i>, is tumbled by,<br /> +And looks at <span class="smcap">D——ley</span> with an evil Eye;<br /> +Or if their standing Topics, <i>Spleen</i> and <i>Spite</i>,<br /> +<i>A Jesuit</i>,——an <i>Atheist</i>,——<i>Jacobite</i>.<br /> +In all their hard-strain’d Labours, squeez’d by Bits,<br /> +Mark well the Triumph of these wou’d-be Wits;<br /> +Like <i>Village Curs</i>, kick’d backward by the <i>Steed</i>,<br /> +Their <i>Noise</i> and <i>Yelping</i> their <i>Destruction</i> breed;<br /> +Or if the Rider <i>smacks</i> them with his <i>Whip</i>,<br /> +’Tis more <i>t’ unbend the Lash</i>, than make them <i>skip</i>:<br /> +Yet still they rise and at it——Goddess hail!<br /> +Who o’er thy Suns spread’st such a thick’ning Veil,<br /> +<span class="pagenum">[Pg 15]</span>That Sense of Pain, as well as Shame, is lost,<br /> +And you <i>reward</i> those best, who <i>blunder</i> most;<br /> +For where are Honours, Places, Gifts bestow’d,<br /> +But where thy Influence is most avow’d?<br /> +Rest, while more modern Miracles I sing,<br /> +Of <i>Minor Dunces</i> that from thee first spring;<br /> +But all who Recreants thy Pow’r disclaim,<br /> +And, Laureat-like, to <i>Pertness</i> change thy Name;<br /> +And ye, her Sons, who’ve nothing else to do,<br /> +Wait, if you please, the——Vision thro’:<br /> +You, who in Manuscript your Works retale,<br /> +And tag with Rhimes the latter Ends of Ale,<br /> +But vow th’ ungrateful Age shall never see,<br /> +In Print, how wond’rous wise and smart ye be;<br /> +Or you, whose Muse has run you out of Breath,<br /> +Or rode you like a Night-mare hagg’d to Death;<br /> +Attend and learn from <i>Dulness’</i> sleeping Shade,<br /> +Another Goddess rises to your Aid.<br /> +<span style="margin-left: 1em;">Pleas’d with the Vow, the glad submissive P—r,</span><br /> +Thence leads the Monarch to a nobler Chair;<br /> +<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>For why shou’d he at <i>Dulness’</i> Footstool wait,<br /> +Who knows so well to entertain with Prate;<br /> +Some <i>g—rt—r’d Dupes</i> no nobler Titles boast,<br /> +Than to have been the Objects of his <i>Roast</i>;<br /> +For which they fill his Groupe, his Praises have,<br /> +And shine like <span class="smcap">Salmon</span>’<i>s Dolls</i> in <span class="smcap">Merlin</span>’<i>s Cave</i>.<br /> +The young <span class="smcap">Narcissus</span>, whom (wou’d you believe,<br /> +The <i>Cornhill</i> Priest, who never cou’d deceive)<br /> +Had robb’d the <i>Sibil</i> of whate’er was sage,<br /> +Or <i>Good</i>, or <i>Wise</i>, except her <i>Gums</i> and <i>Age</i>,<br /> +Was the old Woman, tho’ in Youth renew’d,<br /> +Who led <span class="smcap">Æneas</span> when he <i>H—ll</i> review’d;<br /> +Wrapt in the Steam that spread from <i>Dulness’</i> Jaws,<br /> +From her Posterior’s, perch’d, pert <span class="smcap">C——r</span> draws,<br /> +Conveys him to the Club—the Club despair,<br /> +Till they the Snuff-box smell, and see the Chair.<br /> +Then all the <i>Dunciad</i> d——n, and, grown elate,<br /> +Prick up their Ears, and bray, “<i>To the Debate!</i><br /> +“The Chiefs were sate, the Scriblers waited round<br /> +“The Board with Bottles, and with Glasses crown’d,<br /> +<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>“When he, the Master of the Seven-fold Face,<br /> +“Rose” gleaming thro’ his own <i>Corinthian</i> Brass,<br /> +And thus—my L—s, we once again are met,<br /> +Nor Sense hath robb’d us of a Vot’ry yet;<br /> +Pleas’d, I the present Danger undertake,<br /> +And gladly suffer, for my Country’s Sake;<br /> +For I a prompt Alacrity agnize<br /> +To be esteem’d or witty, smart or wise.<br /> +This present War then with the <span class="smcap">Pope</span> be mine;<br /> +But one Thing beg, I, bending to your Shrine,<br /> +Due Preference of Honour, Time and Place,<br /> +And <i>your Desires</i> my Title Page to grace,<br /> +He said and bow’d—a Whisper trill’d the Air<br /> +Much as when <span class="smcap">C—mp—n</span> wou’d have been L—d M—r.<br /> +However, each assents, then forth he drew<br /> +An Oglio Letter ready cook’d for <i>View</i>;<br /> +<i>Taste</i> it had none; for, having long lain by,<br /> +’Twas lost like Camphire that doth quickly fly;<br /> +But, as it never was in Print before,<br /> +’Twas new, they all believe, for <span class="smcap">Colley</span> swore.<br /> +<span class="pagenum">[Pg 18]</span>When one, as Deputy for all the rest,<br /> +Thus, in due Form, their Advocate addrest.<br /> +<span style="margin-left: 1em;"><i>Great Laureat</i>, thou whose yearly tuneful Notes</span><br /> +Deafen the Court from Chappel-royal Throats,<br /> +Oft has this Enemy to our Repose<br /> +Wak’d us from Slumbers where we quiet doze,<br /> +Reeking with Malice, and of Satire full,<br /> +He neither lets us sin in quiet, or be dull:<br /> +You too, with us, have his Attacks withstood,<br /> +Have answer’d not, or wou’d not, if you cou’d;<br /> +And to receive his Insults, in your <i>Life</i>,<br /> +You offer’d him Release from all your Strife:<br /> +So once did <span class="smcap">Cu—l</span>, but he accepted not,<br /> +As if ye both contemptible he thought;<br /> +But sure this last Affront must give you Pain;<br /> +Can you your usual Temper now retain?<br /> +If this not rouse you, all our Hopes we’ll quit,<br /> +And sue out Bankruptcy against your Wit:<br /> +Therefore, as <i>Monarch</i> of the <i>scribling Crew</i>,<br /> +This is a Debt to both our Int’rests due,<br /> +For us he <i>d—ns</i> at once, in <i>lashing</i> you.<br /> +<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>Let <span class="smcap">L—is</span> then the happy Offspring rear,<br /> +Tis safe, if once committed to his Care.<br /> +<span style="margin-left: 1em;">He yields to their Intreaties, and then smil’d,</span><br /> +The Goddess spread her Vapour round more mild,<br /> +And strait a Form appear’d, like <i>ancient Fame</i>,<br /> +Her Wings, her Trumpet, and her Robe the same,<br /> +Each rous’d at once, and thought he grasp’d the Dame;<br /> +But found ’twas all a Cloud or empty Space;<br /> +No Substance, tho’ the Out-line they cou’d trace.<br /> +And, thus disturb’d, a strange unsav’ry Fume<br /> +Diffus’d itself around th’ Assembly Room:<br /> +The Scent each mad’ning Brain did instant strike,<br /> +All star’d, and thought it <span class="smcap">Fame</span>, it look’d so like;<br /> +<span class="smcap">Colley</span> at once disclaim’d her—“For, says he,<br /> +“I even <i>Bread and Cheese</i> prefer to <i>thee</i>;<br /> +“The Smiles of Monarchs may no Comfort bring;<br /> +“But then the <i>Sack’s</i> a wholsome pleasing Thing:<br /> +“Had I won thee, I might have scap’d a Sneer,<br /> +“And lost the <i>twice One Hundred Pounds a Year</i>.<br /> +<span class="pagenum">[Pg 20]</span>“Then pray, dear Madam, if you please, be gone;<br /> +“Come you a Spy to make our Counsels known?”<br /> +When thus the Fantom——“Ye’re my Children all;<br /> +“Thee, <span class="smcap">Colley</span>, I my eldest Darling call;<br /> +“Mistake not, I usurp no borrow’d Name,<br /> +“And hate, as much as you, the Sound of <span class="smcap">Fame</span>;<br /> +“Tho’ I a Shadow on her Steps attend,<br /> +“When she appears, my Empire’s at an End:<br /> +“Your stern Antagonist draws <i>Dulness</i> right,<br /> +“Daughter of <span class="smcap">Chaos</span>, and <i>eternal Night</i>;<br /> +“Wits boast their <span class="smcap">Pallas</span> sprung from Brain of <span class="smcap">Jove</span>;<br /> +“We too had our Original above,<br /> +“And claim the Heraldry of God-like Race,<br /> +“Part of the Cloud <span class="smcap">Ixion</span> did embrace;<br /> +“Whence form’d in Aid of <i>Dulness</i> and her Train,<br /> +“I oft her sinking Works in Air sustain;<br /> +“And when they otherwise wou’d fall downright,<br /> +“I waft them upwards to a second Flight:<br /> +“So when the new-made Honours were confer’d<br /> +“On all your earthly Recantation Herd,<br /> +<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>“The Deities of Air, in Mirth and Sport,<br /> +“Made me a Goddess, and allow’d a Court;<br /> +“Long ye have known me—I o’er <span class="smcap">Puffs</span> preside,<br /> +“But ne’er, till now, appear’d in so much Pride.<br /> +<span style="margin-left: 1em;">The whole Assembly to her Presence press,</span><br /> +All own her, but, their Ignorance, confess,<br /> +Was wholly owing to th’ inverted Dress:<br /> +But both her Hands <i>Eliza</i> first uprear’d,<br /> +Insisting only she the Pow’r rever’d:<br /> +Oh make my Shop, she cries, thy fav’rite Shrine;<br /> +You must, you shall, I have you on my Sign:<br /> +All scold, and Indignation bent each Brow,<br /> +None wou’d the other’s Privilege allow;<br /> +When lo, a Youth of most distinguish’d Grace<br /> +(Well known for pressing first in ev’ry Place,<br /> +Whether he heads the <i>Orders</i> in the <i>Pit</i>,<br /> +Or doth at <i>B——n</i>’s Judge of Boxing sit)<br /> +Conspicuous mounts, and thus, in formal Speech,<br /> +Begins——“Statesmen and Morals I impeach,<br /> +<span class="pagenum">[Pg 22]</span>“Write Satires, and deny them for my own<br /> +“In Advertisements, that I may be known;<br /> +“Grant me thy Aid, great Goddess, but once more;<br /> +“Not for myself alone I thee implore,<br /> +“But for this <i>Saint</i>, who breathing now her last,<br /> +“Wou’d fain retrieve Disreputation past.<br /> +“If Gold you ask, long-hoarded Bags shall fly”—<br /> +<span style="margin-left: 1em;">The Goddess smil’d, and puff’d it to the Sky.</span><br /> +“Children, says she, Distinction should be made<br /> +“To <i>Scriblers</i>, who are thus above the Trade;<br /> +“For ye, who equal in all Prospects are,<br /> +“To gain our Favour, we a <i>Test</i> prepare.<br /> +“He that has oft’nest most disguis’d the Truth,<br /> +“And render’d Sense and Reason quite uncouth;<br /> +“Who Learning hath, by Artifice abus’d,<br /> +“And by false Glasses vulgar Eyes amus’d;<br /> +“Who seldom in his real Shape was seen,<br /> +“For ever different to what h’ hath been;<br /> +“Him for our royal Consort we select:<br /> +“Begin—and Pertness all your Aims direct;<br /> +<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>“And still to urge ye on to further Hope,<br /> +“These Trophies wait the Man who lashes <span class="smcap">Pope</span>.<br /> +“The Wings from one of <span class="smcap">Mercury</span>’s new Suits;<br /> +“These grac’d his <i>Cap</i>, and these adorn’d his <i>Boots</i>;<br /> +“But who shall mention <i>Merit</i>, or presume<br /> +“To talk of <i>Wit</i>, him we forbid the Room.”<br /> +<span style="margin-left: 1em;">Then first a Sage, of rev’rend hoary Years,</span><br /> +The Chief of the translating Bards appears;<br /> +And thus, in their Behalf—O pow’rful Maid!<br /> +“Daily and nightly we invoke thy Aid;<br /> +“In Pamphlets, numberless, have fully shown,<br /> +“Nor Language <i>dead</i> or <i>live</i> to <span class="smcap">Sawney</span>’s known;<br /> +“Yet, spite of all the Methods we can try,<br /> +“The silly <i>World</i> will yet his <span class="smcap">Homer</span> buy:<br /> +“But next we think”—the Goddess stopt them short!<br /> +“All ye have done, but makes the <i>Learned</i> Sport;<br /> +“To rail and call his <span class="smcap">Homer</span> wretched Stuff;<br /> +“To censure and condemn, is well enough;<br /> +“But here’s the Curse on’t, ye’re such silly Elves<br /> +“To shew the <i>Diff’rence</i> ye <i>translate</i> yourselves,<br /> +<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>“Or <span class="smcap">T——ld</span> else had, not five Years and more,<br /> +“Hawk’d <span class="smcap">Æschylus</span> about from Door to Door.<br /> +“<span class="smcap">Terence</span>’s Eunuch the same Fate partook,<br /> +“Murder’d by merciless and mangling <span class="smcap">C——k</span>.<br /> +“But cease we this, the recent Matter try,<br /> +“All who the present pidling Quarrel ply,<br /> +“Stand forth”——In Party-colour’d Vest<br /> +<span class="smcap">Cloddy</span> appear’d, his <i>Dialogue</i> addrest,<br /> +And swore he’d study’d <span class="smcap">Swift</span> with so much Pains,<br /> +He thought, at last, he’d gain’d his very Strains:<br /> +The Piece perus’d, this Answer she return’d,<br /> +“Obscenity, when dull, is always scorn’d;<br /> +“And who <i>puffs</i> this, will, to his Sorrow, find<br /> +“’Tis but a <i>F—t</i> will <i>stink</i> to all <i>Mankind</i>.”<br /> +<span style="margin-left: 1em;"><span class="smcap">Blast</span> claim’d the Prize, and said, he did deride</span><br /> +The <span class="smcap">Poet</span>, by appearing on his Side;<br /> +The Goddess sent her Maid to kick him down,<br /> +But e’er she rais’d her Foot, the Wretch was gone.<br /> +<span style="margin-left: 1em;">Next, in a borrow’d Shape, by <span class="smcap">Clytus</span> worn,</span><br /> +In fierce theatric Battles hackt and torn,<br /> +<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>A Wight stalkt in, and, under <span class="smcap">Virtue</span>’s Name,<br /> +On <span class="smcap">Horace, Salust, Seneca</span> and <span class="smcap">Pope</span> cry’d Shame;<br /> +<i>False English!</i> baul’d he loud—the Goddess heard,<br /> +And to the School-boys his Address preferr’d.<br /> +He disappear’d, nor know we if he’s found,<br /> +But <i>horse him, horse him</i>, dy’d in distant Sound.<br /> +<span style="margin-left: 1em;">And now of ev’ry Sort came rushing in,</span><br /> +<i>Scriblers</i> and <i>Puffers</i>, with a horrid Din;<br /> +All who in various Occupations strive<br /> +To keep their sev’ral Mist’ries alive,<br /> +From <i>Statesmen</i>, who, for Coronets resign’d,<br /> +To the <i>Dutch Kettle</i>, and the Window-Blind;<br /> +But far above the rest, each Rival Stage<br /> +The Favour of the Goddess wou’d engage;<br /> +The angry <i>Quack</i> his Nostrums all forsakes,<br /> +And, in Revenge, his Gallipots he breaks,<br /> +’Cause <i>R—ch</i> bestows an <span class="smcap">Orpheus</span> on the Town,<br /> +When <i>he</i> had, long before, run mad with one:<br /> +Then Paper Wars, and long-ear’d Quarrels rise,<br /> +And each the Goddess sues for fresh Supplies.<br /> +<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>In spite of City Wrath and Aldermen,<br /> +A <i>Concert</i> takes the Dregs of <i>Drury-Lane</i>:<br /> +In pompous Stanzas they their Genius raise,<br /> +And sound, in ev’ry Paper, their own Praise,<br /> +From <i>Rome</i> and Death old surly <span class="smcap">Cato</span> tear,<br /> +To see the modern <i>Liliputian</i> lear,<br /> +<i>Greece</i> is outdone, and learned <i>Athens</i> yields<br /> +To the politer Stage of <i>G———n’s-F—ds</i>.<br /> +<i>Ambivius Turpia</i>, the Stage ’Squire appear’d,<br /> +The Nurse, who ev’ry modern <span class="smcap">Terence</span> rear’d;<br /> +A meagre Shade, quite uninform’d and wild,<br /> +Yet still he flatter’d, smooth’d, and still he smil’d:<br /> +Ne’er, but when frighten’d, cou’d he be sincere,<br /> +And ne’er ap’d <i>Honesty</i>, but ’twas thro’ <i>Fear</i>;<br /> +Revil’d, exploded on a rival Stage,<br /> +To dull the Sting the Libellers engage;<br /> +If double Pay is given them on his own,<br /> +He smil’d Consent, and turns them on the Town.<br /> +Then thus—Great Pow’r! thy darling Child behold,<br /> +I’ve courted thee with <i>Orders</i> and with <i>Gold</i>,<br /> +<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>This Scheme let the contending <span class="smcap">Pollys</span> tell,<br /> +This ev’ry <i>Inns o’ Court</i> Man knows full well.<br /> +But mark, dear Goddess, this my Master-piece,<br /> +Thus I revive the Arts of <i>Rome</i> and <i>Greece</i>;<br /> +For <span class="smcap">Shakespear</span>’s Monument I gave a Play,<br /> +And stopp’d the starving Actors hard-got Pay,<br /> +Yet bore I all the <i>Praise</i> and <i>Puff</i> away.<br /> +<i>Beasts</i> graze the <i>Plain</i>, the <i>Fishes</i> skim the <i>Sea</i>,<br /> +<i>Cars</i> are for <i>Peers</i>, <i>Streets</i> for <i>Mechanics</i> free;<br /> +Thy Empire, Goddess, still hath been my Care,<br /> +My <i>Life</i>’s a <i>Puff</i>, my <i>Deeds</i>, like <i>Words</i>, are <i>Air</i>.<br /> +He spake, to grasp the Prize his Fingers stretch,<br /> +As feeble Reeds spent Swimmers strive to catch;<br /> +But finds himself pusht instantly away,<br /> +And by young <span class="smcap">Ptolomy</span> is kept at Bay.<br /> +Give him the Prize, O Goddess, if thou durst,<br /> +A <i>Wretch</i> beneath his lowest Puppets curst.<br /> +The Claim he makes is owing to my Parts;<br /> +I taught him <i>Management</i>, and all its Arts,<br /> +<span class="pagenum">[Pg 28]</span>From my great Sire alone deriv’d, to me<br /> +He gave it yet a living Legacy:<br /> +In what theatric Region are unknown<br /> +Our <i>Puffs</i> in ev’ry Bill, in ev’ry Paper shown?<br /> +And where his short ones fail’d, I, better skill’d,<br /> +The groaning Page with long Epistles fill’d:<br /> +If Falsehood claims it, end the vain Dispute;<br /> +’Tis mine, avaunt, ye <i>Puffers</i>, and be mute;<br /> +All <i>Grubstreet</i> tells——At this <span class="smcap">Conundrum</span> rose,<br /> +And thus—Fond Youth, no more thy Gifts expose;<br /> +Tho’ the Foundation of this Art is Lies,<br /> +Yet <span class="smcap">Truth</span> is sometimes proper for Disguise:<br /> +He who is always false, is ne’er believ’d,<br /> +Who’s always <i>honest</i>, is sometimes <i>deceiv’d</i>;<br /> +The Prize we’ll yield, prove it upon Record,<br /> +That <i>he</i> or <i>you</i> e’er spoke but one <i>true Word</i>.<br /> +Dismist—The Fantoms hover round the Place,<br /> +And shew their Crimes in Mirrors to their Face?<br /> +Each on the other gazing, ghastly stood,<br /> +And wou’d have <i>blush’d</i>, or hid them, <i>if they cou’d</i>.<br /> +<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span><span style="margin-left: 1em;">Then thus the Goddess—“Cease all further Strife,</span><br /> +“<span class="smcap">Colley</span>, thy Hand! I’m thine alone for Life;<br /> +“Thine be the Prize, an Emblem of thy <i>Wit</i>,<br /> +“Which tho’ not so, yet some will take for it:<br /> +“But ’tis not long, ev’n me thou must forsake;<br /> +“My last, my best, Advice then friendly take,<br /> +“Dear Scriblers, all Adventurers in <i>Wit</i>,<br /> +“Who scorn the Field of fell Debate to quit,<br /> +“Howe’er he lash ye, still the War pursue,<br /> +“Your <i>Ignorance</i> brings all his <i>Wit</i> to View;<br /> +“The Insects hov’ring in the breezy Air<br /> +“Shew th’ approaching vernal Season near;<br /> +“The <i>Maggot</i> that in Sun-beams basking lies,<br /> +“Tho’ the <i>Heat</i> scorch him, by that <i>Heat</i> he flies.”<br /> +<span style="margin-left: 1em;">She spake, and then, unseen, unheard retir’d,</span><br /> +Born in a Breath, she with a Sigh expir’d.</td></tr></table> + +<p> </p> +<p class="center"><span class="gesp"><i>FINIS.</i></span></p> + + +<p> </p><p> </p> +<div class="note"> +<p class="center">(<i>Just Publish’d, Price 6d.</i>)</p> + +<p>The Political Padlock, and the English Key. A Fable. Translated from the +<i>Italian</i> of Father M——r <i>S——ini</i>, who is now under Confinement for +the same in <i>Naples</i>, by Order of Don <i>Carlos</i>. With Explanatory Notes.</p> + +<p class="poem"><i>I grant all</i> Courses <i>are in vain,<br /> +Unless we can</i> get in <i>again:<br /> +The only Way that’s left us now,<br /> +But all the Difficulty’s</i> How?</p></div> + + + +<p> </p><p> </p> +<p class="center">THE<br /><br /> +<span class="big">DIFFERENCE</span><br /><br /> +BETWEEN<br /><br /> +<span class="big">VERBAL and PRACTICAL</span><br /><br /> +<span class="large">VIRTUE.</span></p> +<p> </p> +<table width="45%" border="0" cellpadding="0" cellspacing="5" summary="table"> +<tr><td><i>Dicendi Virtus, nisi ei, qui dicit, ea, de quibus dicit, percepta sint, extare non potest.</i> +<span style="margin-left: 8em;"><span class="smcap">Cic.</span></span></td></tr></table> +<p> </p> +<p class="center"><strong>WITH<br /> +A Prefatory Epistle from Mr. <i>C—b—r</i> to Mr. <i>P.</i></strong></p> +<p> </p> +<table width="45%" border="0" cellpadding="0" cellspacing="5" summary="table"> +<tr><td><i>Sic ulciscar genera singula, quemadmodum à quibus sum provocatus.</i></td></tr> +<tr><td align="right"><span class="smcap">Cic.</span> post Redit. ad Quir.</td></tr></table> +<p> </p> +<p class="center"><i>LONDON</i>:<br /> +Printed for <span class="smcap">J. Roberts</span>, near the <i>Oxford-Arms</i> in <i>Warwick-Lane</i>. +<br /><span class="smcap">Mdccxlii.</span></p> + + + +<p> </p><p> </p> +<p class="center"><big>Mr. <i>C—b—r</i> to Mr. <i>P.</i></big></p> + +<p>Have at you again, Sir. I gave you fair Warning that I would have the last +Word; and by —— (I will not swear in Print) you shall find me no Lyar. I +own, I am greatly elate on the Laurels the Town has bestow’d upon me for +my Victory over you in my Prose Combat; and, encouraged by that Triumph, I +now resolve to fight you on your own Dunghil of Poetry, and with your own +jingling Weapons of Rhyme and Metre. I confess I have had some Help; but +what then? since the greatest Princes are rather proud than asham’d of +Allies and Auxiliaries when they make War in the Field, why should I +decline such Assistance when I make War in the Press? And since you +thought most unrighteously and unjustly to fall upon me and crush me, only +because you imagin’d your Self strong and Me weak, as <i>France</i> fell upon +the Queen of <i>Hungary</i>; if I like her (<i>si parva licet componere magnis</i>) +by first striking a bold and desperate Stroke myself with a little +Success, have encouraged such a Friend to me, as <i>England</i> has been to +her, to espouse my Cause, and turn all the Weight of the War upon you, +till you wish you had never begun it; with what reasonable and equitable +Pleasure may I not pursue my Blow till I make you repent, by laying you on +your Back, the ungrateful Returns you have made me for saving you from +Destruction when you laid yourself on your Belly. I am, Sir, not your +humble, but your devoted Servant; for I will follow you as long as I live; +and as <i>Terence</i> says in the <i>Eunuch</i>, <i>Ego pol te pro istis dictis & +factis, scelus, ulciscar, ut ne impune in nos illus eris</i>.</p> + + + +<p> </p><p> </p> +<p><span class="pagenum">[Pg 1]</span></p> +<p class="center">THE<br /><br /> +<span class="large">DIFFERENCE</span><br /><br /> +BETWEEN<br /><br /> +<span class="big">Verbal and Practical VIRTUE</span><br /><br /> +EXEMPLIFY’D,<br /> +<br /> +<span class="big">In some Eminent Instances both Ancient and Modern.</span></p> + +<p> </p> +<table border="0" cellpadding="0" cellspacing="5" summary="table"> +<tr><td>What awkard Judgments must they make of Men,<br /> +Who think their Hearts are pictur’d by their Pen;<br /> +That <i>this</i> observes the Rules which <i>that</i> approves,<br /> +And what one praises, that the other loves.<br /> +Few Authors tread the Paths they recommend,<br /> +Or when they shew the Road, pursue the End:<br /> +Few give Examples, whilst they give Advice,<br /> +Or tho’ they scourge the vicious, shun the Vice;<br /> +But lash the Times as Swimmers do the Tide,<br /> +And kick and cuff the Stream on which they ride.<br /> +<br /> +<span class="pagenum">[Pg 2]</span><span style="margin-left: 1em;">His tuneful Lyre when polish’d <i>Horace</i> strung,</span><br /> +<small><a name="fa.1" id="fa.1" href="#fa">[a]</a></small>And all the Sweets of calm Retirement sung,<br /> +In Practice still his courtly Conduct show’d<br /> +His Joy was Luxury, and Power his God;<br /> +<small><a name="fb.1" id="fb.1" href="#fb">[b]</a></small>With great <i>Mæcenas</i> meanly proud to dine,<br /> +<small><a name="fc.1" id="fc.1" href="#fc">[c]</a></small>And fond to load <i>Augustus</i> flatter’d Shrine;<br /> +<small><a name="fd.1" id="fd.1" href="#fd">[d]</a></small>And whilst he rail’d at <i>Menas</i> ill-got Sway,<br /> +<small><a name="fe.1" id="fe.1" href="#fe">[e]</a></small>His numerous Train that choak’d the <i>Appian</i> Way,<br /> +His Talents still to Perfidy apply’d,<br /> +Three Times a Friend and Foe to either Side.<br /> +<i>Horace</i> forgot, or hop’d his Readers would,<br /> +<small><a name="ff.1" id="ff.1" href="#ff">[f]</a></small>His Safety on the same Foundation stood.<br /> +That he who once had own’d his Country’s Cause,<br /> +Now kiss’d the Feet that trampled on her Laws:<br /> +That till the Havock of <i>Philippi</i>’s Field,<br /> +Where Right to Force, by Fate was taught to yield,<br /> +He follow’d <i>Brutus</i>, and then hail’d the Sword,<br /> +Which gave Mankind, whom <i>Brutus</i> freed, a Lord:<br /> +<span class="pagenum">[Pg 3]</span>Nor to the Guilt of a Deserter’s Name,<br /> +Like <i>Menas</i> great (tho’ with dishonest Fame)<br /> +Added the Glory, tho’ he shar’d the Shame.<br /> +For whilst with Fleets and Armies <i>Menas</i> warr’d,<br /> +Courage his Leader, Policy his Guard,<br /> +Poor <i>Horace</i> only follow’d with a Verse<br /> +That Fate the Freedman balanc’d, to rehearse;<br /> +Singing the Victor for whom <i>Menas</i> fought,<br /> +And following Triumph which the other brought.<br /> +<br /> +<span style="margin-left: 1em;"><small><a name="fg.1" id="fg.1" href="#fg">[g]</a></small>Thus graver <i>Seneca</i>, in canting Strains,</span><br /> +Talk’d of fair Virtue’s Charms and Vice’s Stains,<br /> +And said the happy were the chaste and poor;<br /> +Whilst plunder’d Provinces supply’d his Store,<br /> +And <i>Rome</i>’s Imperial Mistress was his Whore.<br /> +But tho’ he rail’d at Flattery’s dangerous Smile,<br /> +A <i>Claudius</i>, and a <i>Nero</i>, all the while,<br /> +With every Vice that reigns in Youth or Age,<br /> +The Gilding of his venal Pen engage,<br /> +And fill the slavish Fable of each Page.<br /> +<br /> +<span style="margin-left: 1em;">See <i>Sallust</i> too, whose Energy divine</span><br /> +Lashes a vicious Age in ev’ry Line:<br /> +<span class="pagenum">[Pg 4]</span>With Horror painting the flagitious Times,<br /> +The profligate, profuse, rapacious Crimes,<br /> +That reign’d in the degenerate Sons of <i>Rome</i>,<br /> +And made them first deserve, then caus’d their Doom;<br /> +With all the Merit of his virtuous Pen,<br /> +Leagu’d with the worst of these corrupted Men;<br /> +The Day in Riot and Excess to waste,<br /> +The Night in Taverns and in Brothels past:<br /> +<small><a name="fh.1" id="fh.1" href="#fh">[h]</a></small>And when the <i>Censors</i>, by their high Controll,<br /> +Struck him, indignant, from the <i>Senate</i>’s Roll,<br /> +From Justice he appeal’d to <i>Cæsar</i>’s Sword,<br /> +<small><a name="fi.1" id="fi.1" href="#fi">[i]</a></small>And by Law exil’d, was by Force restor’d.<br /> +<small><a name="fk.1" id="fk.1" href="#fk">[k]</a></small>What follow’d let <i>Numidia</i>’s Sons declare,<br /> +Harrass’d in Peace with Ills surpassing War;<br /> +Each Purse by Peculate and Rapine drain’d,<br /> +Each House by Murder and Adult’ries stain’d:<br /> +Till <i>Africk</i> Slaves, gall’d by the Chains of <i>Rome</i>,<br /> +Wish’d their own Tyrants as a milder Doom.<br /> +<br /> +<span style="margin-left: 1em;">If then we turn our Eyes from Words to Fact,</span><br /> +Comparing how Men write, with how they act,<br /> +How many Authors of this Contrast kind<br /> +In ev’ry Age, and ev’ry Clime we find.<br /> +Thus scribbling <i>P——</i> who <i>Peter</i> never spares,<br /> +Feeds on extortious Interest from young Heirs:<br /> +<span class="pagenum">[Pg 5]</span>And whilst he made Old <i>S—lkerk</i>’s Bows his Sport,<br /> +Dawb’d minor Courtiers, of a minor Court.<br /> +If <i>Sallust</i>, <i>Horace</i>, <i>Seneca</i>, and <i>He</i><br /> +Thus in their Morals then so well agree;<br /> +By what Ingredient is the Difference known?<br /> +The Difference only in their Wit is shown,<br /> +For all their Cant and Falshood is his own.<br /> +He rails at Lies, and yet for half a Crown,<br /> +Coins and disperses Lies thro’ all the Town:<br /> +Of his own Crimes the Innocent accuses,<br /> +And those who clubb’d to make him eat, abuses.<br /> +But whilst such Features in his Works we trace,<br /> +And Gifts like these his happy Genius grace;<br /> +Let none his haggard Face, or Mountain Back,<br /> +The Object of mistaken Satire make;<br /> +Faults which the best of Men, by Nature curs’d,<br /> +May chance to share in common with the worst.<br /> +In Vengeance for his Insults on Mankind,<br /> +Let those who blame, some truer Blemish find,<br /> +And lash that worse Deformity, his Mind.<br /> +Like prudent Foes attack some weaker Part,<br /> +And make the War upon his Head or Heart.<br /> +Prove his late Works dishonest as they’re dull;<br /> +That try’d by Moral or Poetic Rule,<br /> +The Verdict must be either Knave or Fool.<br /> +<small><a name="fl.1" id="fl.1" href="#fl">[l]</a></small>Whilst his false <i>English</i>, and false Facts combin’d,<br /> +Betray the double Darkness of his Mind;<br /> +<small><a name="fm.1" id="fm.1" href="#fm">[m]</a></small>That Mind so suited to its vile Abode,<br /> +The Temple so adapted to the God,<br /> +<span class="pagenum">[Pg 6]</span>It seems the Counterpart by Heav’n design’d<br /> +A Symbol and a Warning to Mankind:<br /> +As at some Door we find hung out a Sign,<br /> +Type of the Monster to be found within.<br /> +From his own Words this Scoundrel let ’em prove<br /> +Unjust in Hate, incapable of Love;<br /> +For all the Taste he ever has of Joy,<br /> +Is like some yelping Mungril to annoy<br /> +And teaze that Passenger he can’t destroy.<br /> +To cast a Shadow o’er the spotless Fame,<br /> +Or dye the Cheek of Innocence with Shame;<br /> +To swell the Breast of Modesty with Care,<br /> +Or force from Beauty’s Eye a secret Tear;<br /> +And, not by Decency or Honour sway’d,<br /> +Libel the Living, and asperse the Dead:<br /> +Prone where he ne’er receiv’d to give Offence,<br /> +But most averse to Merit and to Sense;<br /> +Base to his Foe, but baser to his Friend,<br /> +Lying to blame, and sneering to commend:<br /> +Defaming those whom all but he must love,<br /> +And praising those whom none but he approve.<br /> +Then let him boast that honourable Crime,<br /> +Of making those who fear not God, fear him;<br /> +When the great Honour of that Boast is such<br /> +That Hornets and Mad Dogs may boast as much.<br /> +Such is th’ Injustice of his daily Theme,<br /> +And such the Lust that breaks his nightly Dream;<br /> +That vestal Fire of undecaying Hate,<br /> +Which Time’s cold Tide itself can ne’er abate,<br /> +<span class="pagenum">[Pg 7]</span>But like <i>Domitian</i>, with a murd’rous Will,<br /> +Rather than nothing, Flies he likes to kill.<br /> +And in his Closet stabs some obscure Name,<br /> +<small><a name="fn.1" id="fn.1" href="#fn">[n]</a></small>Brought by this Hangman first to Light and Shame.<br /> +Such now his Works to all the World are known,<br /> +Who undeceiv’d, their former Error own;<br /> +Whilst not one Man who likes his rhyming Art,<br /> +Allows him Genius, or defends his Heart:<br /> +But thus from Triumph snatch’d, and giv’n to Shame<br /> +Lash’d <i>into</i> Penitence, and <i>out</i> of Fame.<br /> +Since all Mankind these certain Truths allow,<br /> +And speak so freely what so well they know;<br /> +No wonder doom’d such Treatment to receive,<br /> +That he <i>can</i> feel, and that he <i>can’t</i> forgive.<br /> +Were I dispos’d to curse the Man I hate,<br /> +Such would I wish his miserable Fate.<br /> +Thus striving to inflict, to meet Disgrace,<br /> +And wasted to the Ghost of what he was;<br /> +And like all Ghosts which Men of Sense despise,<br /> +Only the Dread of Folly’s coward Eyes.<br /> +Thus would I have him despicably live,<br /> +Himself, his Friends, and Credit to survive,<br /> +Into Contempt from Reputation hurl’d,<br /> +His own Detractor thro’ a scoffing World.</td></tr></table> + +<p> </p> +<p class="center"><span class="gesp"><i>FINIS.</i></span></p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p class="center"><span class="large">The Augustan Reprint Society</span></p> +<p class="center">WILLIAM ANDREWS CLARK MEMORIAL LIBRARY</p> +<p class="center">University of California, Los Angeles</p> + +<div class="note"> +<p class="center">Publications in Print</p> + +<p> </p> +<p class="center">1948-1949</p> + +<p class="hang">15. John Oldmixon, <i>Reflections on Dr. Swift’s Letter to Harley</i> +(1712), and Arthur Mainwaring, <i>The British Academy</i> (1712).</p> +<p class="hang">16. Henry Nevil Payne, <i>The Fatal Jealousie</i> (1673).</p> +<p class="hang">17. Nicholas Rowe, <i>Some Account of the Life of Mr. William Shakespear</i> (1709).</p> +<p class="hang">18. Anonymous, “Of Genius,” in <i>The Occasional Paper</i>, Vol. III, No. +10 (1719), and Aaron Hill, Preface to <i>The Creation</i> (1720).</p> + +<p> </p> +<p class="center">1949-1950</p> +<p class="hang">19. Susanna Centlivre, <i>The Busie Body</i> (1709).</p> +<p class="hang">20. Lewis Theobald, <i>Preface to the Works of Shakespeare</i> (1734).</p> +<p class="hang">22. Samuel Johnson, <i>The Vanity of Human Wishes</i> (1749), and two <i>Rambler</i> papers (1750).</p> +<p class="hang">23. John Dryden, <i>His Majesties Declaration Defended</i> (1681).</p> + +<p> </p> +<p class="center">1950-1951</p> +<p class="hang">26. Charles Macklin, <i>The Man of the World</i> (1792).</p> + +<p> </p> +<p class="center">1951-1952</p> +<p class="hang">31. Thomas Gray, <i>An Elegy Wrote in a Country Churchyard</i> (1751), and <i>The Eton College Manuscript</i>.</p> + +<p> </p> +<p class="center">1952-1953</p> +<p class="hang">41. Bernard Mandeville, <i>A Letter to Dion</i> (1732).</p> + +<p> </p> +<p class="center">1958-1959</p> +<p class="hang">77-78. David Hartley, <i>Various Conjectures on the Perception, Motion, and Generation of Ideas</i> (1746).</p> + +<p> </p> +<p class="center">1959-1960</p> +<p class="hang">79. William Herbert, Third Earl of Pembroke, <i>Poems</i> (1660).</p> +<p class="hang">81. Two Burlesques of Lord Chesterfield’s Letters: <i>The Graces</i> +(1774), and <i>The Fine Gentleman’s Etiquette</i> (1776).</p> + +<p> </p> +<p class="center">1960-1961</p> +<p class="hang">85-86. <i>Essays on the Theatre from Eighteenth-Century Periodicals.</i></p> + +<p> </p> +<p class="center">1961-1962</p> +<p class="hang">93. John Norris, <i>Cursory Reflections Upon a Book Call’d, An Essay Concerning Human Understanding</i> (1690).</p> +<p class="hang">94. An. Collins, <i>Divine Songs and Meditacions</i> (1653).</p> +<p class="hang">96. <i>Ballads and Songs Loyal to the Hanoverian Succession</i> (1703-1761).</p> + +<p> </p> +<p class="center">1962-1963</p> +<p class="hang">97. Myles Davies, [Selections from] <i>Athenae Britannicae</i> (1716-1719).</p> +<p class="hang">98. <i>Select Hymns Taken Out of Mr. Herbert’s Temple</i> (1697).</p> +<p class="hang">99. Thomas Augustine Arne, <i>Artaxerxes</i> (1761).</p> +<p class="hang">100. Simon Patrick, <i>A Brief Account of the New Sect of Latitude-Men</i> (1662).</p> +<p class="hang">101-102. Richard Hurd, <i>Letters on Chivalry and Romance</i> (1762).</p> + +<p> </p> +<p class="center">1963-1964</p> + +<p class="hang">103. Samuel Richardson, <i>Clarissa</i>: Preface, Hints of Prefaces, and Postscript.</p> +<p class="hang">104. Thomas D’Urfey, <i>Wonders in the Sun; or, The Kingdom of the Birds</i> (1706).</p> +<p class="hang">105. Bernard Mandeville, <i>An Enquiry into the Causes of the Frequent Executions at Tyburn</i> (1725).</p> +<p class="hang">106. Daniel Defoe, <i>A Brief History of the Poor Palatine Refugees</i> (1709).</p> +<p class="hang">107-108. John Oldmixon, <i>An Essay on Criticism</i> (1728).</p> + +<p> </p> +<p class="center">1964-1965</p> +<p class="hang">109. Sir William Temple, <i>An Essay Upon the Original and Nature of Government</i> (1680).</p> +<p class="hang">110. John Tutchin, <i>Selected Poems</i> (1685-1700).</p> +<p class="hang">111. Anonymous, <i>Political Justice</i> (1736).</p> +<p class="hang">112. Robert Dodsley, <i>An Essay on Fable</i> (1764).</p> +<p class="hang">113. T. R., <i>An Essay Concerning Critical and Curious Learning</i> (1698).</p> +<p class="hang">114. <i>Two Poems Against Pope</i>: Leonard Welsted, <i>One Epistle to Mr. +A. Pope</i> (1730), and Anonymous, <i>The Blatant Beast</i> (1740).</p> + +<p> </p> +<p class="center">1965-1966</p> +<p class="hang">115. Daniel Defoe and others, <i>Accounts of the Apparition of Mrs. Veal</i>.</p> +<p class="hang">116. Charles Macklin, <i>The Covent Garden Theatre</i> (1752).</p> +<p class="hang">117. Sir Roger L’Estrange, <i>Citt and Bumpkin</i> (1680).</p> +<p class="hang">118. Henry More, <i>Enthusiasmus Triumphatus</i> (1662).</p> +<p class="hang">119. Thomas Traherne, <i>Meditations on the Six Days of the Creation</i> (1717).</p> +<p class="hang">120. Bernard Mandeville, <i>Aesop Dress’d or a Collection of Fables</i> (1704).</p></div> + + +<p> </p><p> </p> +<p class="center"><strong>William Andrews Clark Memorial Library: University of California, Los Angeles</strong></p> + +<p class="center"><span class="big"><span class="smcap">The Augustan Reprint Society</span></span></p> + +<p><i>General Editors</i>: George Robert Guffey, University of California, Los +Angeles; Earl Miner, University of California, Los Angeles; Maximillian E. +Novak, University of California, Los Angeles; Robert Vosper, William +Andrews Clark Memorial Library</p> + +<p><i>Corresponding Secretary</i>: Mrs. Edna C. Davis, William Andrews Clark +Memorial Library</p> + +<p><br />The Society’s purpose is to publish reprints (usually facsimile +reproductions) of rare seventeenth and eighteenth century works. All +income of the Society is devoted to defraying costs of publication and +mailing.</p> + +<p>Correspondence concerning subscriptions in the United States and Canada +should be addressed to the William Andrews Clark Memorial Library, 2520 +Cimarron St., Los Angeles, California. Correspondence concerning editorial +matters may be addressed to any of the general editors. Manuscripts of +introductions should conform to the recommendations of the <i>MLA Style +Sheet</i>. The membership fee is $5.00 a year for subscribers in the United +States and Canada and 30/— for subscribers in Great Britain and Europe. +British and European subscribers should address B. H. Blackwell, Broad +Street, Oxford, England. Copies of back issues in print may be obtained +from the Corresponding Secretary.</p> + +<p> </p> +<p class="center">PUBLICATIONS FOR 1966-1967</p> + +<div class="note"> +<p class="hang"><span class="smcap">Henry Headley</span>, <i>Poems</i> (1786). Introduction by Patricia Meyer Spacks.</p> +<p class="hang"><span class="smcap">James Macpherson</span>, <i>Fragments of Ancient Poetry</i> (1760). Introduction by John J. Dunn.</p> +<p class="hang"><span class="smcap">Edmond Malone</span>, <i>Cursory Observations on the Poems Attributed to Thomas Rowley</i> (1782). Introduction by James M. Kuist.</p> +<p class="hang">Anonymous, <i>The Female Wits</i> (1704). Introduction by Lucyle Hook.</p> +<p class="hang">Anonymous, <i>Scribleriad</i> (1742). <span class="smcap">Lord Hervey</span>, <i>The Difference Between +Verbal and Practical Virtue</i> (1742). Introduction by A. J. Sambrook.</p> +<p class="hang"><i>Le Lutrin: an Heroick Poem, Written Originally in French by Monsieur +Boileau: Made English by N. O.</i> (1682). Introduction by Richard Morton.</p></div> + +<p> </p> +<p class="center"><i>ANNOUNCEMENTS</i>:</p> + +<p>The Society announces a series of special publications beginning with a +reprint of <span class="smcap">John Ogilby</span>, <i>The Fables of Aesop Paraphras’d in Verse</i> (1668), +with an Introduction by Earl Miner. Ogilby’s book is commonly thought one +of the finest examples of seventeenth-century bookmaking and is +illustrated with eighty-one plates. The next in this series will be <span class="smcap">John +Gay’s</span> <i>Fables</i> (1728), with an Introduction by Vinton A. Dearing. +Publication is assisted by funds from the Chancellor of the University of +California, Los Angeles. Price to members of the Society, $2.50 for the +first copy and $3.25 for additional copies. Price to non-members, $4.00.</p> + +<p>Seven back numbers of Augustan Reprints which have been listed as +out-of-print now are available in limited supply: 15, 19, 41, 77-78, 79, +81. Price per copy, $0.90 each; $1.80 for the double-issue 77-78.</p> + +<p> </p> +<p class="center">THE AUGUSTAN REPRINT SOCIETY</p> +<p class="center">William Andrews Clark Memorial Library</p> +<p class="center">2520 CIMARRON STREET AT WEST ADAMS BOULEVARD, LOS ANGELES, CALIFORNIA 90018</p> +<p class="center">Make check or money order payable to <span class="smcap">The Regents of the University of California</span>.</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><strong>Footnotes:</strong></p> + + +<p><a name="fa" id="fa" href="#fa.1">[a]</a> Beatus ille qui procul negotiis, &c. Epod. 2. Cum magnis vixisse +invita fatebirur usque invidia. <i>Sat. 1. Lib. 2.</i></p> + +<p><a name="fb" id="fb" href="#fb.1">[b]</a> Nunc quia Mæcenas tibi sum convictor. <i>Sat. 6. Lib. 1.</i></p> + +<p class="poem">——Tu pulses omne quod obstat<br /> +Ad Mæcenatem memori si mente recurras.<br /> +Hoc juvat, & melli est; ne mentiar. <i>Sat. 6. Lib. 2.</i></p> + +<p><a name="fc" id="fc" href="#fc.1">[c]</a> All his Works are full of Examples of Flattery to <i>Augustus</i>.</p> + +<p><a name="fd" id="fd" href="#fd.1">[d]</a> Epod. 4. <i>Mænas</i> was a Freedman of <i>Pompey</i> the younger; and he +deserted from him to <i>Augustus</i>, then back from <i>Augustus</i> to <i>Pompey</i>, +and then from <i>Pompey</i> to <i>Augustus</i> again. This is in all the Histories. +<i>Appian. Dion.</i></p> + +<p><a name="fe" id="fe" href="#fe.1">[e]</a> Et Appiam mannis terit. <i>Epod. 4.</i></p> + +<p><a name="ff" id="ff" href="#ff.1">[f]</a></p> + +<p class="poem">O sæpe mecum tempus in ultimum<br /> +<span style="margin-left: 2em;">Deducte, Bruto militiæ Duce.——</span><br /> +Tecum Philippos & celerem fugam<br /> +Sensi, relictâ non bene parmulâ<br /> +<span style="margin-left: 2em;">Cum fracta virtus, & minaces</span><br /> +<span style="margin-left: 2em;">Turpe solum tetigere mento. <span class="smcap">Hor.</span> <i>Ode. 7. B. 2.</i></span></p> + +<p><a name="fg" id="fg" href="#fg.1">[g]</a> In his Seneca reus factus est multorum scelerum, sed præsertim quod +cum Agrippinâ rem haberet, nec enim in hâc re solum, sed in plerisque +aliis contra facere visus est quam Philosophabatur. Quum enim Tyrannidem +improbaret, Tyranni præceptor erat: quumque insultaret iis qui cum +principibus versarentur, ipse à Palatio non discedebat. Assentatores +detestabatur, quum ipse Reginas coleret & libertos, ac Laudationes +quorundam componeret. Reprehendebat divites is, cujus facultates erant ter +millies sestertium: quique luxum aliorum damnabat quingentes tripodas +habuit de ligno cedrino, pedibus eburneis, similes & pares inter se, in +quibus cœnabat. Ex quibus omnibus ea quæ sunt his consentanea, quæque +ipse libidinose fecit, facile intelligi possunt. Nuptias enim cum +nobilissimâ atque illustrissimâ fœminâ contraxit. Delectabatur +exoletis, idque Neronem facere docuerat etsi antea tanta fuerat in morum +severitate ut ab eo peteret, ne se oscularetur, neve una secum cœnandi +causa discumberet.</p> + +<p class="poem">Vid. <i>Dion. Excerpta per Xiphilinum, Lib. 61.</i></p> + +<p><a name="fh" id="fh" href="#fh.1">[h]</a> Collegæ tamen, multos Nobilium, atque inter eos Crispum etiam +Sallustium, eum, qui historiam conscripsit, Senatu ejicienti non +repugnavit. <span class="smcap">Dion.</span> <i>Lib. 40.</i></p> + +<p><a name="fi" id="fi" href="#fi.1">[i]</a> Ab his Sallustius (qui ut Senatoriam dignitatem recupararet tum Prætor +factus erat) propemodum occisus. <span class="smcap">Dion.</span> <i>Lib. 42.</i></p> + +<p><a name="fk" id="fk" href="#fk.1">[k]</a> Numidas quoque in suam potestarem Cæsar accepit, iisque Sallustium +præfecit. Sallustius & pecuniæ captæ & compilatæ provinciæ accusatus, +summam infamiam reportavit, quod quum ejusmodi libros composuisset, in +quibus multis acerbisque verbis eos, qui ex provinciis quæstum facerent, +notasset, nequaquam suis scriptis in agendo sterisset. Itaque etsi à +Cæsare absolutus fuit, tamen suis ipsius verbis proprium crimen abunde +quasi in tabulâ propositum divulgavit. <span class="smcap">Dion.</span> <i>L. 43.</i></p> + +<p><a name="fl" id="fl" href="#fl.1">[l]</a> See at least a hundred and fifty Places in his late Works.</p> + +<p><a name="fm" id="fm" href="#fm.1">[m]</a> In quo deformitas corporis cum turpitudine cerrabat ingenii; adco ut +animus eius dignissimo domicilio inclusus videretur. <span class="smcap">Vel. Pat.</span> <i>L. 2. B. 69.</i></p> + +<p><a name="fn" id="fn" href="#fn.1">[n]</a> See the Dunciad.</p> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Scribleriad and The Difference +Between Verbal and Practical Virtue, by Anonymous and Lord Hervey + +*** END OF THIS PROJECT GUTENBERG EBOOK THE SCRIBLERIAD AND THE *** + +***** This file should be named 34821-h.htm or 34821-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/4/8/2/34821/ + +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. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Scribleriad and The Difference Between Verbal and Practical Virtue + +Author: Anonymous + Lord Hervey + +Editor: A. J. Sambrook + +Release Date: January 3, 2011 [EBook #34821] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE SCRIBLERIAD AND THE *** + + + + +Produced by Chris Curnow, Joseph Cooper and the Online +Distributed Proofreading Team at http://www.pgdp.net. + + + + + + + + + + THE AUGUSTAN REPRINT SOCIETY + + THE SCRIBLERIAD + + (Anonymous) + + (1742) + + + LORD HERVEY + + THE DIFFERENCE BETWEEN + VERBAL AND PRACTICAL VIRTUE + + (1742) + + + _Introduction by_ + A. J. SAMBROOK + + + PUBLICATION NUMBER 125 + WILLIAM ANDREWS CLARK MEMORIAL LIBRARY + UNIVERSITY OF CALIFORNIA, LOS ANGELES + 1967 + + + + +GENERAL EDITORS + + George Robert Guffey, _University of California, Los Angeles_ + Earl Miner, _University of California, Los Angeles_ + Maximillian E. Novak, _University of California, Los Angeles_ + Robert Vosper, _William Andrews Clark Memorial Library_ + + +ADVISORY EDITORS + + Richard C. Boys, _University of Michigan_ + James L. Clifford, _Columbia University_ + Ralph Cohen, _University of California, Los Angeles_ + Vinton A. Dearing, _University of California, Los Angeles_ + Arthur Friedman, _University of Chicago_ + Louis A. Landa, _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_ + + +CORRESPONDING SECRETARY + + Edna C. Davis, _William Andrews Clark Memorial Library_ + + + + +INTRODUCTION + + +Though they are never particularly edifying, literary quarrels may at +times be educative. Always savage, attacks on Pope reached their lowest +depths of scurrility in 1742, when, in addition to the usual prose and +doggerel verse pamphlets, engravings were being circulated portraying Pope +in a brothel--this on the basis of the story told in the notorious _Letter +from Mr. Cibber to Mr. Pope_, dated 7 July 1742.[1] The Augustan Reprint +Society has already reissued three of the anonymous Grub Street attacks +made upon Pope in this busy year,[2] but the present volume is intended to +complete the picture of the battle-lines by reprinting a verse attack +launched from the court--by Hervey presenting himself as Cibber's +ally--and a verse defence that comes, in point of artistry, clearly from +or near Grub Street itself. + +Lord Hervey's verses, _The Difference between Verbal and Practical +Virtue_, were published between 21 and 24 August 1742, less than a week +after the same author's prose pamphlet (_A Letter to Mr. C--b--r, On his +Letter to Mr. P----._) which had compared the art of Pope and Cibber to +Cibber's advantage, and had roundly concluded that Pope was "_a +second-rate Poet_, a _bad Companion_, a _dangerous Acquaintance_, an +_inveterate, implacable Enemy_, _nobody's Friend_, a _noxious Member of +Society_, and _a thorough bad Man_." In the course of the prose pamphlet +Hervey had suggested that there was a certain incongruity between Pope's +true character and his assumed _persona_ of the "virtuous man," and this +incongruity forms the main subject of his verse attack. Here Hervey finds +examples of "the difference between verbal and practical virtue" in the +lives of Horace, Seneca, and Sallust, before turning to lampoon Pope +crossly and ineptly. The attack on Horace is well conceived for Hervey's +purpose and calculated to damage Pope who was in so many eyes, including +his own, the modern heir of that ancient poet, but the straight abuse +directed against Pope's person is sad stuff. Such lines as those on the +"yelping Mungril" (p. 6) serve only to show how squarely the "well-bred +Spaniels" taunt in the _Epistle to Dr. Arbuthnot_ had hit its target. +Hervey's poem carried a prefatory letter headed "Mr. C--b--er to Mr. P.," +making out that Cibber had a hand in writing the poem itself. Coming so +soon after Hervey's _Letter to Cibber_, which had carried the markedly +intimate subscription "With the greatest Gratitude and Truth, most +affectionately yours," this prefatory letter to the poem further +emphasized Hervey's firm and deliberate alliance with Cibber. + +Evidently it was the strangeness of this alliance between the two +opponents of Pope that struck the fancy of that unidentified "Scriblerus" +whose "Epistle to the Dunces," _The Scribleriad_, was published between 30 +September and 2 October 1742. When Hervey was "affectionately yours" to +Cibber, the two stood shoulder to shoulder so temptingly open to a single +volley that the author of _The Scribleriad_ could fairly claim, as Pope +had claimed in the appendix to _The Dunciad Variorum_ of 1729, that "the +_Poem was not made for these Authors, but these Authors for the Poem_." +Hervey appears as "Narcissus," the nickname Pope had used for him in _The +New Dunciad_. A "late Vice-Chamberlain" (because he had been dismissed +from that post in July 1742) still gorged with the fulsome dedication of +Conyers Middleton's _Life of Cicero_ (1741), he is shown (pp. 11-13) +rousing Cibber. Cibber's situation, reclining on the lap of Dulness where +he is found by Hervey, is taken from _The New Dunciad_, while his general +Satanic role parallels Theobald's in _The Dunciad Variorum_. This may +reflect common knowledge that Pope was at work on revisions that would +raise Cibber to the Dunces' throne, but the belief that Cibber was King of +the Dunces had been widespread from the date of his appointment as Poet +Laureate.[3] _The Scribleriad_ follows the general run of satires against +Cibber--attacking his senile infatuation for Peg Woffington, his violently +demagogic and chauvinistic _Nonjuror_ (first acted in 1717 but still +drawing an audience in 1741), his laureate odes and his frank +commercialization of art. + +Although the writer of _The Scribleriad_ was obviously prompted by the +example of _The Dunciad_ and borrows many details from Pope, his poem has +very little of that mock-epic quality its title might lead a reader to +expect. There are slight traces of parody of Virgil when, on page 16, +Cibber appears as Aeneas (the character he was soon to assume in _The +Dunciad in Four Books_) and the epicene Hervey is portrayed as a +rejuvenated Sybil guiding the hero through a hell of duncery. There are +hints of _Paradise Lost_ too, when Cibber, Satan-like, undertakes his +mission (p. 17) and the dunces, Belial-like, agree "they're better in a +cursed State,/Than to be totally annihilate" (p. 5). But "Scriblerus'" use +of Virgil and Milton, unlike Pope's, does not import some graver meaning +into his poem; it provides him with neither a framework of moral symbols +nor a continuous narrative thread. + +The action is slight and its setting vague. Sometimes we are in a brothel, +crowded with bullies, punks, lords, draymen and linkboys, and managed by +Cibber (pp. 11-12) or by Dulness (p. 10). This setting, together with the +claim that Cibber's own muse is a prostitute (p. 8), serves as a retort to +the Tom-Tit in the brothel story in Cibber's _Letter to Pope_ and to +emphasize the element of literary prostitution in the activities of Cibber +and his like. At other times the setting is a regular dunces' club (pp. 9, +16) of the type chronicled in the pages of _The Grub Street Journal_. +Towards the end of the poem it is an Assembly Room (p. 19) presided over +by the Goddess of Puffs (a happy development of that more commonplace +mythical figure "Fame," Dulness' handmaiden in _The New Dunciad_) who sets +a test for the dunces and judges their performance. Only in this +concluding episode can this rather shapeless poem (which certainly is +neither the mock epic nor the epistle that its title-page promises) be +assigned to any regular literary "kind." This "kind" is that favorite of +the seventeenth and early eighteenth centuries, the "Sessions Poem."[4] + +"Scriblerus'" account of the sessions of the dunces is more allusive and +particularized than the rest of the poem and consequently calls for +somewhat more detailed comment. The chief cases at the sessions embrace +the pamphlet battle of summer 1742 and theatrical rivalry in the 1741-42 +London season. Cibber's contribution to the paper-war, the _Letter to +Pope_ (written according to Cibber "At the Desire of several Persons of +Quality"), is introduced at page 17 and consigned on page 19 to William +Lewis its printer. Hervey stalks in "under VIRTUE's Name" in a "borrow'd +Shape" (p. 24), an allusion to the suggestion in the prefatory epistle to +_The Difference between Verbal and Practical Virtue_ that the poem was +Cibber's work. (The "horse him" on 25 of _The Scribleriad_ refers to +Cibber's adaptation of Shakespeare's _Richard III._) Other pamphlets +issued in August 1742 are mentioned on page 24--_Sawney and Colley_,[5] +which "Scriblerus" calls "CLODDY's Dialogue," and _A Blast upon Bays_.[6] + +Turning to the theatre, "Scriblerus" attacks all three major companies of +the 1741-42 London season. He first introduces the two patented theatres, +Drury Lane and Covent Garden, as rivals only in that debased dramatic form +the pantomime. "The angry _Quack_" (p. 25) is John Weaver, dancing master +at Drury Lane and author of _Anatomical and Mechanical Lectures upon +Dancing_ (1721), who claimed for himself[7] the credit of having +originated pantomime upon the English stage. Weaver's _Orpheus and +Eurydice_ at Drury Lane (1718) was hardly noticed, whereas John Rich had +more recently bestowed "an ORPHEUS on the Town" (p. 25) to very different +effect. Rich's _Orpheus and Eurydice: With the Metamorphoses of Harlequin_ +had opened on 12 February 1740 at Covent Garden, where he was manager. +With Rich himself as Harlequin, it was a wild success that +season--remaining a regular and highly popular afterpiece through the +1741-42 season and later. + +What _The Scribleriad_ tells us of "_Ambivius Turpio_, the Stage 'Squire" +(p. 26) suggests that he is to be identified with Charles Fleetwood, +Esq.,[8] the wealthy, inexperienced amateur who managed Drury Lane (this +even though the original Ambivius Turpio was an actor, while Fleetwood, +apparently, was not). All managers were frequently involved in disputes +over actors' pay, but Fleetwood's were the most notorious. It was the +Drury Lane company that included "the contending POLLYS" (p. 27)--Mrs. +Cibber and Mrs. Clive who had bitterly quarrelled in 1736 over who should +play that role in _The Beggar's Opera_. Fleetwood, like Rich, gave a play +for the benefit of Shakespeare's monument in Westminster Abbey.[9] What +little that Fleetwood knew of management he might well have learned from +his one-time under-manager Theophilus Cibber, the "young PTOLOMY" (p. 27) +who, of course, had derived his knowledge from his "great Sire alone." + +The third theatre attacked in _The Scribleriad_ is Goodman's Fields. Its +manager, Henry Giffard, had no patent, but contrived to evade the +Licensing Act by the subterfuge of charging admission to a concert in two +parts and then offering, "gratis" in the interval, a regular full-length +play and afterpiece. The "City Wrath" (p. 26) arose from the fact that the +theatre was inside the City boundaries and was thought to encourage vice; +indeed, Sir John Barnard and his fellow aldermen managed to prevent it +opening for the 1742-43 season and thereafter. Allusions in the poem are +to the theatre's highly successful 1741-42 season when Garrick sprang to +fame as Cibber's Richard III and also played Tate's King Lear. On page 26 +"Scriblerus" sneers at Garrick's small stature,[10] and refers to the +impropriety of including the figure of Cato in the decor at Goodman's +Fields. + +Targets outside the three theatrical companies are chosen from among the +obvious ones already attacked by Pope. Mrs. Haywood, who in 1742 had +turned publisher under the sign of "Fame," is shown (p. 21) appropriately +enough as the first dunce to recognize the Goddess of Puffs. "The Chief of +the translating Bards" (p. 23) is the aged and industrious Ozell, and his +fellows include Theobald and Thomas Cooke (p. 24).[11] The satire extends +to touch the Administration and the City, with references to Britain's +hitherto inactive part in the War of the Austrian Succession (p. 9) and to +the manner in which stock-jobbers used false war news to aid their +financial speculations (p. 4). It alludes to the "grand Debate" (p. 8) of +the committee set up in March 1742 to consider charges of corruption +against the deposed Walpole (created Lord Orford in February), which by +the end of the summer had fizzled out, doubtless because so many members +of the new government, including the numerous "Peers new-made" (p. 9), had +shared Walpole's peculations and wished to cover their tracks. When it +hits at the King for his patronage of Cibber (p. 13), at the Queen for her +ridiculous Merlin's Cave and waxworks in Richmond Gardens (p. 16),[12] and +at the _Daily Gazeteer_ which, until Walpole's fall, had been expensively +subsidized from the government secret service fund and had numbered among +its journalists such highly placed statesmen as Walpole's brother +Horatio--then, _The Scribleriad_ suggests, there is a general conspiracy +between high ranks and low to encourage Dulness. The Hervey-Cibber +alliance is merely the most recent manifestation of this conspiracy. + +Although it so obviously arises immediately out of the pamphlet battle of +summer 1742, _The Scribleriad_ manages to range more widely in its satire +than the anti-Pope lampoons it replies to. Further, it contrives to bring +in Pope himself without degrading him to the level of his antagonists. +This is done by mounting him on Pegasus and likening the dunces to curs +(pp. 13-14), or comparing him to the sun whose warmth hatches out maggots +(pp. 6, 29): + + How many, who have Reams of Paper spoil'd, + Have often sleepless Nights obscurely toil'd, + And buried in their Eggs, like Silkworms, lay + 'Till his warm Satire shew'd them Life and Day? + Here then, my Sons, is all your living Hope, + To be immortal Scriblers, rail at POPE. + +The image, the attitude and the phrasing alike are borrowed from Pope, for +_The Scribleriad_ is highly derivative throughout. Only two or three times +does "Scriblerus" improve at all upon the many hints he steals from Pope. +I have already mentioned the Goddess Puffs, but other happy touches are to +be found in a spirited travesty (pp. 16-17) of the opening lines from +Ovid's _Metamorphoses_, Book XIII:[13] + + The Chiefs were sate, the Scriblers waited round + + * * * * * + + When he, the Master of the Seven-fold Face, + Rose gleaming thro' his own _Corinthian_ Brass. + +Pope had written in _The Dunciad Variorum_, "The heroes sit; the vulgar +form a ring" (II, 352), but one of the most memorable phrases in _The +Dunciad in Four Books_ of 1743--the ingeniously insolent "sev'nfold Face" +(I, 244)--may well have been borrowed from _The Scribleriad_. "Corinthian +Brass" is good also, economically combining as it does a hit against +Cibber's effrontery and a hint of his sexual irregularities. Such strokes +of wit are rare; _The Scribleriad_ is the work of a writer who in skill is +far closer to Grub Street than to Pope, but it may serve as "a voice from +the crowd" to remind us that Pope had his humbler literary supporters. + + The University + Southampton + + + + +NOTES TO THE INTRODUCTION + + +1. The engravings are numbered 2571-2573 in F. G. Stephens, _Catalogue of +Prints and Drawings in the British Museum, Division 1--Satires_ (London, +1877), Vol. III, Part I. For lists of pamphlets attacking, and in some +cases defending, Pope in 1742, see R. W. Rogers, _The Major Satires of +Alexander Pope_ (Urbana, 1955), pp. 150, 151 and C. D. Peavy, "The +Pope-Cibber Controversy: A Bibliography," in _Restoration and Eighteenth +Century Theatre Research_, III (1964), 53, 54. For accounts of the +Pope-Cibber quarrel see R. H. Barker, _Mr. Cibber of Drury Lane_ (New +York, 1939), pp. 204-220, and N. Ault, _New Light on Pope_ (London, 1949), +pp. 298-324. + +2. _Sawney and Colley_ and _Blast upon Blast_ in Number 83 (1960), and +_The Blatant Beast_ in Number 114 (1965). + +3. E.g., in _The New Session of the Poets_ (_The Universal Spectator_, 6 +Feb. 1731) the Goddess Dulness calls a session and awards the crown to +Cibber. + +4. See Hugh Macdonald, "Introduction," _A Journal from Parnassus_ (London, +1937) and A. L. Williams, "Literary Backgrounds to Book Four of the +_Dunciad_," _PMLA_, LXVIII (1953), 806-813. + +5. See note 2 above. + +6. An anti-Cibber work in prose. It is doubtful that "Scriblerus," who +thought this work did more harm than good to Pope's cause, would have +endorsed the British Museum catalogue's attribution of it to Pope himself. + +7. In _The History of the Mimes and Pantomimes_ (1728). + +8. Some account of Fleetwood may be found in R. W. Buss, _Charles +Fleetwood, Holder of the Drury Lane Theatre Patent_ (privately printed, +1915). There are hostile contemporary accounts of Fleetwood in Henry +Carey's epistle _Of Stage Tyrants_ [(1735) reprinted in _The Poems of +Henry Carey_, ed. F. T. Wood (1930)], in Charlotte Charke's _The Art of +Management_ (1735), and in _A Narrative of the Life of Mrs. Charlotte +Charke, Youngest Daughter of Colley Cibber, Written by Herself_ (1735). + +9. _Julius Caesar_, on 28 April 1738. Rich offered _Hamlet_ on 10 April +1739. + +10. A lady once asked Foote, "Pray, Sir, are your puppets to be as large +as life?" "Oh dear, Madam, no: not much above the size of Garrick." See +William Cooke, _Memoirs of Samuel Foote_ (1805), II, 58. + +11. Theobald never published his long promised translation of Aeschylus; +but, by bracketing it with Cooke's musical farce from Terence, _The +Eunuch_, which _was_ performed (Drury Lane, 17 May 1737), "Scriblerus" +seems to imply that he did complete it. + +12. The immediate target of this shaft was the waxwork show kept by Mrs. +Salmon near St. Dunstan's Church in Fleet Street, but the original +"Merlin's Cave" built for Queen Caroline in 1735 remained a standing jest +into the 1740's. + +13. "Consedere duces et vulgi stante corona surgit ad hos clipei dominus +septemplicis" (_Met._, XIII, 1-2). Dryden translates: + + The Chiefs were set; the Soldiers crown'd the Field: + To these the Master of the seven-fold Shield + Upstarted fierce. + + + + +BIBLIOGRAPHICAL NOTE + + +The text of this edition of _The Scribleriad_ is reproduced from a copy in +the Library of St. David's College, Lampeter, and that of _The Difference +between Verbal and Practical Virtue_ from a copy in the British Museum. + + + + + THE SCRIBLERIAD. + + BEING AN EPISTLE + TO THE DUNCES, + + On RENEWING their + ATTACK upon Mr. _POPE_, + UNDER THEIR + LEADER the _LAUREAT_. + + + By SCRIBLERUS. + + + _No Author ever spares a Brother; + Wits are_ Game Cocks _to one another._ GAY. + + + _LONDON_: + Printed for W. WEBB, near St. _Paul_'s. 1742. + [Price Six-pence.] + + + + +THE SCRIBLERIAD. + +AN EPISTLE + + + The Wits are jarring, and the Witlings strive, + To keep the _dying_ Quarrel still _alive_; + So shallow Gamesters, tho' they nothing get, + All blind the _Dupe_, and aid the _sly Deceit_. + Attend, ye SCRIBLERS! to your Leader's Call, + Good Sense condemn, and pointed Satire maul; + Ye DUNCES too! for ye not differ more + Than _Bluff_ and _Wittol_, or than _Bawd_ and _Whore_: + High on the Pedestal of Rank and State, + Mounts rich _Sir Dunce_, and seems to ape the Great; + Whilst low beneath the wretched Scribler lies, + And his Inscription unrewarded eyes; + Equal are they, whom _blund'ring Measures_ raise, + And Bards who sasly censure, as they praise; + The _Statesman_, well examin'd, will appear + But Counterpart of his dear _Gazetteer_: + Tho' One in his gilt Chariot proudly rolls, + Or heads in _D----g-Room_ his Brother Tools-- + And Th' other labours hard whate'er he says, + Shining in Coffee-house with doubtful Phrase; + Still restless in all Stations, pleas'd with none; + For ever climbing, yet for ever down: + Oft have we seen, that _Noblemen_ have wrote, + And _Authors_ sometimes, strutting in _lac'd Coat_; + But widely then from Nature's Ends they err, + And play the Farce quite out of Character. + As well may pious Jobbers of the Alley + Pretend the _flying_ Troops of _France_ to rally. + To proper Spheres, my Friends! yourselves confine! + When COLLEY writes, a _Dunce_ may praise each Line; + Whether _my Lord at Length_, he views the Plan, + Or sculks beneath a _certain Gentleman_; + But if that Lord the _Pen_ or _Press_ invade, + Rouse, rouse, ye Tribe! he'll undermine your Trade, + Tho' not one brilliant Thought should hurt the whole, + And ev'ry Verse be bad, or lame, or stole, + Still, like a _mad Dog_, hunt th' Usurper dead, } + Tho' he _for Fame_, ye scribble to _be fed_; } + He stands condemn'd, who robs ye of your _Bread_. } + But if a Genius rise, whose pointed Wit + Corrects your Morals, and all Tastes shall fit, + Claim then the Privilege to be his Foes, + Ye cannot shine, but when ye Worth oppose. + When ye _deny_ him _Fame_, ye _fix_ your _own_, + And to be satirized, is to be known. + Some hold, they're better in a cursed State, + Than to be totally annihilate; + Thrice happy then, ye deathless, duncely Train! + The Subjects of the higher DUNCIAD's Strain. + How many, who have Reams of Paper spoil'd, + Have often sleepless Nights obscurely toil'd, + And buried in their Eggs, like Silkworms, lay + 'Till his warm Satire shew'd them Life and Day? + Here then, my Sons, is all your living Hope, + To be immortal Scriblers, rail at POPE. + Snatch'd from Oblivion, there the _Dunces_ soar, + TIBBALD their Monarch dubb'd, can ask no more, + Nor less shall ye----now COLLEY gives the Word, + Rouse up! and crowd into the next Record, + Or, lost to Memory, no other Page + Can possibly retrieve ye half an Age; + And now the glad Occasion aptly calls, + To _break_ more _Printers_, and to _spread_ more _Stalls_; + To save your _Names_ from _Lethe_, tho' your Books + Are doom'd the Prize of _Fruiterers_ and _Cooks_. + The Streams of _Helicon_ once clearly flow'd, + And Heav'n in their resplendent Bosom shew'd, + Whilst verdant Groves the sacred Mountain spread; + Then _Pegasus_ on Balms and Myrtles fed: + Now blighted _Thistles_ only crown the Top, + Which Herds of young _poetic Asses_ crop; + And, choak'd with common Sew'rs, like _Fleet-ditch_ Flood, + Its sable Waters writhe along the Mud; + Nor murm'ring wake, nor seem they quite asleep, + Whilst _Wits_, like _Water-rats_, around them creep. + If any shou'd attempt to cleanse your Streams, + Or wake ye from your kind lethargic Dreams, + Assert your Right, and render vain their Toil; + Yours is the Filth, then join and guard your Soil! + And lest ye're diffident to aid the Cause, + Not wholly yet broke loose from Reason's Laws, + View the strange Wonders of the present Times, + Let Empires sleep, but hear the Fate of Rhimes. + Let POPE lull all his _Dunces_ with a Yawn, + Wrapt in their Robes of _P--ple_ or of _L--wn_, + Whilst he shall leave one tatter'd _Muse_ awake; + That _Muse_ his own and others Rest shall break. + A Prostitute, her Charms their Vigour lose, + Now COLLEY keeps her, and she sups on Prose; + But free and common, hack'd about the Town, + Each of ye claim her! for she's all your own. + With him, unmov'd by Salary or Sack, + She d----ns his Impotence of _Brain_ and _Back_; + That thus in Age he strains at Wit's Embrace, + And follows W--FF--N from Place to Place; + But tho' _cold Prose_ to him she'll only give, + Ye, my pert Sons! who with more Ardour strive, + May raise the bastard Issue of a Verse, + To wear the wither'd _Bays_, or deck his _Hearse_. + Now for six Months had O----D shook the State + With _grand Removals_, and _a grand Debate_: + _Dunce_ elbow'd _Dunce_, each foremost wou'd advance, + But backward fell, as in old _Bayes_'s Dance: + When _Dulness_ spread her pow'rful YAWN around, + "And Sense and Shame, and Right and Wrong were drown'd, + _Enquiry_ ceas'd, and, touch'd by magic Wand, + Ev'n _Opposition's_ self was at a Stand; + On well-oil'd Hinges creaks the Prison Gate, + And _Pains and Penalties_ will come too late. + 'Twas Night's high Noon at _P--is_ and the _H--ge_, + And _Politics_ had died, but for poor _P--gue_; + For why, "The Goddess bade BRITANNIA sleep, + "And pour'd her Spirit o'er the Land and Deep." + And now the _Scriblers_, motionless and mute, + Sit down to count their Gains by the Dispute, + To see on which Side Victory hath run; } + Like _Mackbeth's Witches_, when the Mischief's done, } + They tell ye, that the Battle's _lost_ and _won_: } + Contriving whom to _greet_, or whom _disgrace_, + As _Gazettes_ speak them _in_ or _out_ of _Place_; + For _Panegyrics_ drein their tilted Wit + On Peers _new-made_, against the House shall sit, + Or saucily appear before their Betters + In _sage Advice_, or on an _old Member's Letters_: + Thus fate, they waiting the approaching Yawn, + Wishing for Sleep till the next _Sessions' Dawn_, + When the kind Goddess did her Jaws unclose, + She snor'd aloud, and strait a Vapour rose, + Unwholsome as the Damps a Collier meets + Too often in his subterraneous Pits; + For _Dulness_ taints all round her where she breathes, + As witness, COLLEY, thy dry blighted Wreaths: + Nor cou'd the upward Gasp disperse the Steam, + But from below disturb'd her _Consort's_ Dream; + Yet from her downy Lap he started not, + But mutter'd something thus--as loose of Thought; + "He hurts not me--my CAESAR--Satire--dull, + "Why all the World knows I've been long--a F--l; + "But now--I'll do't--Yae--ough"--so said, he drops, + Salutes his Queen's Effulgence, and thus stops. + The Throne where _Dulness_ sate, maintaining Right, + Resembled much some Monarch's of the Night, + Where gloomy Myrmidons and Punks resort, + And snore on Benches round his ample Court. + Both there and here, as in the busy World, + Lords, Draymen, Linkboys, in Confusion hurl'd; + Beneath the Monarch, fond to be employ'd, + NARCISSUS lay with _too much_ TULLY cloy'd; + As Gluttons gorg'd at City Feasts too soon, + Oft get their Naps before the rest lye down; + Their heaving Stomachs turn'd at something tart, + When others doze, oft make them wildly start: + So he--"Why, what a Pax! who'd be a L--d, + "If Worth and Merit only Praise afford? + "I can't be prais'd as _Poet_, _Wit_, or _P----r_, + "But that dem'd _Twick'nam_ Bard my Parts will jeer; + "If I can't write myself, here's COLLEY shall; + "I've often heard him swear--he'll stand _'em all_: + "If he refuse me, I have still another, + "I'll _hammer_ him conjointly with my B----r; + "But sure the _Laureat Harp_ must tune a Strain, + "New mended by a late _V----e C--mb--n_; + "For he, to give his Due unto the _Devil_, + "Was always to us Folks of Fashion civil." + Resolv'd at once, he tweaks the Monarch's Nose, + The Monarch snor'd--new Streams from _Dulness_ rose. + Close to his Ear he lays his dimpled Cheek, + And in soft Accents speaks, or seem'd to speak, + "Dear _Laureate_, rouse, the Enemy's at Hand, + "Another DUNCIAD travels round the Land, + "Whence all the sole Proprietors of Trash, + "Thy Friends and mine, most justly fear the Lash. + Vain are his Efforts--yet again he tries, + "Thy _Odes_!--oh save thy _Odes_!--dear _Laureat_ rise; + "If not for _Odes_--yet for _Love's Riddle_ wake-- + "Nor that?--thy _Careless Husband_'s then at Stake. + All wou'd not do--his soft Distress preferr'd, + Nor the great Mother, nor the _Laureat_ heard; + For on her Lap so _daintily_ he lay, + His Senses, breath'd into her, stole away; + All Aims at a Recovery were vain, + Till she vouchsaf'd to breathe them back again. + "One gentle Imprecation more and then, + "He cries, Farewel the _Laureat_ and his _Pen_: + "Thy Country calls, if thou resign'st thy Sense, + "Yet rouse to be a Man of Consequence. + "Who calls thee _Dunce_, abuses too thy K--g, + "Whose Praises, by thy Place, thou'rt bound to sing; + "O! grant me Aid, assume the pleasing Task, + "In thy _Nonjuror_'s fav'rite Name I ask. + Thrice groan'd the _Ompha_, and in Thunder spoke, + The Blast his Sense return'd, and Slumber broke; + _Nonjure!_ That Word alone unbinds the Charms, + For _Party_-Dulness always sounds to _Arms_; + Upstarts the Sire--"Mistake me not, he cries, + "Whoever says I was asleep------he lies; + "You know, my L--d, how I my Wits exert, + "How always pleasing, and how always pert; + "I know your Grief, before the Cause is told; + "Then here my Pen in Readiness I hold. + "Since by Desire I enter thus the Lists, + "I vow Revenge--know, COLLEY ne'er desists: + "Then I'll pursue him with my latest Breath, + "Nor drop _this Pen_ 'till quite _benum'd_ with _Death_. + High on the Muses _Pegasus_ DAN P--PE + Mounts _full of Spirit_, nor vouchsafes to stoop, + But hears the Murmurs of the Dull upborn, + Low empty Curses, or vain stingless Scorn; + One Dash strikes all the mean Revilers down, + As sure as JOVE should swear by ACHERON: + Whether his _Person_ be their standing Jest, + Or his _Religion_ suits their Libels best; + Whether the _Author_ forms his crude Designs, + As the _deserted Bookseller_ repines, + Who, after all his _Boasts_, is tumbled by, + And looks at D----LEY with an evil Eye; + Or if their standing Topics, _Spleen_ and _Spite_, + _A Jesuit_,----an _Atheist_,----_Jacobite_. + In all their hard-strain'd Labours, squeez'd by Bits, + Mark well the Triumph of these wou'd-be Wits; + Like _Village Curs_, kick'd backward by the _Steed_, + Their _Noise_ and _Yelping_ their _Destruction_ breed; + Or if the Rider _smacks_ them with his _Whip_, + 'Tis more _t' unbend the Lash_, than make them _skip_: + Yet still they rise and at it----Goddess hail! + Who o'er thy Suns spread'st such a thick'ning Veil, + That Sense of Pain, as well as Shame, is lost, + And you _reward_ those best, who _blunder_ most; + For where are Honours, Places, Gifts bestow'd, + But where thy Influence is most avow'd? + Rest, while more modern Miracles I sing, + Of _Minor Dunces_ that from thee first spring; + But all who Recreants thy Pow'r disclaim, + And, Laureat-like, to _Pertness_ change thy Name; + And ye, her Sons, who've nothing else to do, + Wait, if you please, the----Vision thro': + You, who in Manuscript your Works retale, + And tag with Rhimes the latter Ends of Ale, + But vow th' ungrateful Age shall never see, + In Print, how wond'rous wise and smart ye be; + Or you, whose Muse has run you out of Breath, + Or rode you like a Night-mare hagg'd to Death; + Attend and learn from _Dulness'_ sleeping Shade, + Another Goddess rises to your Aid. + Pleas'd with the Vow, the glad submissive P--r, + Thence leads the Monarch to a nobler Chair; + For why shou'd he at _Dulness'_ Footstool wait, + Who knows so well to entertain with Prate; + Some _g--rt--r'd Dupes_ no nobler Titles boast, + Than to have been the Objects of his _Roast_; + For which they fill his Groupe, his Praises have, + And shine like SALMON'_s Dolls_ in MERLIN'_s Cave_. + The young NARCISSUS, whom (wou'd you believe, + The _Cornhill_ Priest, who never cou'd deceive) + Had robb'd the _Sibil_ of whate'er was sage, + Or _Good_, or _Wise_, except her _Gums_ and _Age_, + Was the old Woman, tho' in Youth renew'd, + Who led AENEAS when he _H--ll_ review'd; + Wrapt in the Steam that spread from _Dulness'_ Jaws, + From her Posterior's, perch'd, pert C----R draws, + Conveys him to the Club--the Club despair, + Till they the Snuff-box smell, and see the Chair. + Then all the _Dunciad_ d----n, and, grown elate, + Prick up their Ears, and bray, "_To the Debate!_ + "The Chiefs were sate, the Scriblers waited round + "The Board with Bottles, and with Glasses crown'd, + "When he, the Master of the Seven-fold Face, + "Rose" gleaming thro' his own _Corinthian_ Brass, + And thus--my L--s, we once again are met, + Nor Sense hath robb'd us of a Vot'ry yet; + Pleas'd, I the present Danger undertake, + And gladly suffer, for my Country's Sake; + For I a prompt Alacrity agnize + To be esteem'd or witty, smart or wise. + This present War then with the POPE be mine; + But one Thing beg, I, bending to your Shrine, + Due Preference of Honour, Time and Place, + And _your Desires_ my Title Page to grace, + He said and bow'd--a Whisper trill'd the Air + Much as when C--MP--N wou'd have been L--d M--r. + However, each assents, then forth he drew + An Oglio Letter ready cook'd for _View_; + _Taste_ it had none; for, having long lain by, + 'Twas lost like Camphire that doth quickly fly; + But, as it never was in Print before, + 'Twas new, they all believe, for COLLEY swore. + When one, as Deputy for all the rest, + Thus, in due Form, their Advocate addrest. + _Great Laureat_, thou whose yearly tuneful Notes + Deafen the Court from Chappel-royal Throats, + Oft has this Enemy to our Repose + Wak'd us from Slumbers where we quiet doze, + Reeking with Malice, and of Satire full, + He neither lets us sin in quiet, or be dull: + You too, with us, have his Attacks withstood, + Have answer'd not, or wou'd not, if you cou'd; + And to receive his Insults, in your _Life_, + You offer'd him Release from all your Strife: + So once did CU--L, but he accepted not, + As if ye both contemptible he thought; + But sure this last Affront must give you Pain; + Can you your usual Temper now retain? + If this not rouse you, all our Hopes we'll quit, + And sue out Bankruptcy against your Wit: + Therefore, as _Monarch_ of the _scribling Crew_, } + This is a Debt to both our Int'rests due, } + For us he _d--ns_ at once, in _lashing_ you. } + Let L--IS then the happy Offspring rear, + Tis safe, if once committed to his Care. + He yields to their Intreaties, and then smil'd, + The Goddess spread her Vapour round more mild, + And strait a Form appear'd, like _ancient Fame_, } + Her Wings, her Trumpet, and her Robe the same, } + Each rous'd at once, and thought he grasp'd the Dame; } + But found 'twas all a Cloud or empty Space; + No Substance, tho' the Out-line they cou'd trace. + And, thus disturb'd, a strange unsav'ry Fume + Diffus'd itself around th' Assembly Room: + The Scent each mad'ning Brain did instant strike, + All star'd, and thought it FAME, it look'd so like; + COLLEY at once disclaim'd her--"For, says he, + "I even _Bread and Cheese_ prefer to _thee_; + "The Smiles of Monarchs may no Comfort bring; + "But then the _Sack's_ a wholsome pleasing Thing: + "Had I won thee, I might have scap'd a Sneer, + "And lost the _twice One Hundred Pounds a Year_. + "Then pray, dear Madam, if you please, be gone; + "Come you a Spy to make our Counsels known?" + When thus the Fantom----"Ye're my Children all; + "Thee, COLLEY, I my eldest Darling call; + "Mistake not, I usurp no borrow'd Name, + "And hate, as much as you, the Sound of FAME; + "Tho' I a Shadow on her Steps attend, + "When she appears, my Empire's at an End: + "Your stern Antagonist draws _Dulness_ right, + "Daughter of CHAOS, and _eternal Night_; + "Wits boast their PALLAS sprung from Brain of JOVE; + "We too had our Original above, + "And claim the Heraldry of God-like Race, + "Part of the Cloud IXION did embrace; + "Whence form'd in Aid of _Dulness_ and her Train, + "I oft her sinking Works in Air sustain; + "And when they otherwise wou'd fall downright, + "I waft them upwards to a second Flight: + "So when the new-made Honours were confer'd + "On all your earthly Recantation Herd, + "The Deities of Air, in Mirth and Sport, + "Made me a Goddess, and allow'd a Court; + "Long ye have known me--I o'er PUFFS preside, + "But ne'er, till now, appear'd in so much Pride. + The whole Assembly to her Presence press, } + All own her, but, their Ignorance, confess, } + Was wholly owing to th' inverted Dress: } + But both her Hands _Eliza_ first uprear'd, + Insisting only she the Pow'r rever'd: + Oh make my Shop, she cries, thy fav'rite Shrine; + You must, you shall, I have you on my Sign: + All scold, and Indignation bent each Brow, + None wou'd the other's Privilege allow; + When lo, a Youth of most distinguish'd Grace + (Well known for pressing first in ev'ry Place, + Whether he heads the _Orders_ in the _Pit_, + Or doth at _B----n_'s Judge of Boxing sit) + Conspicuous mounts, and thus, in formal Speech, + Begins----"Statesmen and Morals I impeach, + "Write Satires, and deny them for my own + "In Advertisements, that I may be known; + "Grant me thy Aid, great Goddess, but once more; + "Not for myself alone I thee implore, + "But for this _Saint_, who breathing now her last, + "Wou'd fain retrieve Disreputation past. + "If Gold you ask, long-hoarded Bags shall fly"-- + The Goddess smil'd, and puff'd it to the Sky. + "Children, says she, Distinction should be made + "To _Scriblers_, who are thus above the Trade; + "For ye, who equal in all Prospects are, + "To gain our Favour, we a _Test_ prepare. + "He that has oft'nest most disguis'd the Truth, + "And render'd Sense and Reason quite uncouth; + "Who Learning hath, by Artifice abus'd, + "And by false Glasses vulgar Eyes amus'd; + "Who seldom in his real Shape was seen, + "For ever different to what h' hath been; + "Him for our royal Consort we select: + "Begin--and Pertness all your Aims direct; + "And still to urge ye on to further Hope, + "These Trophies wait the Man who lashes POPE. + "The Wings from one of MERCURY's new Suits; + "These grac'd his _Cap_, and these adorn'd his _Boots_; + "But who shall mention _Merit_, or presume + "To talk of _Wit_, him we forbid the Room." + Then first a Sage, of rev'rend hoary Years, + The Chief of the translating Bards appears; + And thus, in their Behalf--O pow'rful Maid! + "Daily and nightly we invoke thy Aid; + "In Pamphlets, numberless, have fully shown, + "Nor Language _dead_ or _live_ to SAWNEY's known; + "Yet, spite of all the Methods we can try, + "The silly _World_ will yet his HOMER buy: + "But next we think"--the Goddess stopt them short! + "All ye have done, but makes the _Learned_ Sport; + "To rail and call his HOMER wretched Stuff; + "To censure and condemn, is well enough; + "But here's the Curse on't, ye're such silly Elves + "To shew the _Diff'rence_ ye _translate_ yourselves, + "Or T----LD else had, not five Years and more, + "Hawk'd AESCHYLUS about from Door to Door. + "TERENCE's Eunuch the same Fate partook, + "Murder'd by merciless and mangling C----K. + "But cease we this, the recent Matter try, + "All who the present pidling Quarrel ply, + "Stand forth"----In Party-colour'd Vest + CLODDY appear'd, his _Dialogue_ addrest, + And swore he'd study'd SWIFT with so much Pains, + He thought, at last, he'd gain'd his very Strains: + The Piece perus'd, this Answer she return'd, + "Obscenity, when dull, is always scorn'd; + "And who _puffs_ this, will, to his Sorrow, find + "'Tis but a _F--t_ will _stink_ to all _Mankind_." + BLAST claim'd the Prize, and said, he did deride + The POET, by appearing on his Side; + The Goddess sent her Maid to kick him down, + But e'er she rais'd her Foot, the Wretch was gone. + Next, in a borrow'd Shape, by CLYTUS worn, + In fierce theatric Battles hackt and torn, + A Wight stalkt in, and, under VIRTUE's Name, + On HORACE, SALUST, SENECA and POPE cry'd Shame; + _False English!_ baul'd he loud--the Goddess heard, + And to the School-boys his Address preferr'd. + He disappear'd, nor know we if he's found, + But _horse him, horse him_, dy'd in distant Sound. + And now of ev'ry Sort came rushing in, + _Scriblers_ and _Puffers_, with a horrid Din; + All who in various Occupations strive + To keep their sev'ral Mist'ries alive, + From _Statesmen_, who, for Coronets resign'd, + To the _Dutch Kettle_, and the Window-Blind; + But far above the rest, each Rival Stage + The Favour of the Goddess wou'd engage; + The angry _Quack_ his Nostrums all forsakes, + And, in Revenge, his Gallipots he breaks, + 'Cause _R--ch_ bestows an ORPHEUS on the Town, + When _he_ had, long before, run mad with one: + Then Paper Wars, and long-ear'd Quarrels rise, + And each the Goddess sues for fresh Supplies. + In spite of City Wrath and Aldermen, + A _Concert_ takes the Dregs of _Drury-Lane_: + In pompous Stanzas they their Genius raise, + And sound, in ev'ry Paper, their own Praise, + From _Rome_ and Death old surly CATO tear, + To see the modern _Liliputian_ lear, + _Greece_ is outdone, and learned _Athens_ yields + To the politer Stage of _G------n's-F--ds_. + _Ambivius Turpia_, the Stage 'Squire appear'd, + The Nurse, who ev'ry modern TERENCE rear'd; + A meagre Shade, quite uninform'd and wild, + Yet still he flatter'd, smooth'd, and still he smil'd: + Ne'er, but when frighten'd, cou'd he be sincere, + And ne'er ap'd _Honesty_, but 'twas thro' _Fear_; + Revil'd, exploded on a rival Stage, + To dull the Sting the Libellers engage; + If double Pay is given them on his own, + He smil'd Consent, and turns them on the Town. + Then thus--Great Pow'r! thy darling Child behold, + I've courted thee with _Orders_ and with _Gold_, + This Scheme let the contending POLLYS tell, + This ev'ry _Inns o' Court_ Man knows full well. + But mark, dear Goddess, this my Master-piece, + Thus I revive the Arts of _Rome_ and _Greece_; + For SHAKESPEAR's Monument I gave a Play, } + And stopp'd the starving Actors hard-got Pay, } + Yet bore I all the _Praise_ and _Puff_ away. } + _Beasts_ graze the _Plain_, the _Fishes_ skim the _Sea_, + _Cars_ are for _Peers_, _Streets_ for _Mechanics_ free; + Thy Empire, Goddess, still hath been my Care, + My _Life_'s a _Puff_, my _Deeds_, like _Words_, are _Air_. + He spake, to grasp the Prize his Fingers stretch, + As feeble Reeds spent Swimmers strive to catch; + But finds himself pusht instantly away, + And by young PTOLOMY is kept at Bay. + Give him the Prize, O Goddess, if thou durst, + A _Wretch_ beneath his lowest Puppets curst. + The Claim he makes is owing to my Parts; + I taught him _Management_, and all its Arts, + From my great Sire alone deriv'd, to me + He gave it yet a living Legacy: + In what theatric Region are unknown + Our _Puffs_ in ev'ry Bill, in ev'ry Paper shown? + And where his short ones fail'd, I, better skill'd, + The groaning Page with long Epistles fill'd: + If Falsehood claims it, end the vain Dispute; + 'Tis mine, avaunt, ye _Puffers_, and be mute; + All _Grubstreet_ tells----At this CONUNDRUM rose, + And thus--Fond Youth, no more thy Gifts expose; + Tho' the Foundation of this Art is Lies, + Yet TRUTH is sometimes proper for Disguise: + He who is always false, is ne'er believ'd, + Who's always _honest_, is sometimes _deceiv'd_; + The Prize we'll yield, prove it upon Record, + That _he_ or _you_ e'er spoke but one _true Word_. + Dismist--The Fantoms hover round the Place, + And shew their Crimes in Mirrors to their Face? + Each on the other gazing, ghastly stood, + And wou'd have _blush'd_, or hid them, _if they cou'd_. + Then thus the Goddess--"Cease all further Strife, + "COLLEY, thy Hand! I'm thine alone for Life; + "Thine be the Prize, an Emblem of thy _Wit_, + "Which tho' not so, yet some will take for it: + "But 'tis not long, ev'n me thou must forsake; + "My last, my best, Advice then friendly take, + "Dear Scriblers, all Adventurers in _Wit_, + "Who scorn the Field of fell Debate to quit, + "Howe'er he lash ye, still the War pursue, + "Your _Ignorance_ brings all his _Wit_ to View; + "The Insects hov'ring in the breezy Air + "Shew th' approaching vernal Season near; + "The _Maggot_ that in Sun-beams basking lies, + "Tho' the _Heat_ scorch him, by that _Heat_ he flies." + She spake, and then, unseen, unheard retir'd, + Born in a Breath, she with a Sigh expir'd. + + +_FINIS._ + + + + +(_Just Publish'd, Price 6d._) + +The Political Padlock, and the English Key. A Fable. Translated from the +_Italian_ of Father M----r _S----ini_, who is now under Confinement for +the same in _Naples_, by Order of Don _Carlos_. With Explanatory Notes. + + _I grant all_ Courses _are in vain, + Unless we can_ get in _again: + The only Way that's left us now, + But all the Difficulty's_ How? + + + + + THE DIFFERENCE BETWEEN + VERBAL and PRACTICAL VIRTUE. + + + _Dicendi Virtus, nisi ei, qui dicit, ea, de quibus dicit, percepta + sint, extare non potest._ CIC. + + + WITH A Prefatory Epistle from Mr. _C--b--r_ to Mr. _P._ + + + _Sic ulciscar genera singula, quemadmodum a quibus sum provocatus._ + + CIC. post Redit. ad Quir. + + + _LONDON_: + Printed for J. ROBERTS, near the _Oxford-Arms_ in _Warwick-Lane_. + MDCCXLII. + + + + +Mr. _C--b--r_ to Mr. _P._ + + +Have at you again, Sir. I gave you fair Warning that I would have the last +Word; and by ---- (I will not swear in Print) you shall find me no Lyar. I +own, I am greatly elate on the Laurels the Town has bestow'd upon me for +my Victory over you in my Prose Combat; and, encouraged by that Triumph, I +now resolve to fight you on your own Dunghil of Poetry, and with your own +jingling Weapons of Rhyme and Metre. I confess I have had some Help; but +what then? since the greatest Princes are rather proud than asham'd of +Allies and Auxiliaries when they make War in the Field, why should I +decline such Assistance when I make War in the Press? And since you +thought most unrighteously and unjustly to fall upon me and crush me, only +because you imagin'd your Self strong and Me weak, as _France_ fell upon +the Queen of _Hungary_; if I like her (_si parva licet componere magnis_) +by first striking a bold and desperate Stroke myself with a little +Success, have encouraged such a Friend to me, as _England_ has been to +her, to espouse my Cause, and turn all the Weight of the War upon you, +till you wish you had never begun it; with what reasonable and equitable +Pleasure may I not pursue my Blow till I make you repent, by laying you on +your Back, the ungrateful Returns you have made me for saving you from +Destruction when you laid yourself on your Belly. I am, Sir, not your +humble, but your devoted Servant; for I will follow you as long as I live; +and as _Terence_ says in the _Eunuch_, _Ego pol te pro istis dictis & +factis, scelus, ulciscar, ut ne impune in nos illus eris_. + + + + +THE DIFFERENCE BETWEEN Verbal and Practical VIRTUE EXEMPLIFY'D, + +In some Eminent Instances both Ancient and Modern. + + + What awkard Judgments must they make of Men, + Who think their Hearts are pictur'd by their Pen; + That _this_ observes the Rules which _that_ approves, + And what one praises, that the other loves. + Few Authors tread the Paths they recommend, + Or when they shew the Road, pursue the End: + Few give Examples, whilst they give Advice, + Or tho' they scourge the vicious, shun the Vice; + But lash the Times as Swimmers do the Tide, + And kick and cuff the Stream on which they ride. + + His tuneful Lyre when polish'd _Horace_ strung, + [a]And all the Sweets of calm Retirement sung, + In Practice still his courtly Conduct show'd + His Joy was Luxury, and Power his God; + [b]With great _Maecenas_ meanly proud to dine, + [c]And fond to load _Augustus_ flatter'd Shrine; + [d]And whilst he rail'd at _Menas_ ill-got Sway, + [e]His numerous Train that choak'd the _Appian_ Way, + His Talents still to Perfidy apply'd, + Three Times a Friend and Foe to either Side. + _Horace_ forgot, or hop'd his Readers would, + [f]His Safety on the same Foundation stood. + That he who once had own'd his Country's Cause, + Now kiss'd the Feet that trampled on her Laws: + That till the Havock of _Philippi_'s Field, + Where Right to Force, by Fate was taught to yield, + He follow'd _Brutus_, and then hail'd the Sword, + Which gave Mankind, whom _Brutus_ freed, a Lord: + Nor to the Guilt of a Deserter's Name, } + Like _Menas_ great (tho' with dishonest Fame) } + Added the Glory, tho' he shar'd the Shame. } + For whilst with Fleets and Armies _Menas_ warr'd, + Courage his Leader, Policy his Guard, + Poor _Horace_ only follow'd with a Verse + That Fate the Freedman balanc'd, to rehearse; + Singing the Victor for whom _Menas_ fought, + And following Triumph which the other brought. + + [g]Thus graver _Seneca_, in canting Strains, + Talk'd of fair Virtue's Charms and Vice's Stains, + And said the happy were the chaste and poor; } + Whilst plunder'd Provinces supply'd his Store, } + And _Rome_'s Imperial Mistress was his Whore. } + But tho' he rail'd at Flattery's dangerous Smile, + A _Claudius_, and a _Nero_, all the while, + With every Vice that reigns in Youth or Age, } + The Gilding of his venal Pen engage, } + And fill the slavish Fable of each Page. } + + See _Sallust_ too, whose Energy divine + Lashes a vicious Age in ev'ry Line: + With Horror painting the flagitious Times, + The profligate, profuse, rapacious Crimes, + That reign'd in the degenerate Sons of _Rome_, + And made them first deserve, then caus'd their Doom; + With all the Merit of his virtuous Pen, + Leagu'd with the worst of these corrupted Men; + The Day in Riot and Excess to waste, + The Night in Taverns and in Brothels past: + [h]And when the _Censors_, by their high Controll, + Struck him, indignant, from the _Senate_'s Roll, + From Justice he appeal'd to _Caesar_'s Sword, + [i]And by Law exil'd, was by Force restor'd. + [k]What follow'd let _Numidia_'s Sons declare, + Harrass'd in Peace with Ills surpassing War; + Each Purse by Peculate and Rapine drain'd, + Each House by Murder and Adult'ries stain'd: + Till _Africk_ Slaves, gall'd by the Chains of _Rome_, + Wish'd their own Tyrants as a milder Doom. + + If then we turn our Eyes from Words to Fact, + Comparing how Men write, with how they act, + How many Authors of this Contrast kind + In ev'ry Age, and ev'ry Clime we find. + Thus scribbling _P----_ who _Peter_ never spares, + Feeds on extortious Interest from young Heirs: + And whilst he made Old _S--lkerk_'s Bows his Sport, + Dawb'd minor Courtiers, of a minor Court. + If _Sallust_, _Horace_, _Seneca_, and _He_ + Thus in their Morals then so well agree; + By what Ingredient is the Difference known? } + The Difference only in their Wit is shown, } + For all their Cant and Falshood is his own. } + He rails at Lies, and yet for half a Crown, + Coins and disperses Lies thro' all the Town: + Of his own Crimes the Innocent accuses, + And those who clubb'd to make him eat, abuses. + But whilst such Features in his Works we trace, + And Gifts like these his happy Genius grace; + Let none his haggard Face, or Mountain Back, + The Object of mistaken Satire make; + Faults which the best of Men, by Nature curs'd, + May chance to share in common with the worst. + In Vengeance for his Insults on Mankind, } + Let those who blame, some truer Blemish find, } + And lash that worse Deformity, his Mind. } + Like prudent Foes attack some weaker Part, + And make the War upon his Head or Heart. + Prove his late Works dishonest as they're dull; } + That try'd by Moral or Poetic Rule, } + The Verdict must be either Knave or Fool. } + [l]Whilst his false _English_, and false Facts combin'd, + Betray the double Darkness of his Mind; + [m]That Mind so suited to its vile Abode, + The Temple so adapted to the God, + It seems the Counterpart by Heav'n design'd + A Symbol and a Warning to Mankind: + As at some Door we find hung out a Sign, + Type of the Monster to be found within. + From his own Words this Scoundrel let 'em prove + Unjust in Hate, incapable of Love; + For all the Taste he ever has of Joy, } + Is like some yelping Mungril to annoy } + And teaze that Passenger he can't destroy. } + To cast a Shadow o'er the spotless Fame, + Or dye the Cheek of Innocence with Shame; + To swell the Breast of Modesty with Care, + Or force from Beauty's Eye a secret Tear; + And, not by Decency or Honour sway'd, + Libel the Living, and asperse the Dead: + Prone where he ne'er receiv'd to give Offence, + But most averse to Merit and to Sense; + Base to his Foe, but baser to his Friend, + Lying to blame, and sneering to commend: + Defaming those whom all but he must love, + And praising those whom none but he approve. + Then let him boast that honourable Crime, + Of making those who fear not God, fear him; + When the great Honour of that Boast is such + That Hornets and Mad Dogs may boast as much. + Such is th' Injustice of his daily Theme, + And such the Lust that breaks his nightly Dream; + That vestal Fire of undecaying Hate, + Which Time's cold Tide itself can ne'er abate, + But like _Domitian_, with a murd'rous Will, + Rather than nothing, Flies he likes to kill. + And in his Closet stabs some obscure Name, + [n]Brought by this Hangman first to Light and Shame. + Such now his Works to all the World are known, + Who undeceiv'd, their former Error own; + Whilst not one Man who likes his rhyming Art, + Allows him Genius, or defends his Heart: + But thus from Triumph snatch'd, and giv'n to Shame + Lash'd _into_ Penitence, and _out_ of Fame. + Since all Mankind these certain Truths allow, + And speak so freely what so well they know; + No wonder doom'd such Treatment to receive, + That he _can_ feel, and that he _can't_ forgive. + Were I dispos'd to curse the Man I hate, + Such would I wish his miserable Fate. + Thus striving to inflict, to meet Disgrace, + And wasted to the Ghost of what he was; + And like all Ghosts which Men of Sense despise, + Only the Dread of Folly's coward Eyes. + Thus would I have him despicably live, + Himself, his Friends, and Credit to survive, + Into Contempt from Reputation hurl'd, + His own Detractor thro' a scoffing World. + + +_FINIS._ + + + + +Footnotes: + + +[a] Beatus ille qui procul negotiis, &c. Epod. 2. Cum magnis vixisse +invita fatebirur usque invidia. _Sat. 1. Lib. 2._ + +[b] Nunc quia Maecenas tibi sum convictor. _Sat. 6. Lib. 1._ + + ----Tu pulses omne quod obstat + Ad Maecenatem memori si mente recurras. + Hoc juvat, & melli est; ne mentiar. _Sat. 6. Lib. 2._ + +[c] All his Works are full of Examples of Flattery to _Augustus_. + +[d] Epod. 4. _Maenas_ was a Freedman of _Pompey_ the younger; and he +deserted from him to _Augustus_, then back from _Augustus_ to _Pompey_, +and then from _Pompey_ to _Augustus_ again. This is in all the Histories. +_Appian. Dion._ + +[e] Et Appiam mannis terit. _Epod. 4._ + +[f] + + O saepe mecum tempus in ultimum + Deducte, Bruto militiae Duce.---- + Tecum Philippos & celerem fugam + Sensi, relicta non bene parmula + Cum fracta virtus, & minaces + Turpe solum tetigere mento. HOR. _Ode. 7. B. 2._ + +[g] In his Seneca reus factus est multorum scelerum, sed praesertim quod +cum Agrippina rem haberet, nec enim in hac re solum, sed in plerisque +aliis contra facere visus est quam Philosophabatur. Quum enim Tyrannidem +improbaret, Tyranni praeceptor erat: quumque insultaret iis qui cum +principibus versarentur, ipse a Palatio non discedebat. Assentatores +detestabatur, quum ipse Reginas coleret & libertos, ac Laudationes +quorundam componeret. Reprehendebat divites is, cujus facultates erant ter +millies sestertium: quique luxum aliorum damnabat quingentes tripodas +habuit de ligno cedrino, pedibus eburneis, similes & pares inter se, in +quibus coenabat. Ex quibus omnibus ea quae sunt his consentanea, quaeque +ipse libidinose fecit, facile intelligi possunt. Nuptias enim cum +nobilissima atque illustrissima foemina contraxit. Delectabatur +exoletis, idque Neronem facere docuerat etsi antea tanta fuerat in morum +severitate ut ab eo peteret, ne se oscularetur, neve una secum coenandi +causa discumberet. + + Vid. _Dion. Excerpta per Xiphilinum, Lib. 61._ + +[h] Collegae tamen, multos Nobilium, atque inter eos Crispum etiam +Sallustium, eum, qui historiam conscripsit, Senatu ejicienti non +repugnavit. DION. _Lib. 40._ + +[i] Ab his Sallustius (qui ut Senatoriam dignitatem recupararet tum Praetor +factus erat) propemodum occisus. DION. _Lib. 42._ + +[k] Numidas quoque in suam potestarem Caesar accepit, iisque Sallustium +praefecit. Sallustius & pecuniae captae & compilatae provinciae accusatus, +summam infamiam reportavit, quod quum ejusmodi libros composuisset, in +quibus multis acerbisque verbis eos, qui ex provinciis quaestum facerent, +notasset, nequaquam suis scriptis in agendo sterisset. Itaque etsi a +Caesare absolutus fuit, tamen suis ipsius verbis proprium crimen abunde +quasi in tabula propositum divulgavit. DION. _L. 43._ + +[l] See at least a hundred and fifty Places in his late Works. + +[m] In quo deformitas corporis cum turpitudine cerrabat ingenii; adco ut +animus eius dignissimo domicilio inclusus videretur. VEL. PAT. _L. 2. B. +69._ + +[n] See the Dunciad. + + + + +The Augustan Reprint Society + +WILLIAM ANDREWS CLARK MEMORIAL LIBRARY + +University of California, Los Angeles + + +Publications in Print + + +1948-1949 + +15. John Oldmixon, _Reflections on Dr. Swift's Letter to Harley_ +(1712), and Arthur Mainwaring, _The British Academy_ (1712). + +16. Henry Nevil Payne, _The Fatal Jealousie_ (1673). + +17. Nicholas Rowe, _Some Account of the Life of Mr. William +Shakespear_ (1709). + +18. Anonymous, "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). + + +1950-1951 + +26. Charles Macklin, _The Man of the World_ (1792). + + +1951-1952 + +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). + + +1958-1959 + +77-78. David Hartley, _Various Conjectures on the Perception, Motion, and +Generation of Ideas_ (1746). + + +1959-1960 + +79. William Herbert, Third Earl of Pembroke, _Poems_ (1660). + +81. Two Burlesques of Lord Chesterfield's Letters: _The Graces_ (1774), +and _The Fine Gentleman's Etiquette_ (1776). + + +1960-1961 + +85-86. _Essays on the Theatre from Eighteenth-Century Periodicals._ + + +1961-1962 + +93. John Norris, _Cursory Reflections Upon a Book Call'd, An Essay +Concerning Human Understanding_ (1690). + +94. An. Collins, _Divine Songs and Meditacions_ (1653). + +96. _Ballads and Songs Loyal to the Hanoverian Succession_ +(1703-1761). + + +1962-1963 + +97. Myles Davies, [Selections from] _Athenae Britannicae_ (1716-1719). + +98. _Select Hymns Taken Out of Mr. Herbert's Temple_ (1697). + +99. Thomas Augustine Arne, _Artaxerxes_ (1761). + +100. Simon Patrick, _A Brief Account of the New Sect of Latitude-Men_ +(1662). + +101-102. Richard Hurd, _Letters on Chivalry and Romance_ (1762). + + +1963-1964 + +103. Samuel Richardson, _Clarissa_: Preface, Hints of Prefaces, and +Postscript. + +104. Thomas D'Urfey, _Wonders in the Sun; or, The Kingdom of the +Birds_ (1706). + +105. Bernard Mandeville, _An Enquiry into the Causes of the Frequent +Executions at Tyburn_ (1725). + +106. Daniel Defoe, _A Brief History of the Poor Palatine Refugees_ (1709). + +107-108. John Oldmixon, _An Essay on Criticism_ (1728). + + +1964-1965 + +109. Sir William Temple, _An Essay Upon the Original and Nature of +Government_ (1680). + +110. John Tutchin, _Selected Poems_ (1685-1700). + +111. Anonymous, _Political Justice_ (1736). + +112. Robert Dodsley, _An Essay on Fable_ (1764). + +113. T. R., _An Essay Concerning Critical and Curious Learning_ (1698). + +114. _Two Poems Against Pope_: Leonard Welsted, _One Epistle to Mr. A. +Pope_ (1730), and Anonymous, _The Blatant Beast_ (1740). + + +1965-1966 + +115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_. + +116. Charles Macklin, _The Covent Garden Theatre_ (1752). + +117. Sir Roger L'Estrange, _Citt and Bumpkin_ (1680). + +118. Henry More, _Enthusiasmus Triumphatus_ (1662). + +119. Thomas Traherne, _Meditations on the Six Days of the Creation_ +(1717). + +120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_ (1704). + + + + +William Andrews Clark Memorial Library: University of California, Los +Angeles + +THE AUGUSTAN REPRINT SOCIETY + +_General Editors_: George Robert Guffey, University of California, Los +Angeles; Earl Miner, University of California, Los Angeles; Maximillian E. +Novak, University of California, Los Angeles; Robert Vosper, William +Andrews Clark Memorial Library + +_Corresponding Secretary_: Mrs. Edna C. Davis, William Andrews Clark +Memorial Library + + +The Society's purpose is to publish reprints (usually facsimile +reproductions) of rare seventeenth and eighteenth century works. All +income of the Society is devoted to defraying costs of publication and +mailing. + +Correspondence concerning subscriptions in the United States and Canada +should be addressed to the William Andrews Clark Memorial Library, 2520 +Cimarron St., Los Angeles, California. Correspondence concerning editorial +matters may be addressed to any of the general editors. Manuscripts of +introductions should conform to the recommendations of the _MLA Style +Sheet_. The membership fee is $5.00 a year for subscribers in the United +States and Canada and 30/-- for subscribers in Great Britain and Europe. +British and European subscribers should address B. H. Blackwell, Broad +Street, Oxford, England. Copies of back issues in print may be obtained +from the Corresponding Secretary. + + +PUBLICATIONS FOR 1966-1967 + +HENRY HEADLEY, _Poems_ (1786). Introduction by Patricia Meyer Spacks. + +JAMES MACPHERSON, _Fragments of Ancient Poetry_ (1760). Introduction by +John J. Dunn. + +EDMOND MALONE, _Cursory Observations on the Poems Attributed to Thomas +Rowley_ (1782). Introduction by James M. Kuist. + +Anonymous, _The Female Wits_ (1704). Introduction by Lucyle Hook. + +Anonymous, _Scribleriad_ (1742). LORD HERVEY, _The Difference Between +Verbal and Practical Virtue_ (1742). Introduction by A. J. Sambrook. + +_Le Lutrin: an Heroick Poem, Written Originally in French by Monsieur +Boileau: Made English by N. O._ (1682). Introduction by Richard Morton. + + +_ANNOUNCEMENTS_: + +The Society announces a series of special publications beginning with a +reprint of JOHN OGILBY, _The Fables of Aesop Paraphras'd in Verse_ (1668), +with an Introduction by Earl Miner. Ogilby's book is commonly thought one +of the finest examples of seventeenth-century bookmaking and is +illustrated with eighty-one plates. The next in this series will be JOHN +GAY'S _Fables_ (1728), with an Introduction by Vinton A. Dearing. +Publication is assisted by funds from the Chancellor of the University of +California, Los Angeles. Price to members of the Society, $2.50 for the +first copy and $3.25 for additional copies. 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