70 files changed, 7032 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/22081-8.txt b/22081-8.txt
new file mode 100644
index 0000000..5330632
--- /dev/null
+++ b/22081-8.txt
@@ -0,0 +1,2105 @@
+The Project Gutenberg EBook of Parodies of Ballad Criticism (1711-1787), by 
+William Wagstaffe and Gregory Griffin AKA George Canning
+
+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: Parodies of Ballad Criticism (1711-1787)
+       A Comment Upon the History of Tom Thumb, 1711, by Wm.
+       Wagstaffe; The Knave of Hearts, 1787, by Gregory Griffin
+       AKA George Canning
+
+Author: William Wagstaffe
+        Gregory Griffin AKA George Canning
+
+Release Date: July 16, 2007 [EBook #22081]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PARODIES OF BALLAD CRITICISM ***
+
+
+
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+  [In the "Tom Thumb" article, Latin "-que" was abbreviated with a
+  notation similar to "-q;". It has been "unpacked" for this e-text as
+  [que] in brackets.
+
+  The original texts printed all names in Italic type; italicized
+  passages put names in Roman type. To avoid ambiguity, these have been
+  marked with *asterisks*. All verse citations were printed in italics.]
+
+
+
+
+         THE AUGUSTAN REPRINT SOCIETY
+
+
+         _Parodies of Ballad Criticism_
+
+                  (1711-1787)
+
+               William Wagstaffe,
+_A Comment Upon the History of Tom Thumb_, 1711
+
+                George Canning,
+          _The Knave of Hearts_, 1787
+
+
+       Selected, with an Introduction, by
+            William K. Wimsatt, Jr.
+
+
+             Publication Number 63
+
+                  Los Angeles
+      William Andrews Clark Memorial Library
+            University of California
+                      1957
+
+
+       *       *       *       *       *
+
+  GENERAL EDITORS
+
+  RICHARD C. BOYS, University of Michigan
+  RALPH COHEN, University of California, Los Angeles
+  VINTON A. DEARING, University of California, Los Angeles
+  LAWRENCE CLARK POWELL, Clark Memorial Library
+
+  ASSISTANT EDITOR
+
+  W. EARL BRITTON, University of Michigan
+
+  ADVISORY EDITORS
+
+  EMMETT L. AVERY, State College of Washington
+  BENJAMIN BOYCE, Duke University
+  LOUIS BREDVOLD, University of Michigan
+  JOHN BUTT, King's College, University of Durham
+  JAMES L. CLIFFORD, Columbia University
+  ARTHUR FRIEDMAN, University of Chicago
+  LOUIS A. LANDA, Princeton University
+  SAMUEL H. MONK, University of Minnesota
+  ERNEST C. MOSSNER, University of Texas
+  JAMES SUTHERLAND, University College, London
+  H. T. SWEDENBERG, JR., University of California, Los Angeles
+
+  CORRESPONDING SECRETARY
+
+  EDNA C. DAVIS, Clark Memorial Library
+
+
+       *       *       *       *       *
+
+The Augustan Reprint Society regrets to announce the death
+of one of its founders and editors, Edward Niles Hooker.
+The editors hope, in the near future, to issue a volume
+in his memory.
+
+
+       *       *       *       *       *
+
+INTRODUCTION
+
+
+Joseph Addison's enthusiasm for ballad poetry (_Spectators_ 70, 74, 85)
+was not a sheer novelty. He had a ringing English precedent in Sidney,
+whom he quotes. And he may have had one in Jonson; at least he thought
+he had. He cited Dryden and Dorset as collectors and readers of ballads;
+and he might have cited others. He found comfort in the fact that
+Molière's Misanthrope was on his side. The modern or broadside version
+of _Chevy Chase_, the one which Addison quoted, had been printed, with a
+Latin translation, in the third volume of Dryden's _Miscellany_ (1702)
+and had been appreciated along with _The Nut-Brown Maid_ in an essay _Of
+the Old English Poets and Poetry_ in _The Muses Mercury_ for June, 1707.
+The feelings expressed in Addison's essays on the ballads were part of
+the general patriotic archaism which at that time was moving in rapport
+with cyclic theories of the robust and the effete, as in Temple's
+essays, and was complicating the issue of the classical ancients versus
+the moderns. Again, these feelings were in harmony with the new
+Longinianism of boldness and bigness, cultivated in one way by Dennis
+and in another by Addison himself in later _Spectators_. The tribute to
+the old writers in Rowe's Prologue to _Jane Shore_ (1713) is of course
+not simply the result of Addison's influence.[1]
+
+  Those venerable ancient Song-Enditers
+  Soar'd many a Pitch above our modern Writers.
+
+It is true also that Addison exhibits, at least in the first of the two
+essays on _Chevy Chase_, a degree of the normal Augustan condescension
+to the archaic--the vision which informs the earlier couplet poem on the
+English poets. Both in his quotation from Sidney ("... being so evil
+apparelled in the Dust and Cobweb of that uncivil Age, what would it
+work trimmed in the gorgeous Eloquence of _Pindar_?") and in his own
+apology for the "Simplicity of the Stile" there is sufficient
+prescription for all those improvements that either a Ramsay or a Percy
+were soon actually to undertake. And some of the Virgilian passages in
+_Chevy Chase_ which Addison picked out for admiration were not what
+Sidney had known but the literary invention of the more modern broadside
+writer.
+
+Nevertheless, the two _Spectators_ on _Chevy Chase_ and the sequel on
+the _Children in the Wood_ were startling enough. The general
+announcement was ample, unabashed, soaring--unmistakable evidence of a
+new polite taste for the universally valid utterances of the primitive
+heart. The accompanying measurement according to the epic rules and
+models was not a qualification of the taste, but only a somewhat awkward
+theoretical dimension and justification.
+
+  It is impossible that any thing should be universally tasted and
+  approved by a Multitude, tho' they are only the Rabble of a Nation,
+  which hath not in it some peculiar Aptness to please and gratify the
+  Mind of Man.... an ordinary Song or Ballad that is the Delight of
+  the common People, cannot fail to please all such Readers as are not
+  unqualified for the Entertainment by their Affectation or Ignorance.
+
+Professor Clarence D. Thorpe is surely correct in his view of Addison as
+a "grandfather" of such that would come in romantic aesthetics for the
+next hundred years.[2] Not that Addison invents anything; but he catches
+every current whisper and swells it to the journalistic audibility.
+Here, if we take Addison at his word, are the key ideas for Wordsworth's
+Preface on the language of rustic life, for Tolstoy's ruthless reduction
+of taste to the peasant norm. Addison went on to urge what was perfectly
+just, that the old popular ballads ought to be read and liked; at the
+same time he pushed his praise to a rather wild extreme, and he made
+some comic comparisons between _Chevy Chase_ and Virgil and Homer.
+
+We know now that he was on the right track; he was riding the wave of
+the future. It will be sufficient here merely to allude to that well
+established topic of English literary history, the rise of the ballad
+during the eighteenth century--in _A Collection of Old Ballads_
+(1723-1725), in Ramsay's _Evergreen_ and _Tea-Table_, in Percy's
+_Reliques_, and in all the opinions, the critiques, the imitations, the
+modern ballads, and the forgeries of that era--in _Henry and Emma_,
+_Colin and Lucy_, and _Hardyknute_, in Gay, Shenstone, and Gray, in
+Chatterton's Rowley. All these in a sense testified to the influence of
+Addison's essays. Addison was often enough given honorable mention and
+quoted.
+
+On the other hand, neo-classic stalwart good sense and the canons of
+decorum did not collapse easily, and the cultivation of the ballads had,
+as we have suggested, a certain aspect of silliness. It is well known
+that Addison's essays elicited the immediate objections of Dennis. The
+Spectator's "Design is to see how far he can lead his Reader by the
+Nose." He wants "to put Impotence and Imbecility upon us for
+Simplicity." Later Johnson in his _Life of Addison_ quoted Dennis and
+added his own opinion of _Chevy Chase_: "The story cannot possibly be
+told in a manner that shall make less impression on the mind."
+
+It was fairly easy to parody the ballads themselves, or at least the
+ballad imitations, as Johnson would demonstrate _ex tempore_. "I put my
+hat upon my head And walked into the Strand, And there I met another man
+Whose hat was in his hand." And it was just as easy to parody ballad
+criticism. The present volume is an anthology of two of the more
+deserving mock-criticisms which Addison's effort either wholly or in
+part inspired.
+
+An anonymous satirical writer who was later identified, on somewhat
+uncertain authority, as the Tory Dr. William Wagstaffe was very prompt
+in responding. His _Comment Upon the History of Tom Thumb_ appeared in
+1711 perhaps within a week or two of the third guilty _Spectator_ (June
+7) and went into a second edition, "Corrected," by August 18. An
+advertisement in the _Post Man_ of that day referred to yet a third
+"sham" edition, "full of errors."[3] The writer alludes to the author of
+the _Spectators_ covertly ("we have had an _enterprising Genius_ of
+late") and quotes all three of the ballad essays repeatedly. The choice
+of _Tom Thumb_ as the _corpus vile_ was perhaps suggested by Swift's
+momentary "handling" of it in _A Tale of a Tub_.[4] The satirical method
+is broad and easy and scarcely requires comment. This is the attack
+which was supposed by Addison's editor Henry Morley (_Spectator_, 1883,
+I, 318) to have caused Addison to "flinch" a little in his revision of
+the ballad essays. It is scarcely apparent that he did so. The last
+paragraph of the third essay, on the _Children in the Wood_, is a retort
+to some other and even prompter unfriendly critics--"little conceited
+Wits of the Age," with their "little Images of Ridicule."
+
+But Addison is not the only target of "Wagstaffe's" _Comment_. "Sir
+B------ B--------" and his "Arthurs" are another, and "Dr. B--tly"
+another. One of the most eloquent moments in the _Comment_ occurs near
+the end in a paragraph on what the author conceives to be the follies of
+the historical method. The use of the slight vernacular poem to parody
+the Bentleyan kind of classical scholarship was to be tried by Addison
+himself in _Spectator_ 470 (August 29, 1712) and had a French
+counterpart in the _Chef d'oeuvre d'un inconnu_, 1714. A later example
+was executed by Defoe's son-in-law Henry Baker in No. XIX of his
+_Universal Spectator_, February 15, 1729.[5] And that year too provided
+the large-scale demonstration of the _Dunciad Variorum_. The very
+"matter" of Tom Thumb reappeared under the same light in Fielding's
+_Tragedy of Tragedies or the Life and Death of Tom Thumb the Great with
+the Annotations of H. Scriblerus Secundus_, 1731. Addison's criticism of
+the ballads was scarcely a legitimate object for this kind of attack,
+but Augustan satire and parody were free and hospitable genres, always
+ready to entertain more than one kind of "bard and blockhead side by
+side."[6]
+
+No less a person than George Canning (as a schoolboy) was the author of
+the second of the two parodies reproduced in the present volume. A group
+of precocious Eton lads, Canning, J. Hookham Frere, John Smith, and
+Robert (Bobus) Smith, during the years 1786-1787 produced forty octavo
+numbers of a weekly paper called _The Microcosm_. They succeeded in
+exciting some interest among the literati,[7] were coming out in a
+"Second Edition" as early as the Christmas vacation of 1786,[8] and in
+the end sold their copyright for fifty pounds to their publisher,
+Charles Knight of Windsor.[9] Canning wrote Nos. XI and XII (February
+12, 1787), a critique of the "Epic Poem" concerning "The Reformation of
+the Knave of Hearts."[10] This essay in two parts, running for nearly as
+many pages as Wagstaffe's archetypal pamphlet, is a much more systematic
+and theoretically ambitious effort than any predecessor. _The Knave of
+Hearts_ is praised for its _beginning_ (_in medias res_), its _middle_
+(all "bustle and business"), and its _end_ (full of _Poetical Justice_
+and superior _Moral_). The earlier writers had directly labored the
+resemblance of the ballads to passages in Homer and Virgil. That method
+is now hardly invoked at all. Criticism according to the epic rules of
+Aristotle had been well enough illustrated by Addison on _Paradise Lost_
+(see especially _Spectator_ 267) if not by Addison on ballads. The
+decline of simple respect for the "Practice and Authority" of the
+ancient models during the neo-classic era, the general advance of
+something like reasoning in criticism, finds one of its quainter
+testimonials in the Eton schoolboy's cleverness. He would show by
+definition and strict deduction that _The Knave of Hearts_ is a "_due
+and proper Epic Poem_," having as "good right to that title, from its
+adherence to prescribed rules, as any of the celebrated master-pieces of
+antiquity." The post-Ramblerian date of the performance and a further if
+incidental aim of the satire--a facetious removal from the Augustan
+coffeehouse conversation--can be here and there felt in a heavy roll of
+the periods, a doubling and redoubling of the abstractions.[11]
+
+The essay, nevertheless, shows sufficient continuity with the earlier
+tradition of parody ballad criticism--for it begins by alluding to the
+_Spectator's_ critiques of Shakespeare, Milton, and _Chevy Chase_, and
+near the end of the first number slides into a remark that "one of the
+_Scribleri_, a descendant of the famous _Martinus_, has expressed his
+suspicions of the text being corrupted." A page or two of irony
+concerning the "plain and simple" opening of the poem seems to hark back
+to something more subtle in the Augustans than the Wagstaffian derision,
+no doubt to Pope's victory over Philips in a _Guardian_ on pastorals.
+"There is no task more difficult to a Poet, than that of _Rejection_.
+Ovid, among the ancients, and _Dryden_, among the moderns, were perhaps
+the most remarkable for the want of it."[12]
+
+The interest of these little pieces is historical[13] in a fairly strict
+sense. Their value is indirect, half accidental, a glancing revelation
+of ideas concerning simplicity, feeling, genius, the primitive, the
+historical which run steadily beneath all the ripples during the century
+that moves from "classic" to "romantic." Not all of Addison's parodists
+taken together muster as much fun, as such whimsical charm, as Addison
+himself in a single paragraph such as the one on "accidental readings"
+which opens the _Spectator_ on the _Children in the Wood_. But this
+passage, as it happens, requires only a slightly sophistical application
+to be taken as a cue to a useful attitude in our present reading.
+"I once met with a Page of _Mr. Baxter_ under a Christmas Pye....
+I might likewise mention a Paper-Kite, from which I have received great
+Improvement."
+
+  William K. Wimsatt, Jr.
+  Yale University
+
+
+  NOTES TO THE INTRODUCTION
+
+    [Footnote 1: The chief authorities for the history which I am
+    summarizing are W. L. Phelps, _The Beginnings of the English
+    Romantic Movement_, Boston, 1893, Chapter VII; E. K. Broadus,
+    "Addison's Influence on the Development of Interest in Folk-Poetry
+    in the Eighteenth Century," _Modern Philology_, VIII (July, 1910),
+    123-134; S. B. Hustvedt, _Ballad Criticism in Scandinavia and
+    Great Britain During the Eighteenth Century_, New York, 1916.]
+
+    [Footnote 2: "Addison's Contribution to Criticism," in R. F. Jones
+    _et al._, _The Seventeenth Century_ (Stanford, 1951), p. 329.]
+
+    [Footnote 3: Edward B. Reed, "Two Notes on Addison," _Modern
+    Philology_, VI (October, 1908), 187. The attribution of _A Comment
+    Upon Tom Thumb_ and other satirical pieces to the Dr. William
+    Wagstaffe who died in 1725 as Physician to St. Bartholomew's
+    Hospital depends entirely upon the fact that a collection of such
+    pieces was published, with an anonymous memoir, in 1726 under the
+    title _Miscellaneous Works of Dr. William Wagstaffe_. Charles
+    Dilke, _Papers of a Critic_ (London, 1875), I, 369-382. argues
+    that not Wagstaffe but Swift was the author of some of the pieces
+    in the volume. The case for Wagstaffe is put by Nicholas Moore in
+    a letter to _The Athenaeum_, June 10, 1882 and in his article on
+    Wagstaffe in the _DNB_. Paul V. Thompson, "Swift and the Wagstaffe
+    Papers," _Notes and Queries_, 175 (1938), 79, supports the notion
+    of Wagstaffe as an understrapper of Swift. The negative part of
+    Dilke's thesis is perhaps the more plausible. _A Comment Upon Tom
+    Thumb_, as Dilke himself confesses (_Papers_, p. 377), scarcely
+    sounds very much like Swift.]
+
+    [Footnote 4: Text, p. 6. The nursery rhyme _Tom Thumb, His Life
+    and Death_, 1630, and the augmented _History of Tom Thumb_,
+    c. 1670, are printed with introductory remarks by W. C. Hazlitt,
+    _Remains of the Early Popular Poetry of England_, II (London,
+    1866), 166-250.]
+
+    [Footnote 5: Cf. George R. Potter, "Henry Baker, F.R.S.
+    (1698-1774)," _Modern Philology_, XXIX (1932), 305. Nathan Drake,
+    _The Gleaner_, I (London, 1811), 220 seems mistaken in his remark
+    that Baker's Scriblerian commentary (upon the nursery rhyme "Once
+    I was a Batchelor, and lived by myself") was the model for later
+    mock-ballad-criticisms.]
+
+    [Footnote 6: For another early instance of our genre and a very
+    pure one, see an anonymous Cambridge correspondent's critique of
+    the burlesque broadside ballad of "Moor of Moore-Hall and the
+    Dragon of Wantley," in Nathaniel Mist's _Weekly Journal_ (second
+    series), September 2, 1721, reproduced by Roger P. McCutcheon,
+    "Another Burlesque of Addison's Ballad Criticism," _Studies in
+    Philology_, XXXIII (October, 1926), 451-456.]
+
+    [Footnote 7: _Diary & Letters of Madame d'Arblay_ (London,
+    1904-1905), III, 121-122, 295: November 28, 1786; July 29, 1787;
+    William Roberts, _Memoirs of the Life and Correspondence of Mrs.
+    Hannah More_ (London, 1834), II, 46, letter from W. W. Pepys,
+    December 31, 1786.]
+
+    [Footnote 8: Advertisement inserted before No. I in a collected
+    volume dated 1787 (Yale 217. 304g).]
+
+    [Footnote 9: The source of the anecdote seems to be William
+    Jordan, _National Portrait Gallery_ (London, 1831), II, 3, quoting
+    a communication from Charles Knight the publisher, son of Charles
+    Knight of Windsor.
+
+    The present reprint of Nos. XI and XII of _The Microcosm_ is from
+    the "Second" octavo collected edition, Windsor, 1788. _The
+    Microcosm_ had reappeared at least seven times by 1835.]
+
+    [Footnote 10: Iona and Peter Opie, _The Oxford Dictionary of
+    Nursery Rhymes_ (Oxford, 1951), are unable to find an earlier
+    printed source for this rhyme than the _European Magazine_, I
+    (April, 1782), 252.]
+
+    [Footnote 11: No. XXXVI of _The Microcosm_ is a letter from Capel
+    Lofft defending the "Middle Style" of Addison in contrast to the
+    more modern Johnsonian eloquence. Robert Bell, _The Life of the
+    Rt. Hon. George Canning_ (London, 1846), pp. 48-54, in a helpful
+    account of _The Microcosm_, stresses its general fidelity to
+    _Spectator_ style and themes.]
+
+    [Footnote 12: Canning's critique closes with an appendix of three
+    and a half pages alluding to the Eton Shrovetide custom of writing
+    Latin verses, known as the "Bacchus." See H. C. Maxwell Lyte,
+    _A History of Eton College_ (London, 1911), pp. 146-147.]
+
+    [Footnote 13: As late as the turn of the century the trick was
+    still in a manner feasible. The anonymous author of _Literary
+    Leisure, or the Recreations of Solomon Saunter, Esq._ (1799-1800)
+    divides two numbers, VIII and XV, between other affairs and a
+    Shandyesque argument about the nursery charm for the hiccup "Peter
+    Piper picked a peck of pickled pepper." This author was most
+    likely not Byron's assailant Hewson Clarke (born 1787, author of
+    _The Saunterer in 1804_), as asserted in the _Catalogue_ of the
+    Hope Collection (Oxford, 1865), p. 128.
+
+    A historical interest may be not only retrospective but
+    contemporary. The reader of the present volume will appreciate
+    "How to Criticize a Poem (In the Manner of Certain Contemporary
+    Poets)", a critique of the mnemonic rhyme "Thirty days hath
+    September," in the _New Republic_, December 6, 1943.]
+
+
+       *       *       *       *       *
+           *       *       *       *
+
+                       A
+
+                    COMMENT
+
+                    upon the
+
+                    HISTORY
+
+                       of
+
+                   Tom Thumb.
+
+
+    ----Juvat immemorata ferentem
+    Ingenuis oculis[que] legi manibus[que] teneri._
+        Hor.
+
+
+                    _LONDON_,
+
+ Printed for _J. Morphew_ near _Stationers-Hall_.
+     1711.    Price 3 _d._
+
+
+
+
+        A
+     COMMENT
+
+    upon the
+     HISTORY
+
+       of
+  _TOM THUMB_.
+
+It is a surprising thing that in an Age so Polite as this, in which we
+have such a Number of Poets, Criticks and Commentators, some of the best
+things that are extant in our Language shou'd pass unobserv'd amidst a
+Croud of inferiour Productions, and lie so long buried as it were, among
+those that profess such a Readiness to give Life to every thing that is
+valuable. Indeed we have had an Enterprising Genius of late, that has
+thought fit to disclose the Beauties of some Pieces to the World, that
+might have been otherwise indiscernable, and believ'd to have been
+trifling and insipid, for no other Reason but their unpolish'd
+Homeliness of Dress. And if we were to apply our selves, instead of the
+Classicks, to the Study of Ballads and other ingenious Composures of
+that Nature, in such Periods of our Lives, when we are arriv'd to a
+Maturity of Judgment, it is impossible to say what Improvement might be
+made to Wit in general, and the Art of Poetry in particular: And
+certainly our Passions are describ'd in them so naturally, in such
+lively, tho' simple, Colours, that how far they may fall short of the
+Artfulness and Embellishments of the _Romans_ in their Way of Writing,
+_yet cannot fail to please all such Readers as are not unqualify'd for
+the Entertainment by their Affectation or Ignorance_.
+
+It was my good Fortune some time ago to have the Library of a School-Boy
+committed to my Charge, where, among other undiscover'd valuable
+Authors, I pitch'd upon _Tom Thumb_ and _Tom Hickathrift_, Authors
+indeed more proper to adorn the Shelves of _Bodley_ or the _Vatican_,
+than to be confin'd to the Retirement and Obscurity of a private Study.
+I have perus'd the first of these with an infinite Pleasure, and a more
+than ordinary Application, and have made some Observations on it, which
+may not, I hope, prove unacceptable to the Publick; and however it may
+have been ridicul'd, and look'd upon as an Entertainment only for
+Children, and those of younger Years, may be found perhaps a Performance
+not unworthy the Perusal of the Judicious, and the Model superiour to
+either of those incomparable Poems of _Chevy Chase_, or _The Children in
+the Wood_. The Design was undoubtedly to recommend Virtue, and to shew
+that however any one may labour under the Disadvantages of Stature or
+Deformity, or the Meanness of Parentage, yet if his Mind and Actions are
+above the ordinary Level, those very Disadvantages that seem to depress
+him, shall add a Lustre to his Character.
+
+There are Variety of Incidents, dispers'd thro' the whole Series of this
+Historical Poem, that give an agreeable Delight and Surprise, _and are
+such as *Virgil* himself wou'd have touch'd upon, had the like Story
+been told by that Divine Poet_, viz. his falling into the Pudding-Bowl
+and others; which shew the Courage and Constancy, the Intrepidity and
+Greatness of Soul of this little Hero, amidst the greatest Dangers that
+cou'd possibly befall him, and which are the unavoidable Attendants of
+human Life.
+
+  Si fractus illabatur orbis,
+  Impavidum ferient ruinæ.
+
+The Author of this was unquestionably a Person of an Universal Genius,
+and if we consider that the Age he wrote in, must be an Age of the most
+profound Ignorance, as appears from the second Stanza of the first
+_Canto_, he was a Miracle of a Man.
+
+I have consulted Monsieur _Le Clerk_, and my Friend Dr. _B--ly_
+concerning the Chronology of this Author, who both assure me, tho'
+Neither can settle the Matter exactly, that he is the most ancient of
+our Poets, and 'tis very probable he was a _Druid_, who, as _Julius
+Cæsar_ mentions in his _Commentaries_, us'd to deliver their Precepts in
+Poetry and Metre. The Author of _The Tale of a Tub_, believes he was a
+_Pythagorean_ Philosopher, and held the _Metempsichosis_; and Others
+that he had read _Ovid's Metamorphosis_, and was the first Person that
+ever found out the Philosopher's Stone. A certain Antiquary of my
+Acquaintance, who is willing to forget every thing he shou'd remember,
+tells me, He can scarcely believe him to be Genuine, but if he is, he
+must have liv'd some time before the _Barons_ Wars; which he proves, as
+he does the Establishment of Religion in this Nation, upon the Credit of
+an old Monument.
+
+There is another Matter which deserves to be clear'd, whether this is a
+Fiction, or whether there was really such a Person as _Tom Thumb_. As to
+this, my Friends tell me, 'Twas Matter of Fact, and that 'twas an
+unpardonable Omission in a certain Author never once to mention him in
+his _Arthur_'s, when nothing is more certain than that he was the
+greatest Favourite of that Prince, and a Person who had perform'd some
+very eminent Services for his Country. And indeed I can't excuse his
+taking no Notice of our Poet who has afforded him such Helps, and to
+whom he is so much oblig'd for the Model of those Productions: Besides
+it had been but a Debt of Gratitude, as Sir _R---- B----_ was a Member
+of the Faculty, to have made honourable mention of him who has spoke so
+honourably of the Profession, on the Account of the Sickness of his
+Hero.
+
+I have an old Edition of this Author by me, the Title of which is more
+Sonorous and Heroical, than those of later Date, which for the better
+Information of the Reader, it may not be improper to insert in this
+Place. _*Tom Thumb* his Life and Death, wherein is declar'd his many
+marvellous Acts of Manhood, full of Wonder and strange Merriment_: Then
+he adds, _which little Knight liv'd in King *Arthur*'s Time in the Court
+of *Great Britain*_. Indeed there are so many spurious Editions of this
+Piece upon one Account or other, that I wou'd advise my Readers to be
+very cautious in their Choice, and it would be very wisely done, if they
+wou'd consult the curious _Ælianus_ concerning this Matter, who has the
+choicest Collection of any Man in _England_, and understands the most
+correct Editions of Books of this Nature.
+
+I have took a great deal of Pains to set these Matters of Importance in
+as clear a Light as we Criticks generally do, and shall begin with the
+first _Canto_, which treats of our Hero's Birth and Parentage, and
+Education, with some other Circumstances which you'll find are carry'd
+on in a manner not very inelegant, _and cannot fail to please those who
+are not Judges of Language, or those who notwithstanding they are Judges
+of Language, have a genuine and unprejudic'd Tast of Nature_.
+
+  In _Arthur's_ Court _Tom Thumb_ did live;
+  A Man of mickle Might,
+  The best of all the Table round,
+  And eke a doubty Knight,
+  In Stature but an Inch in Height,
+  Or quarter of a Span;
+  Then think you not this worthy Knight
+  Was prov'd a valiant Man.
+
+This Beginning is agreeable to the best of the Greek and Latin Poets;
+_Homer_ and _Virgil_ give an Idea of the whole Poem in a few of the
+first Lines, and here our Author draws the Character of his Hero, and
+shews what you may expect from a Person so well qualify'd for the
+greatest Undertakings.
+
+In the Description of him, which is very fine, he insinuates, that tho'
+perhaps his Person may appear despicable and little, yet you'll find him
+an Hero of the most consummate Bravery and Conduct, and is almost the
+same Account _Statius_ gives of _Tydeus_.
+
+  --------Totos infusa per artus,
+  Major in exiguo regnabat corpore virtus.
+
+If any suppose the Notion of such an Hero improbable, they'll find the
+Character _Virgil_ gives _Camilla_ to be as far stretch'd:
+
+  Illa vel Intactæ segetis per summa volaret
+  Gramina, nec teneras cursu læsisset Aristas:
+  Vel mare per medium, fluctu suspensa tumenti
+  Ferret Iter: celeres nec tingeret æquore plantas.
+
+But to proceed,
+
+  His Father was a Plowman plain,
+  His Mother milk'd the Cow,
+  And yet a Way to get a Son
+  This Couple knew not how,
+  Until such time the good old Man
+  To learned _Merlin_ goes,
+  And there to him in deep Distress
+  In secret Manner shows,
+  How in his Heart he wish'd to have,
+  A Child in time to come,
+  To be his Heir, tho' it might be
+  No bigger than his Thumb.
+  Of which old _Merlin_ was foretold,
+  That he his Wish should have,
+  And so a Son of Stature small
+  The Charmer to him gave.
+
+There is nothing more common throughout the Poets of the finest Taste,
+than to give an Account of the Pedigree of their Hero. So _Virgil_,
+
+  ----Æneas quem Dardanio Anchisæ
+  Alma Venus Phrygii genuit Simoentis ad undas.
+
+And the Manner of the Countryman's going to consult _Merlin_, is like
+that of _Æneas_'s approaching the Oracle of _Delphos_.
+
+  ----Egressi veneramur Apollinis Urbem.
+
+And how naturally and poetically does he describe the Modesty of the
+Man, who wou'd be content, if _Merlin_ wou'd grant him his Request, with
+a Son no bigger than his Thumb.
+
+The Two next Stanza's carry on the Idea with a great deal of Probability
+and Consistence; and to convince the World that he was born to be
+something more than Man, he produces a Miracle to bring him into it.
+
+  Begot, and born in half an Hour,
+  To fit his Father's Will.
+
+The following Stanza continues the Miracle, and brings the _Fairy Queen_
+and her Subjects, who gives him his Name, and makes him a Present of his
+Apparel.
+
+  Whereas she cloath'd him fine and brave,
+  In Garments richly fair,
+  The which did serve him many Years
+  In seemly sort to wear.
+
+So _Virgil_ of Queen _Dido_'s Present to _Ascanius_:
+
+  Hoc Juvenem egregium præstanti munere donat.
+
+And again,
+
+  --------Quem candida Dido
+  Esse sui dederat Monumentum & pignus Amoris.
+
+The Description of his Dress is very agreeable, and is not unlike what I
+have met with somewhere of a Giant going a Fishing, with an Account of
+his Implements equal to his Proportion.
+
+  His Hat made of an Oaken Leaf,
+    His Shirt a Spider's Web,
+  Both light and soft for these his Limbs
+    That were so smally bred.
+  His Hose and Doublet Thistle Down,
+    Together weav'd full fine;
+  His Stockings of an Apple green,
+    Made of the outward Rind;
+  His Garters were two little Hairs
+    Pluck'd from his Mothers Eye;
+  His Shooes made of a Mouse's Skin,
+    And Tann'd most curiously.
+
+The next Stanza's relate his Diversions, bearing some Analogy to those
+of _Ascanius_ and other Lads in _Virgil_:
+
+  Thus like a valiant Gallant He
+    Adventures forth to go,
+  With other Children in the Street,
+    His pretty Tricks to show.
+
+  Una Acies Juvenum ducit quam Parvus Ovantem
+  Nomen Avi referens Priamus.
+
+There is a Piece of Revenge our little Hero took upon a Play-fellow,
+which proves, to what an height Mechanical and Experimental Philosophy
+was arriv'd to in that Age, and may be worth while to be considered by
+the _Royal Society_.
+
+  Of whom to be reveng'd, he took
+    In Mirth and pleasant Game,
+  Black Pots and Glasses, which he hung
+    Upon a bright Sun-Beam.
+
+The third Line is a Demonstration of the Antiquity of Drinking out of
+Black-Pots, which still prevails in most Counties of this Nation, among
+the Justices of Peace at their Petty and Quarter Sessions.
+
+The last four Lines of this Canto, and the beginning of the next,
+contain the miraculous Adventure of the Pudding-Bowl: And, by the by,
+we may observe, That it was the Custom of the _Christians_ at that time,
+to make Hog-Puddings instead of Minc'd-Pies at _Christmas_; a laudable
+Custom very probably brought up to distinguish 'em more particularly
+from the _Jews_.
+
+  Whereas about a _Christmas_ time,
+    His Father an Hog had kill'd,
+  And _Tom_ to see the Pudding made,
+    Fear that it should be spill'd;
+  He sat, the Candle for to Light,
+    Upon the Pudding-Bowl:
+  Of which there is unto this Day
+    A pretty Pastime told:
+      For _Tom_ fell in----
+
+Perhaps some may think it below our Hero to stoop to such a mean
+Employment as the Poet has here enjoyn'd him, of holding the Candle, and
+that it looks too much like a _Citizen_, or a _Cot_, as the Women call
+it: But if we reflect on the Obedience due to Parents, as our Author
+undoubtedly did, and the Necessities those People labour'd under, we
+cannot but admire at his ready Compliance with what could by no Means be
+agreeable to the Heroical Bent of his Inclinations, and perceive what a
+tender Regard he had for the Wellfare of his Family, when he took the
+strictest Care imaginable for the Preservation of the Hog-Pudding. And
+what can be more remarkable? What can raise the Sentiments of Pity and
+Compassion to an higher Pitch, than to see an Hero fall into such an
+unforeseen Disaster in the honourable Execution of his Office? _This
+certainly is conformable to the way of Thinking among the Ancient Poets,
+and what a good-natur'd Reader cannot but be affected with._
+
+The following Part of this Canto is the Relation of our Hero's being put
+into a Pudding, and convey'd away in a Tinker's Budget; which is
+design'd by our Author to prove, if it is understood literally, That the
+greatest Men are subject to Misfortunes. But it is thought by Dr.
+_B--tly_ to be all Mythology, and to contain the Doctrine of the
+Transmutation of Metals, and is design'd to shew, that all Matter is the
+same, tho' very differently Modified. He tells me, he intends to publish
+a distinct Treatise of this Canto; and I don't question, but he'll
+manage the Dispute with the same Learning, Conduct, and good Manners,
+he has done others, and as Dr. _Salmon_ uses in his Corrections of Dr.
+_Sydenham_ and the _Dispensatory_.
+
+The next Canto is the Story of _Tom Thumb_'s being Swallow'd by a Cow,
+and his Deliverance out of her, which is treated of at large by
+_Giordano Bruno_ in his _Spaccio de la Bestia trionfante_; which Book,
+tho' very scarce, yet a _certain Gentleman_, who has it in his
+Possession, has been so obliging as to let every Body know where to meet
+with it. After this, you find him carried off by a Raven, and swallow'd
+by a Giant; and 'tis almost the same Story as that of _Ganimede_, and
+the Eagle in _Ovid_.
+
+  Now by a Raven of great Strength,
+    Away poor _Tom_ was born.
+
+  Nec mora: percusso mendacibus aere pennis
+  Abripit Iliaden.
+
+A certain great _Critick_ and _Schoolmaster_ who has publish'd such
+Notes upon _Horace_ as were never seen before, is of Opinion, and has
+very good Authority for what he says, that 'twas rather an Owl than a
+Raven; for, as he observes with a wonderful deal of Penetration and
+Sagacity, our Hero's Shoes were made of a Mouse's Skin which might
+induce the Owl to run away with him. The Giant, he owns, looks very
+probable, because we find 'em swallowing People very fast in almost all
+Romances.
+
+This Canto concludes with our Hero's Arrival at Court; after he had
+spent a considerable Part of his Youth in Labours and Fatigues, had been
+inur'd to nothing else but Hardships and Adventures, we see him receive
+the Recompence of his Merit, and become the Favourite of his Prince: And
+here we may perceive all the Fineness of the Gentleman, mixt with all
+the Resolution and Courage of the Warriour; We may behold him as ready
+to oblige the Ladies with a Dance, as he was to draw his Sword in their
+Defence.
+
+  Amongst the Deeds of Courtship done,
+    His Highness did command,
+  That he shou'd dance a Galliard brave
+    Upon the Queen's Left Hand.
+  The which he did----
+
+This shews he had all the Accomplishments of _Achilles_ who was
+undoubtedly one of the best Dancers in the Age he liv'd, according to
+the Character _Homer_ gives him so frequently of the Agility of his
+Feet. I have consulted a Master of the Profession of Dancing, who is
+excellently vers'd in the Chronology of all Dances, he tells me that
+this _Galliard_ came into Vogue about the latter End of the Reign of
+_Uter Pendragon_, and continu'd during that of King _Arthur_, which is
+Demonstration to me that our Poet liv'd about that Age.
+
+It is asserted very positively in the later Editions of this Poem, that
+the four following Lines are a Relation of the King and _Tom Thumb_'s
+going together an Hunting, but I have took indefatigable Pains to
+consult all the _Manuscripts_ in _Europe_ concerning this Matter, and I
+find it an _Interpolation_. I have also an _Arabick Copy_ by me, which I
+got a _Friend_ to translate, being unacquainted with the Language, and
+it is plain by the Translation that 'tis there also _interpolated_.
+
+  Now after that the King wou'd not
+    Abroad for Pleasure go,
+  But still _Tom Thumb_ must go with him
+   Plac'd on his Saddle Bow.
+
+  ----Ipse Uno graditur comitatus Achate.
+
+There is scarcely any Scene more moving than this that follows, and is
+_such an one as wou'd have shined in *Homer* or *Virgil*_. When he was
+favour'd with his Prince's Ear, and might have ask'd the most profitable
+and important Posts in the Government, and been indemnified if guilty of
+a _Peculatus_; He only used his Interest to relieve the Necessities of
+his Parents, when another _Person_ wou'd have scarcely own'd 'em for his
+_Relations_. This discovers such a Generosity of Soul, such an Humility
+in the greatest Prosperity, such a tender Affection for his Parents, as
+is hardly to be met with, but in our Author.
+
+  And being near his Highness Heart
+    He crav'd a wealthy Boon,
+  A noble Gift, the which the King
+    Commanded to be done;
+  To relieve his Father's Wants,
+    And Mother being old.
+
+The rest of this Canto relates the Visit to his Father, in which there
+is something very soft and tender, something _that may move the Mind of
+the most polite Reader, with the inward Meltings of Humanity and
+Compassion_.
+
+The Next Canto of the Tilts and Tournaments, is much like the Fifth Book
+of _Virgil_, and tho' we can't suppose our Poet ever saw that Author,
+yet we may believe he was directed to almost the same Passages, _by the
+same kind of Poetical Genius, and the same Copyings after Nature_.
+
+  Now he with Tilts and Tournaments,
+    Was entertained so,
+  That all the rest of _Arthur_'s Knights
+    Did him much Pleasure show;
+  And good Sir _Lancelot_ of _Lake_,
+    Sir _Tristram_, and Sir _Guy_;
+  But none like to _Tom Thumb_
+    For Acts of Chivalry.
+
+  Longeque ante omnia Corpora Nisus
+  Emicat----
+
+And agen,
+
+  Post Elymus subit, & nunc tertia palma Diores.
+
+  In Honour of which noble Day,
+    And for his Lady's Sake,
+  A Challenge in King _Arthur_'s Court,
+    _Tom Thumb_ did bravely make.
+
+  Talis prima Dares caput altum in prælia tollit,
+  Ostendit[que] humeros latos, alterna[que] Iactat
+  Brachia portendens, & verberat Ictibus auras,
+  Quæritur huic alius:----
+
+  'Gainst whom those noble Knights did run,
+    Sir _Chion_ and the rest,
+  But, still _Tom Thumb_ with all his Might
+    Did bear away the best.
+
+  Et primum ante omnes victorem appellat Acesten.
+
+At the same time our Poet shews a laudable Partiality for his Hero, he
+represents Sir _Lancelot_ after a manner not unbecoming so bold and
+brave a Knight.
+
+  At last Sir _Lancelot_ of _Lake_,
+    In manly sort came in,
+  And with this stout and hardy Knight
+    A Battle to begin.
+
+  Huic contra Æneas, speculatus in agmine longo
+  Obvius ire parat----
+
+  Which made the Courtiers all aghast.
+
+  Obstupuere animi----
+
+This Canto concludes with the Presents made by the King to the Champion
+according to the Custom of the _Greeks_ and _Romans_ in such Cases; only
+his tumbling thro' the Queen's Ring is observable, and may serve to give
+some Light into the Original of that ingenious Exercise so much
+practis'd by the Moderns, of tumbling thro' an Hoop.
+
+The last Canto treats of the Champion's Sickness and Death, and whoever
+considers the Beauty, Regularity and majestic Simplicity of the
+Relation, cannot but be surpris'd at the Advances that may be made in
+Poetry by the Strength of an uncultivated Genius, and may see how far
+Nature can proceed without the Ornamental Helps and Assistances of Art.
+The Poet don't attribute his Sickness to a Debauch, to the Irregularity
+or Intemperance of his Life, but to an Exercise becoming an Hero; and
+tho' he dies quietly in his Bed, he may be said in some measure to die
+in the Bed of Honour. And to shew the great Affection the King had for
+him, he sends for his Physicians, and orders all the Care imaginable to
+be taken for the Conservation of his Life.
+
+  He being slender and tall,
+    This cunning Doctor took
+  A fine perspective Glass, with which,
+    He did in Secret look.
+
+It is a Wonder that the learned World shou'd differ so in their Opinions
+concerning the Invention and Antiquity of Optic Glasses, and that any
+one should contend for _Metius_ of _Alcmaer_, or, as Dr. _Plot_ does,
+for _Fryar Bacon_, when, if this Author had been consulted, Matters
+might have been so easily adjusted. Some great Men indeed wou'd prove
+from hence, our Knight was the Inventor of 'em, that his Valet might the
+more commodiously see to dress him; but if we consider there were no
+Beau's in that Age, or reflect more maturely on the Epithet here given
+to the Doctor, we may readily conclude, that the Honour of this
+Invention belongs more particularly to that ingenious Profession.
+
+How lovely is the Account of the Departure of his Soul from his Body:
+
+  And so with Peace and Quietness
+    He left the World below.
+
+  Placida[que] demum ibi morte quievit.
+
+  And up into the Fairy Land
+    His Soul did fleeting go.
+
+  ----At Æthereas repetit mens ignea sedes.
+
+  Whereas the Fairy Queen receiv'd
+    With happy Mourning Cheer
+  The Body of this valiant Knight,
+    Whom she esteem'd so dear;
+  For with her dancing Nymphs in Green
+    She fetch'd him from his Bed,
+  With Musick and with Melody,
+    As soon as Life was fled.
+
+  ----Et fotum gremio Dea tollit in Altos
+  Idaliæ lucos----
+
+So one of our Modern Poets;
+
+  Thither the Fairys and their Train resort,
+  And leave their Revels, and their midnight Sport.
+
+We find in all the most celebrated Poets some Goddess that takes upon
+her to be the peculiar Guardian of the Hero, which has been carry'd on
+very elegantly in this Author.
+
+But agen;
+
+  For whom King _Arthur_ and his Knights,
+    Full forty Days did mourn,
+  And in Remembrance of his name,
+    Who was so strangely born,
+  He built a Tomb of Marble grey,
+    And Year by Year did come,
+  To celebrate the Mournful Day,
+    And Burial of _Tom Thumb_,
+  Whose Fame lives here in _England_ still,
+    Among the Country sort,
+  Of whom their Wives and Children small,
+    Tell Tales of pleasant Sport.
+
+So _Ovid_;
+
+  ----Luctus monumenta manebunt
+  Semper Adoni mei, repetita[que] mortis Imago
+  Annua plangoris peragit simulamina Nostri.
+
+Nor is this Conclusion unlike one of the best Latin Poems this Age has
+produc'd.
+
+  Tu Taffi Æternum vives, tua munera Cambri
+  Nunc etiam Celebrant, quoties[que] revolvitur Annus
+  Te memorant, Patrium Gens tota tuetur Honorem,
+  Et cingunt viridi redolentia tempora Porro.
+
+And now, tho' I am very well satisfied with this Performance, yet,
+according to the usual Modesty of us Authors, I am oblig'd to tell the
+World, _it will be a great Satisfaction to me, knowing my own
+Insufficiency_, if I have given but some Hints of the Beauties of this
+Poem, which are capable of being improv'd by those of greater Learning
+and Abilities. And I am glad to find by a Letter I have receiv'd from
+one of the _Literati_ in _Holland_, That the learned _Huffius_, a great
+Man of our Nation, is about the Translation of this Piece into _Latin_
+Verse, which he assures me will be done with a great deal of Judgment,
+in case he has enough of that Language to furnish out the Undertaking.
+I am very well Appris'd, That there has been publish'd Two Poems lately,
+Intituled, The Second and Third Parts of this Author; which treat of our
+little Hero's rising from the Dead in the Days of King _Edgar_: But I am
+inform'd by my Friend the _Schoolmaster_, and others, That they were
+compos'd by an Enthusiast in the last Century, and have been since
+Printed for the Establishment of the Doctrine of Monsieur _Marion_ and
+his Followers, and the Resurrection of Dr. _Ems_.
+
+I hope no Body will be offended at my asserting Things so positively,
+since 'tis the Priviledge of us _Commentators_, who understand the
+meaning of an Author Seventeen Hundred Years after he has wrote, much
+better than ever he cou'd be suppos'd to do himself. And certainly,
+a Critick ought not only to know what his Authors Thoughts were when he
+was Writing such and such Passages, but how those Thoughts came into his
+Head, where he was when he wrote, or what he was doing of; whether he
+wrote in a Garden, a Garret, or a Coach; upon a Lady, or a Milkmaid;
+whether at that Time he was scratching his Elbow, drinking a Bottle,
+or playing at Questions and Commands. These are material and important
+Circumstances so well known to the _True Commentator_, that were
+_Virgil_ and _Horace_ to revisit the World at this time, they'd be
+wonderfully surpris'd to see the minutest of their Perfections
+discover'd by the Assistances of _Modern Criticism_. Nor have the
+Classicks only reap'd Benefit from Inquiries of this Nature, but
+Divinity it self seems to be render'd more intelligible. I know a
+Divine, who understands what St. _Paul_ meant by _Higher Powers_, much
+better than that Apostle cou'd pretend to do; and another, That can
+unfold all the Mysteries of the _Revelations_ without Spectacles.
+
+I know there are some People that cast an Odium on me, and others, for
+pointing out the Beauties of such Authors, as have, they say, been
+hitherto unknown, and argue, That 'tis a sort of Heresie in Wit, and is
+like the fruitless Endeavours of proving the Apostolical Constitutions
+_Genuine_, that have been indisputably _Spurious_ for so many Ages: But
+let these Gentlemen consider, whether they pass not the same Judgment on
+an Author, as a Woman does on a Man, by the gayety of his Dress, or the
+gaudy Equipage of his Epithets. And however they may call me
+_second-sighted_, for discerning what they are Blind to, I must tell
+them this Poem has not been altogether so obscure, but that the most
+refin'd _Writers_ of this Age have been delighted with the reading it.
+Mr. _Tho. D'Urfey_, I am told, is an Admirer, and Mr. _John Dunton_ has
+been heard to say, more than once, he had rather be the Author of it
+than all his Works.
+
+How often, _says my Author_, have I seen the Tears trickle down the Face
+of the Polite _Woodwardius_ upon reading some of the most pathetical
+Encounters of _Tom Thumb_! How soft, how musically sorrowful was his
+Voice! How good Natur'd, how gentle, how unaffected was the Ceremoniale
+of his Gesture, and how unfit for a Profession so Merciless and
+Inhumane!
+
+I was persuaded by a Friend to write some Copies of Verses and place 'em
+in the Frontispiece of this Poem, in Commendation of My self and my
+_Comment_, suppos'd to be compos'd by _AG. FT. LM. RW._ and so forth.
+_To their very worthy and honour'd Friend_ C. D. upon his admirable and
+useful _Comment_ on the History of _Tom Thumb_; but my Bookseller told
+me the Trick was so common, 'twou'd not answer. Then I propos'd a
+Dedication to my Lord _such an One_, or Sir _Thomas such an One_; but he
+told me the Stock to be rais'd on Dedications was so small now a Days,
+and the Discount to my Lord's Gentleman, _&c._ so high, that 'twou'd not
+be worth while; besides, says he, it is the Opinion of some Patrons,
+that a Dinner now and then, with, _Sir, I shall expect to see you
+sometimes_, is a suitable Reward for a publick Compliment in Print. But
+if, continues my Bookseller, you have a Mind it shou'd turn to
+Advantage, write Treason or Heresy, get censur'd by the Parliament or
+Convocation, and condemn'd to be burnt by the Hands of the common
+Hangman, and you can't fail having a Multitude of Readers, by the same
+Reason, _A notorious Rogue has such a Number of Followers to the
+Gallows_.
+
+
+_FINIS._
+
+
+       *       *       *       *       *
+           *       *       *       *
+
+                [Illustration]
+
+
+                THE MICROCOSM.
+
+                       by
+
+                Gregory Griffin.
+
+
+
+
+  No. XI. of the
+
+  MICROCOSM.
+
+  MONDAY, _February_ 12, 1787.
+
+  Res gestæ regumque, ducumque, et tristia bella,
+  _Quo scribi possint numero, monstravit Homerus_.--HOR.
+  By Homer taught, the modern poet sings,
+  _In Epic strains, of heroes, wars, and Kings_.--FRANCIS.
+
+
+There are certain forms and etiquettes in life, which, though the
+neglect of them does not amount to the commission of a crime, or the
+violation of a duty, are yet so established by example, and sanctioned
+by custom, as to pass into Statutes, equally acknowledged by society,
+and almost equally binding to individuals, with the laws of the land,
+or the precepts of morality. A man guilty of breaking these, though he
+cannot be transported for a felon, or indicted for treasonable
+practices, is yet, in the High Court of Custom, branded as a flagrant
+offender against decorum, as notorious for an unprecedented infringement
+on propriety.
+
+There is no race of men on whom these laws are more severe than Authors;
+and no species of Authors more subject to them, than Periodical
+Essayists. _Homer_ having prescribed the form, or to use a more modern
+phrase, _set the fashion_ of _Epic Poems_, whoever presumes to deviate
+from his plan, must not hope to participate his dignity: And whatever
+method, _The Spectator_, _The Guardian_, and others, who first adopted
+this species of writing, have pursued in their undertaking, is set down
+as a rule for the conduct of their followers; which, whoever is bold
+enough to transgress, is accused of a deviation from the original
+design, and a breach of established regulation.
+
+It has hitherto been customary for all Periodical Writers, to take some
+opportunity, in the course of their labours, to display their Critical
+abilities, either by making observations on some popular Author, and
+work of known character, or by bringing forth the performances of hidden
+merit, and throwing light on genius in obscurity. To the critiques of
+_The Spectator_, _Shakespear_, and more particularly, _Milton_, are
+indebted, for no inconsiderable share of the reputation, which they now
+so universally enjoy; and by his means were the ruder graces, and more
+simple beauties of _Chevy Chace_ held up to public view, and recommended
+to general admiration.
+
+I should probably be accused of swerving from the imitation of so great
+an example, were not I to take occasion to shew that I too am not
+entirely destitute of abilities of this kind; but that by possessing a
+decent share of critical discernment, and critical jargon, I am capable
+of becoming a very tolerable commentator. For the proof of which,
+I shall rather prefer calling the attention of my readers to an object
+as yet untreated of by any of my immediate predecessors, than venture to
+throw in my observations on any work which has before passed the ordeal
+of frequent examination. And this I shall do for two reasons; partly,
+because were I to choose a field, how fertile soever, of which many
+others had before me been reaping the fruits, mine would be at best but
+the gleanings of criticism; and partly, from a more interested view,
+from a selfish desire of accumulated praise; since, by making a work,
+as yet almost wholly unknown, the subject of my consideration, I shall
+acquire the reputation of taste, as well as judgement;--of judiciousness
+in selection, as well as justness in observation;--of propriety in
+choosing the object, as well as skill in using the language, of
+commentary.
+
+The _Epic Poem_ on which I shall ground my present critique, has for its
+chief characteristics, brevity and simplicity. The Author,--whose name I
+lament that I am, in some degree, prevented from consecrating to
+immortal fame, by not knowing what it is--the Author, I say, has not
+branched his poem into excressences of episode, or prolixities of
+digression; it is neither variegated with diversity of unmeaning
+similitudes, nor glaring with the varnish of unnatural metaphor. The
+whole is plain and uniform; so much so indeed, that I should hardly be
+surprised, if some morose readers were to conjecture, that the poet had
+been thus simple rather from necessity than choice; that he had been
+restrained not so much by chastity of judgement, as sterility of
+imagination.
+
+Nay, some there may be perhaps, who will dispute his claim to the title
+of an _Epic Poet_; and will endeavour to degrade him even to the rank of
+a _ballad-monger_. But I, as his Commentator, will contend for the
+dignity of my Author; and will plainly demonstrate his Poem to be an
+_Epic Poem_, agreeable to the example of all Poets, and the consent of
+all Critics heretofore.
+
+First, it is universally agreed, that an _Epic Poem_ should have three
+component parts, _a beginning_, _a middle_, and _an end_;--secondly,
+it is allowed, that it should have one _grand action_, or _main design_,
+to the forwarding of which, all the parts of it should directly or
+indirectly tend; and that this design should be in some measure
+consonant with, and conducive to, the purposes of _Morality_;--and
+thirdly, it is indisputably settled, that it should have _a Hero_.
+I trust that in none of these points the poem before us will be found
+deficient. There are other inferior properties, which I shall consider
+in due order.
+
+Not to keep my readers longer in suspense, the subject of the poem is
+"_The Reformation of the Knave of Hearts_." It is not improbable, that
+some may object to me that a _Knave_ is an unworthy Hero for an Epic
+Poem; that a Hero ought to be all that is great and good. The objection
+is frivolous. The greatest work of this kind that the World has ever
+produced, has "_The Devil_" for its hero; and supported as my author is
+by so great a precedent, I contend, that his Hero is a very decent Hero;
+and especially as he has the advantage of _Milton_'s, by reforming at
+the end, is evidently entitled to a competent share of celebrity.
+
+I shall now proceed in the more immediate examination of the poem in its
+different parts. The _beginning_, say the Critics, ought to be plain and
+simple; neither embellished with the flowers of poetry, nor turgid with
+pomposity of diction. In this how exactly does our Author conform to the
+established opinion! he begins thus,
+
+    "The Queen of Hearts
+    "She made some Tarts"--
+
+Can any thing be more clear! more natural! more agreeable to the true
+spirit of simplicity! Here are no tropes,--no figurative
+expressions,--not even so much as an invocation to the Muse. He does not
+detain his readers by any needless circumlocution; by unnecessarily
+informing them, what he _is_ going to sing; or still more unnecessarily
+enumerating what he _is not_ going to sing: but according to the precept
+of Horace,
+
+  ----in medias res,
+  Non secus ac notas, auditorem rapit,----
+
+That is, he at once introduces us, and sets us on the most easy and
+familiar footing imaginable, with her Majesty of Hearts, and interests
+us deeply in her domestic concerns. But to proceed,
+
+    "The Queen of Hearts
+    "She made some Tarts,
+  "All on a Summer's Day."
+
+Here indeed the prospect brightens, and we are led to expect some
+liveliness of imagery, some warmth of poetical colouring;--but here is
+no such thing.--There is no task more difficult to a Poet, than that of
+_Rejection_. _Ovid_, among the ancients, and _Dryden_, among the
+moderns, were perhaps the most remarkable for the want of it. The latter
+from the haste in which he generally produced his compositions, seldom
+paid much attention to the "_limæ labor_," "the labour of correction,"
+and seldom therefore rejected the assistance of any idea that presented
+itself. _Ovid_, not content with catching the leading features of any
+scene or character, indulged himself in a thousand minutiæ of
+description, a thousand puerile prettinesses, which were in themselves
+uninteresting, and took off greatly from the effect of the whole; as the
+numberless suckers, and straggling branches of a fruit tree, if
+permitted to shoot out unrestrained, while they are themselves barren
+and useless, diminish considerably the vigour of the parent stock.
+_Ovid_ had more genius, but less judgement than _Virgil_; _Dryden_ more
+imagination, but less correctness than _Pope_; had they not been
+deficient in these points, the former would certainly have equalled, the
+latter infinitely outshone the merits of his countryman.--_Our Author_
+was undoubtedly possessed of that power which they wanted; and was
+cautious not to indulge too far the sallies of a lively imagination.
+Omitting therefore any mention of--sultry Sirius,--silvan
+shade,--sequestered glade,--verdant hills,--purling rills,--mossy
+mountains,--gurgling fountains,--&c. &c.--he simply tells us that it was
+"_All on a Summers Day_." For my own part, I confess, that I find myself
+rather flattered than disappointed; and consider the Poet as rather
+paying a compliment to the abilities of his readers, than baulking their
+expectations. It is certainly a great pleasure to see a picture well
+painted; but it is a much greater to paint it well oneself. This
+therefore I look upon as a stroke of excellent management in the Poet.
+Here every reader is at liberty to gratify his own taste; to design for
+himself just what sort of "_Summer's Day_" he likes best; to choose his
+own scenery; dispose his lights and shades as he pleases; to solace
+himself with a rivulet or a horse-pond,--a shower, or a sun-beam,--a
+grove, or a kitchen garden,--according to his fancy. How much more
+considerate this, than if the Poet had, from an affected accuracy of
+description, thrown us into an unmannerly perspiration by the heat of
+the atmosphere; forced us into a landscape of his own planning, with
+perhaps a paltry good-for-nothing zephyr or two, and a limited quantity
+of wood and water.--All this _Ovid_ would undoubtedly have done. Nay,
+to use the expression of a learned brother-commentator, "_quovis pignore
+decertem_" "I would lay any wager," that he would have gone so far as to
+tell us what the tarts were made of; and perhaps wandered into an
+episode on the art of preserving cherries. But _our Poet_, above such
+considerations, leaves every reader to choose his own ingredients, and
+sweeten them to his own liking; wisely foreseeing, no doubt, that the
+more palatable each had rendered them to his own taste, the more he
+would be affected at their approaching loss.
+
+  "All on a Summer's Day."
+
+I cannot leave this line without remarking, that one of the _Scribleri_,
+a descendant of the famous _Martinus_, has expressed his suspicions of
+the text being corrupted here, and proposes, instead of "_All on_"
+reading "_Alone_," alledging, in favour of this alteration, the effect
+of Solitude in raising the passions. But _Hiccius Doctius_, a High Dutch
+commentator, one nevertheless well versed in British literature, in a
+note of his usual length and learning, has confuted the arguments of
+_Scriblerus_. In support of the present reading, he quotes a passage
+from a poem written about the same period with our author's, by the
+celebrated _Johannes Pastor_[*], intituled "_An Elegiac Epistle to the
+Turnkey of Newgate_," wherein the gentleman declares, that rather indeed
+in compliance with an old custom, than to gratify any particular will of
+his own, he is going
+
+  --------"All hanged for to be
+  "Upon that fatal Tyburn tree."----
+
+    [Footnote *: More commonly known, I believe, by the appellation of
+    "_Jack Shepherd_."]
+
+Now as nothing throws greater light on an author, than the concurrence
+of a contemporary writer, I am inclined to be of _Hiccius's_ opinion,
+and to consider the "_All_" as an elegant expletive, or, as he more
+aptly phrases it "_elegans expletivum_." The passage therefore must
+stand thus,
+
+    "The Queen of Hearts
+    "She made some Tarts,
+  "All on a Summer's Day."
+
+And thus ends the first part, or _beginning_; which is simple and
+unembellished; opens the subject in a natural and easy manner; excites,
+but does not too far gratify our curiosity: for a reader of accurate
+observation may easily discover, that the _Hero_ of the Poem has not,
+as yet, made his appearance.
+
+
+I could not continue my examination at present through the whole of this
+Poem, without far exceeding the limits of a single paper. I have
+therefore divided it into two; but shall not delay the publication of
+the second to another week,--as that, besides breaking the connection of
+criticism, would materially injure the _unities_ of the Poem.
+
+
+
+
+  No. XII.
+
+  of the
+
+  MICROCOSM.
+
+  MONDAY, _February 12, 1787_.
+
+  --------Servetur ad imum,
+  Qualis ab incepto processerit, et sibi constet.
+
+      HORACE.
+
+  From his first Entrance to the closing Scene,
+  Let him one equal Character maintain.
+
+      FRANCIS.
+
+
+Having thus gone through the first part, or _beginning_ of the Poem,
+we may naturally enough proceed to the consideration of the second.
+
+The second part, or _middle_, is the proper place for bustle and
+business; for incident and adventure.
+
+    "The Knave of Hearts
+    "He stole those Tarts."
+
+Here attention is awakened; and our whole souls are intent upon the
+first appearance of the Hero. Some readers may perhaps be offended at
+his making his _entré_ in so disadvantageous a character as that of a
+_thief_. To this I plead precedent.
+
+The Hero of the Iliad, as I observed in a former paper, is made to
+lament very pathetically,--that "life is not like all other possessions,
+to be acquired by theft."--A reflection, in my opinion, evidently
+shewing, that, if he _did_ refrain from the practice of this ingenious
+art, it was not from want of an inclination that way. We may remember
+too, that in _Virgil's_ poem, almost the first light in which the _Pious
+Æneas_ appears to us, is a _deer-stealer_; nor is it much excuse for
+him, that the deer were wandering without keepers; for however he might,
+from this circumstance, have been unable to ascertain whose property
+they were; he might, I think, have been pretty well assured that they
+were not _his_.
+
+Having thus acquitted our Hero of misconduct, by the example of his
+betters, I proceed to what I think the Master-Stroke of the Poet.
+
+    "The Knave of Hearts
+    "He stole those Tarts,
+  "And----took them----quite away!!"
+
+Here, whoever has an ear for harmony, and a heart for feeling, must be
+touched! There is a desponding melancholy in the run of the last line!
+an air of tender regret in the addition of "_quite away!_" a something
+so expressive of irrecoverable loss! so forcibly intimating the "_Ah
+nunquam reditura!_" "They never can return!" in short, such an union of
+sound and sense, as we rarely, if ever meet with in any author, ancient
+or modern. Our feelings are all alive--but the Poet, wisely dreading
+that our sympathy with the injured Queen might alienate our affections
+from his Hero, contrives immediately to awaken our fears for him,
+by telling us, that
+
+    "The King of Hearts
+    "Call'd for those Tarts,"--
+
+We are all conscious of the fault of our Hero, and all tremble with him,
+for the punishment which the enraged Monarch may inflict;
+
+  "And beat the Knave--full sore!"
+
+The fatal blow is struck! We cannot but rejoice that guilt is justly
+punished, though we sympathize with the guilty object of punishment.
+Here _Scriblerus_, who, by the bye, is very fond of making unnecessary
+alterations, proposes reading "_Score_" instead of "_sore_," meaning
+thereby to particularize, that the beating bestowed by this Monarch,
+consisted of _twenty_ stripes. But this proceeds from his ignorance of
+the genius of our language, which does not admit of such an expression
+as "_full score_," but would require the insertion of the particle
+"_a_," which cannot be, on account of the metre. And this is another
+great artifice of the Poet: by leaving the quantity of beating
+indeterminate, he gives every reader the liberty to administer it, in
+exact proportion to the sum of indignation which he may have conceived
+against his Hero; that by thus amply satisfying their resentment, they
+may be the more easily reconciled to him afterwards.
+
+    "The King of Hearts
+    "Call'd for those Tarts,
+  "And beat the Knave full sore!"
+
+Here ends the second part, or _middle_ of the poem; in which we see the
+character, and exploits of the Hero, pourtrayed with the hand of a
+master.
+
+Nothing now remains to be examined, but the third part, or _End_. In the
+_End_, it is a rule pretty well established, that the Work should draw
+towards a conclusion, which our Author manages thus.
+
+    "The Knave of Hearts
+    "Brought back those Tarts."
+
+Here every thing is at length settled; the theft is compensated; the
+tarts restored to their right owner; and _Poetical Justice_, in every
+respect, strictly, and impartially administered.
+
+We may observe, that there is nothing in which our Poet has better
+succeeded, than in keeping up an unremitted attention in his readers to
+the main instruments, the machinery of his poem, viz. The _Tarts_;
+insomuch, that the aforementioned _Scriblerus_ has sagely observed, that
+"he can't tell, but he doesn't know, but the tarts may be reckoned the
+heroes of the Poem." _Scriblerus_, though a man of learning, and
+frequently right in his opinion, has here certainly hazarded a rash
+conjecture. His arguments are overthrown entirely by his great opponent,
+_Hiccius_, who concludes, by triumphantly asking, "Had the tarts been
+eaten, how could the Poet have compensated for the loss of his Heroes?"
+
+We are now come to the _denouèment_, the setting all to rights: and our
+Poet, in the management of his _moral_, is certainly superior to his
+great ancient predecessors. The moral of their fables, if any they have,
+is so interwoven with the main body of their work, that in endeavouring
+to unravel it, we should tear the whole. _Our Author_ has very properly
+preserved his whole and entire for the _end_ of his poem, where he
+completes his _main design_, the _Reformation_ of his Hero, thus,
+
+  "And vow'd he'd steal no more."
+
+Having in the course of his work, shewn the bad effects arising from
+theft, he evidently means this last moral reflection, to operate with
+his readers as a gentle and polite dissuasive from stealing.
+
+    "The Knave of Hearts
+    "Brought back those Tarts,
+  "And vow'd he'd steal no more!"
+
+Thus have I industriously gone through the several parts of this
+wonderful Work; and clearly proved it, in every one of these parts, and
+in all of them together, to be a _due and proper Epic Poem_; and to have
+as good a right to that title, from its adherence to prescribed rules,
+as any of the celebrated master-pieces of antiquity. And here I cannot
+help again lamenting, that, by not knowing the name of the Author, I am
+unable to twine our laurels together; and to transmit to posterity the
+mingled praises of Genius, and Judgment; of the Poet, and his
+commentator.
+
+
+Having some space left in this paper, I will now, with the permission of
+my readers of the _great world_, address myself more particularly to my
+fellow-citizens.
+
+To them, the essay which I have here presented, will, I flatter myself,
+be peculiarly serviceable at this time; and I would earnestly recommend
+an attentive perusal of it, to all of them whose muses are engaged in
+compositions of the Epic kind.--I am very much afraid that I may run
+into the error, which I have myself pointed out, of becoming too
+_local_,--but where it is evidently intended for the good of my fellow
+citizens, it may, I hope, be now and then pardonable. At the present
+juncture, as many have applied for my assistance, I cannot find in my
+heart to refuse it them. Were I to attempt fully explaining, why, at the
+_present juncture_, I fear it would be vain. Would it not seem
+incredible to the Ladies, were I to tell them, that the period
+approaches, when upwards of a hundred _Epic Poems_ will be exposed to
+public view, most of them nearly of equal length, and many of them
+nearly of equal merit, with the one which I have here taken into
+consideration; illustrated moreover with elegant etchings, designed
+either as _hieroglyphical_ explanations of the subject, or as _practical
+puns_ on the name of the author?--And yet in truth so it is,--and on
+this subject I wish to give a word of advice to my countrymen.
+
+Many of them have applied to me by letter, to assist them with designs
+for prefixing to their poems; and this I should very willingly have
+done, had those gentlemen been kind enough to subscribe their real names
+to their requests: whereas, all that I have received have been signed,
+_Tom Long_, _Philosophus_, _Philalethes_, and such like. I have
+therefore been prevented from affording them the assistance I wished;
+and cannot help wondering, that the gentlemen did not consider, that it
+was impossible for me to provide _typical references_ for feigned names;
+as, for ought I know, the person who signs himself _Tom Long_ may not be
+four feet high; _Philosophus_ may be possessed of a considerable share
+of folly; and _Philalethes_ may be as arrant a liar as any in the
+kingdom.
+
+It may not however be useless to offer some general reflections for all
+who may require them. It is not improbable, that, as the subject of
+their poems is the _Restoration_, many of my fellow-citizens may choose
+to adorn their _title-pages_ with the representation of His Majesty,
+Charles the Second, escaping the vigilance of his pursuers in the _Royal
+Oak_. There are some particularities generally observable in this
+picture, which I shall point out to them, lest they fall into similar
+errors. Though I am as far as any other Briton can be, from wishing to
+"curtail" his Majesty's Wig "of its fair proportion;" yet I have
+sometimes been apt to think it rather improper, to make the Wig, as is
+usually done, of larger dimensions than the tree in which it and his
+Majesty are concealed. It is a rule in Logic, and I believe may hold
+good in most other Sciences, that "_omne majus continet in se minus_,"
+that "every thing larger can hold any thing that is less;" but I own,
+I never heard the contrary advanced or defended with any plausible
+arguments, viz. "that every little thing can hold one larger."
+I therefore humbly propose, that there should be at least an edge of
+foliage round the outskirts of the said wig; and that its curls should
+not exceed in number the leaves of the tree. There is also another
+practice almost equally prevalent, of which I am sceptic enough to doubt
+the propriety. I own, I cannot think it by any means conducive to the
+more effectual concealment of his Majesty, that there should be three
+Regal Crowns stuck on three different branches of the tree. Horace says
+indeed,
+
+  --------Pictoribus atque Poetis,
+  Quidlibet audendi semper fuit æqua potestas.
+
+  Painters and Poets our indulgence claim,
+  _Their daring equal, and their art the same._--FRAN.
+
+And this may be reckoned a very allowable _poetical licence_; inasmuch
+as it lets the spectator into the secret, _who is in the tree_. But it
+is apt to make him at the same time throw the accusation of negligence
+and want of penetration on the three dragoons, who are usually depicted
+on the foreground, cantering along very composedly, with serene
+countenances, erect persons, and drawn swords, very little longer than
+themselves.
+
+
+       *       *       *       *       *
+           *       *       *       *
+
+PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY
+
+  [Transcriber's Note:
+  Many of the listed titles are or will be available from Project
+  Gutenberg. Where possible, the e-text number is given in brackets.]
+
+
+*First Year (1946-1947)*
+
+Numbers 1-6 out of print.
+
+   [Titles:
+   1. Richard Blackmore's _Essay upon Wit_ (1716), and Addison's
+      _Freeholder_ No. 45 (1716). [13484]
+   2. Anon., _Essay on Wit_ (1748), together with Characters by
+      Flecknoe, and Joseph Warton's _Adventurer_ Nos. 127 and 133.
+      [14973]
+   3. Anon., _Letter to A. H. Esq.; concerning the Stage_ (1698), and
+      Richard Willis' _Occasional Paper_ No. IX (1698). [14047]
+   4. Samuel Cobb's _Of Poetry_ and _Discourse on Criticism_ (1707).
+      [14528]
+   5. Samuel Wesley's _Epistle to a Friend Concerning Poetry_ (1700)
+      and _Essay on Heroic Poetry_ (1693). [16506]
+   6. Anon., _Representation of the Impiety and Immorality of the Stage_
+      (1704) and anon., _Some Thoughts Concerning the Stage_ (1704).
+      [15656] ]
+
+
+*Second Year (1947-1948)*
+
+ 7. John Gay's _The Present State of Wit_ (1711); and a section on Wit
+    from _The English Theophrastus_ (1702). [#14800]
+
+ 8. Rapin's _De Carmine Pastorali_, translated by Creech (1684).
+    [#14495]
+
+ 9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736).
+    [#14899]
+
+10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit,
+    etc._ (1744). [#16233]
+
+11. Thomas Purney's _Discourse on the Pastoral_ (1717). [#15313]
+
+12. Essays on the Stage, selected, with an Introduction by Joseph
+    Wood Krutch. [#16335]
+
+
+*Third Year (1948-1949)*
+
+13. Sir John Falstaff (pseud.), _The Theatre_ (1720). [#15999]
+
+14. Edward Moore's _The Gamester_ (1753). [#16267]
+
+15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_
+    (1712); and Arthur Mainwaring's _The British Academy_ (1712).
+    [In preparation]
+
+16. Nevil Payne's _Fatal Jealousy_ (1673). [#16916]
+
+17. Nicholas Rowe's _Some Account of the Life of Mr. William
+    Shakespeare_ (1709). [#16275]
+
+18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719);
+    and Aaron Hill's Preface to _The Creation_ (1720). [#15870]
+
+
+*Fourth Year (1949-1950)*
+
+19. Susanna Centlivre's _The Busie Body_ (1709). [#16740]
+
+20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734).
+    [#16346]
+
+21. _Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela_
+    (1754).
+
+22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two
+    _Rambler_ papers (1750). [#13350]
+
+23. John Dryden's _His Majesties Declaration Defended_ (1681). [#15074]
+
+24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which
+    from Settled Principles is Rendered the Grounds for Choosing and
+    Rejecting Epigrams_, translated by J. V. Cunningham.
+
+
+*Fifth Year (1950-1951)*
+
+25. Thomas Baker's _The Fine Lady's Airs_ (1709). [#14467]
+
+26. Charles Macklin's _The Man of the World_ (1792). [#14463]
+
+27. Out of print.
+
+    [Frances Reynolds' _An Enquiry Concerning the Principles of Taste,
+    and of the Origin of Our Ideas of Beauty, etc._ (1785). [#13485] ]
+
+28. John Evelyn's _An Apologie for the Royal Party_ (1659); and
+    _A Panegyric to Charles the Second_ (1661). [#17833]
+
+29. Daniel Defoe's _A Vindication of the Press_ (1718). [#14084]
+
+30. Essays on Taste from John Gilbert Cooper's _Letters Concerning
+    Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_
+    (1770). [#13464]
+
+
+*Sixth Year (1951-1952)*
+
+31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751);
+    and _The Eton College Manuscript_. [#15409]
+
+32. Prefaces to Fiction; Georges de Scudéry's Preface to _Ibrahim_
+    (1674), etc. [#14525]
+
+33. Henry Gally's _A Critical Essay_ on Characteristic-Writings (1725).
+    [#16299]
+
+34. Thomas Tyers' A Biographical Sketch of Dr. Samuel Johnson (1785).
+
+35. James Roswell, Andrew Erskine, and George Dempster. _Critical
+    Strictures on the New Tragedy of Elvira, Written by Mr. David
+    Malloch_ (1763). [#15857]
+
+36. Joseph Harris's _The City Bride_ (1696). [In preparation]
+
+
+*Seventh Year (1952-1953)*
+
+37. Thomas Morrison's _A Pindarick Ode on Painting_ (1767). [In
+    preparation]
+
+38. John Phillips' _A Satyr Against Hypocrites_ (1655).
+
+39. Thomas Warton's _A History of English Poetry_.
+
+40. Edward Bysshe's _The Art of English Poetry_ (1708).
+
+41. Bernard Mandeville's "A Letter to Dion" (1732).
+
+42. Prefaces to Four Seventeenth-Century Romances.
+
+
+*Eighth Year (1953-1954)*
+
+43. John Baillie's _An Essay on the Sublime_ (1747).
+
+44. Mathias Casimire Sarbiewski's _The Odes of Casimire_, Translated
+    by G. Hils (1646).
+
+45. John Robert Scott's _Dissertation on the Progress of the Fine Arts._
+
+46. Selections from Seventeenth Century Songbooks.
+
+47. Contemporaries of the _Tatler_ and _Spectator_.
+
+48. Samuel Richardson's Introduction to _Pamela_.
+
+
+*Ninth Year (1954-1955)*
+
+49. Two St. Cecilia's Day Sermons (1696-1697).
+
+50. Hervey Aston's _A Sermon Before the Sons of the Clergy_ (1745).
+
+51. Lewis Maidwell's _An Essay upon the Necessity and Excellency of
+    Education_ (1705).
+
+52. Pappity Stampoy's _A Collection of Scotch Proverbs_ (1663). [#7018]
+
+53. Urian Oakes' _The Soveriegn Efficacy of Divine Providence_ (1682).
+
+54. Mary Davys' _Familiar Letters Betwixt a Gentleman and a Lady_
+    (1725).
+
+
+*Tenth Year (1955-1956)*
+
+55. Samuel Say's _An Essay on the Harmony, Variety, and Power of
+    Numbers_ (1745).
+
+56. _Theologia Ruris, sive Schola & Scala Naturae_ (1686).
+
+57. Henry Fielding's _Shamela_ (1741).
+
+58. Eighteenth Century Book Illustrations.
+
+59. Samuel Johnson's _Notes to Shakespeare_. Vol. I, Comedies, Part I.
+    [#7780]
+
+60. Samuel Johnson's _Notes to Shakespeare_. Vol. I, Comedies, Part II.
+    [#7780]
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+Errors corrected by transcriber:
+
+  the _Spectator's_ critiques of Shakespeare
+    [not underlined in original]
+  Artfulness and Embellishments of the _Romans_
+    [text reads "Embel/llishments" at line break]
+  the first Person that ever found out the Philosopher's Stone
+    [text reads "that that"]
+  But if, continues my Bookseller
+    [text reads "conti/tinues" at line break]
+  _denouèment_
+    _accent unchanged (grave on second "e")_
+  every thing larger can hold any thing that is less
+    [text reads "every think"]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Parodies of Ballad Criticism
+(1711-1787), by William Wagstaffe and Gregory Griffin AKA George Canning
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PARODIES OF BALLAD CRITICISM ***
+
+***** This file should be named 22081-8.txt or 22081-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/2/0/8/22081/
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/22081-8.zip b/22081-8.zip
new file mode 100644
index 0000000..71abb5d
--- /dev/null
+++ b/22081-8.zip
diff --git a/22081-h.zip b/22081-h.zip
new file mode 100644
index 0000000..dc77346
--- /dev/null
+++ b/22081-h.zip
diff --git a/22081-h/22081-h.htm b/22081-h/22081-h.htm
new file mode 100644
index 0000000..ffcd0be
--- /dev/null
+++ b/22081-h/22081-h.htm
@@ -0,0 +1,2806 @@
+<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+<html>
+<head>
+<title>Parodies of Ballad Criticism</title>
+<meta http-equiv = "Content-Type" content = "text/html;
+charset=ISO-8859-1">
+
+
+<style type = "text/css">
+
+body {margin-left: 10%; margin-right: 10%; max-width: 36em;}
+
+hr {width: 80%; margin-top: 1em; margin-bottom: 1em;}
+hr.finis {margin-top: 4em; margin-bottom: 4em;}
+hr.mid {width: 40%;}
+hr.tiny {width: 20%;}
+
+sup {font-size: 75%; line-height: 50%;}
+
+div.titlepage, div.intro, div.thumb, div.knave
+{margin-top: 3em; margin-bottom: 3em;}
+div.poem {margin: .5em 2em 0;}
+
+h1, h2, h3, h4, h5, h6 {text-align: center; font-style: normal;
+font-weight: normal; line-height: 1.5; margin-top: .5em;
+margin-bottom: .5em;}
+
+h1 {font-size: 200%;}
+h2 {font-size: 175%;}
+h3 {font-size: 150%;}
+h4 {font-size: 120%;}
+h5 {font-size: 100%;}
+h6 {font-size: 85%;}
+
+p, blockquote {margin-top: .5em; margin-bottom: 0em; line-height: 1.2;}
+p.illustration {text-align: center;
+margin-top: 1em; margin-bottom: 1em;}
+p.center {text-align: center;}
+p.right {text-align: right;}
+
+blockquote {margin-left: 2em; margin-right: 2em; line-height: normal;}
+
+/* poems */
+
+div.poem p {margin-top: 0em; line-height: normal;
+margin-left: 4em; text-indent: -4em; font-style: italic;}
+div.poem.plain p {font-style: normal;}
+
+div.poem p.inset1 {text-indent: -3em;}
+div.poem p.inset2 {text-indent: -2em;}
+div.poem em {font-style: normal;}
+
+
+/* footnotes */
+
+p.footnote, div.footnote {margin: 1em 2em;}
+p.footnote, div.footnote p {font-size: 95%;}
+
+a.tag {text-decoration: none; vertical-align: .3em; font-size: 80%;
+line-height: 0em; padding-left: .25em;}
+
+
+/* tables */
+
+table {margin-left: auto; margin-right: auto;
+margin-top: 1em; margin-bottom: 1em;}
+
+td {vertical-align: top; text-align: left; padding: .1em 1em .1em 0em;}
+
+td.number {text-align: right;}
+
+table.toc p, table.index p {margin-top: 0em; margin-left: 2em;
+text-indent: -2em; line-height: normal;}
+table.index td.number {vertical-align: bottom;}
+
+
+/* ARS sections */
+
+div.titlepage p {text-align: center;}
+
+/* introduction and end */
+
+div.intro, div.publist {font-family: monospace;}
+div.intro p, div.intro blockquote {font-family: monospace;}
+div.intro h5, div.publist h4 {font-family: monospace; margin-top: 4em;
+margin-bottom: 2em;}
+
+div.publist p {font-family: monospace; margin-top: 0em; margin-left:
+2.5em; text-indent: -2.5em;}
+div.publist p.indent {text-indent: 0em;}
+div.publist p.heading {font-weight: bold; margin-top: 1em;
+margin-bottom: 1em;}
+
+div.publist a {text-decoration: none;}
+
+
+/* Tom Thumb */
+
+table.tomthumb {border-spacing: .75em; border: 1px solid #000;}
+table.tomthumb td {padding: 1em .1em; border: 1px solid #000;}
+table.tomthumb p {text-align: center;}
+
+div.poem.latin {margin-left: 1em;}
+div.poem.latin p {font-size: 108%;}
+
+
+/* text formatting */
+
+.firstletter {float: left; padding: 0em;
+margin: -0.2em .1em -.2em 0em; font-size: 375%;}
+.dropcap {float: left; clear: left; padding: 0em;
+margin: .1em .1em 0em 0em;}
+
+.smaller {font-size: 80%;}
+.larger {font-size: 110%;}
+.s133 {font-size: 133%;}
+.s150 {font-size: 150%;}
+.s200 {font-size: 200%;}
+.s250 {font-size: 250%;}
+
+.smallcaps {font-variant: small-caps; font-style: normal;}
+.extended {letter-spacing: 0.2em; padding-left: .2em;}
+
+.topline {border-top: 1px solid #000; padding-top: .75em;}
+.bottomline {border-bottom: 1px solid #000; padding-bottom: .75em;}
+
+.cursive {font-family: cursive;}
+.ital {font-style: italic;}
+
+/* my additions */
+
+ins.correction {text-decoration: none; border-bottom: thin dotted red;}
+
+.pagenum {position: absolute; right: 2%; font-size: 90%;
+font-weight: normal; font-style: normal; text-align: right;
+text-indent: 0em;}
+.folionum {position: absolute; left: 2%; font-size: 90%;
+font-style: normal; text-align: left; text-indent: 0em;}
+
+div.mynote {background-color: #DDE; color: #000; padding: .5em 1em 1em;
+margin: 1em 5%;}
+div.publist div.mynote {padding-top: 1em;}
+p.mynote {background-color: #DDE; color: #000; padding: 1em;
+margin: 1em 5%; font-family: sans-serif; font-size: 90%;}
+div.mynote p {font-family: sans-serif; font-size: 90%;}
+div.mynote a, div.contents a {text-decoration: none;}
+
+div.contents {margin: 4em 2em; padding: 1em 1.5em 1.5em;
+border: 3px ridge #ABF;}
+div.contents p {font-family: sans-serif; margin-left: 1.5em;
+text-indent: -1.5em;}
+
+</style>
+</head>
+
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Parodies of Ballad Criticism (1711-1787), by 
+William Wagstaffe and Gregory Griffin AKA George Canning
+
+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: Parodies of Ballad Criticism (1711-1787)
+       A Comment Upon the History of Tom Thumb, 1711, by Wm.
+              Wagstaffe; The Knave of Hearts, 1787, by Gregory Griffin
+              AKA George Canning
+
+Author: William Wagstaffe
+        Gregory Griffin AKA George Canning
+
+Release Date: July 16, 2007 [EBook #22081]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PARODIES OF BALLAD CRITICISM ***
+
+
+
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class = "titlepage">
+
+<p class = "s200 smallcaps">The Augustan Reprint Society</p>
+
+<p>&nbsp;</p>
+
+<p class = "s133 ital">Parodies of Ballad Criticism<br>
+(1711-1787)</p>
+
+<p>&nbsp;</p>
+
+<p>William Wagstaffe, <i>A Comment Upon the History of Tom Thumb</i>,
+1711</p>
+
+<p>George Canning, <i>The Knave of Hearts</i>, 1787</p>
+
+<p>&nbsp;</p>
+
+<p>Selected, with an Introduction, by</p>
+
+<p class = "larger">William K. Wimsatt, Jr.</p>
+
+<p>&nbsp;</p>
+
+<p class = "smaller">Publication Number 63</p>
+
+<p>&nbsp;</p>
+
+<p class = "smaller">Los Angeles<br>
+William Andrews Clark Memorial Library<br>
+University of California<br>
+1957</p>
+
+</div>
+
+<div class = "contents">
+
+<p><a href = "#intro">Introduction</a></p>
+<p><a href = "#tom_thumb">A Comment Upon the History of Tom
+Thumb</a></p>
+<p><a href = "#knave_hearts">The Reformation of the Knave of
+Hearts</a><br>
+(<i>Microcosm</i> Nos. XI, XII)</p>
+<p><a href = "#publications">List of Publications</a></p>
+
+</div>
+
+
+<!-- png 2 -->
+
+<p class = "center">GENERAL EDITORS</p>
+
+<p class = "center">
+<span class = "smallcaps">Richard C. Boys</span>, <i>University of
+Michigan</i><br>
+<span class = "smallcaps">Ralph Cohen</span>, <i>University of
+California, Los Angeles</i><br>
+<span class = "smallcaps">Vinton A. Dearing</span>, <i>University
+of California, Los Angeles</i><br>
+<span class = "smallcaps">Lawrence Clark Powell</span>, <i>Clark
+Memorial Library</i></p>
+
+<p class = "center">
+ASSISTANT EDITOR</p>
+
+<p class = "center">
+<span class = "smallcaps">W. Earl Britton</span>,
+<i>University of Michigan</i></p>
+
+<p class = "center">
+ADVISORY EDITORS</p>
+
+<p class = "center">
+<span class = "smallcaps">Emmett L. Avery</span>, <i>State College
+of Washington</i><br>
+<span class = "smallcaps">Benjamin Boyce</span>, <i>Duke
+University</i><br>
+<span class = "smallcaps">Louis Bredvold</span>, <i>University of
+Michigan</i><br>
+<span class = "smallcaps">John Butt</span>, <i>King's College,
+University of Durham</i><br>
+<span class = "smallcaps">James L. Clifford</span>, <i>Columbia
+University</i><br>
+<span class = "smallcaps">Arthur Friedman</span>, <i>University of
+Chicago</i><br>
+<span class = "smallcaps">Louis A. Landa</span>, <i>Princeton
+University</i><br>
+<span class = "smallcaps">Samuel H. Monk</span>, <i>University of
+Minnesota</i><br>
+<span class = "smallcaps">Ernest C. Mossner</span>, <i>University of
+Texas</i><br>
+<span class = "smallcaps">James Sutherland</span>, <i>University
+College, London</i><br>
+<span class = "smallcaps">H. T. Swedenberg, Jr.</span>,
+<i>University of California, Los Angeles</i></p>
+
+<p class = "center">
+CORRESPONDING SECRETARY</p>
+
+<p class = "center">
+<span class = "smallcaps">Edna C. Davis</span>, <i>Clark Memorial
+Library</i></p>
+
+<div class = "intro">
+
+<hr class = "mid">
+
+<!-- png 3 -->
+<p>The Augustan Reprint Society regrets to announce the death of one of
+its founders and editors, Edward Niles Hooker. The editors hope, in the
+near future, to issue a volume in his memory.</p>
+
+<hr class = "mid">
+
+<p>&nbsp;<br>&nbsp;</p>
+
+
+<span class = "pagenum">i</span>
+<!-- png 4 -->
+<h5><a name = "intro" id = "intro">INTRODUCTION</a></h5>
+
+
+<p>Joseph Addison's enthusiasm for ballad poetry (<i>Spectators</i> 70,
+74, 85) was not a sheer novelty. He had a ringing English precedent in
+Sidney, whom he quotes. And he may have had one in Jonson; at least he
+thought he had. He cited Dryden and Dorset as collectors and readers of
+ballads; and he might have cited others. He found comfort in the fact
+that Molière's Misanthrope was on his side. The modern or broadside
+version of <i>Chevy Chase</i>, the one which Addison quoted, had been
+printed, with a Latin translation, in the third volume of Dryden's
+<i>Miscellany</i> (1702) and had been appreciated along with <i>The
+Nut-Brown Maid</i> in an essay <i>Of the Old English Poets and
+Poetry</i> in <i>The Muses Mercury</i> for June, 1707. The feelings
+expressed in Addison's essays on the ballads were part of the general
+patriotic archaism which at that time was moving in rapport with cyclic
+theories of the robust and the effete, as in Temple's essays, and was
+complicating the issue of the classical ancients versus the moderns.
+Again, these feelings were in harmony with the new Longinianism of
+boldness and bigness, cultivated in one way by Dennis and in another by
+Addison himself in later <i>Spectators</i>. The tribute to the old
+writers in Rowe's Prologue to <i>Jane Shore</i> (1713) is of course not
+simply the result of Addison's influence.<a class = "tag" name = "tag1"
+id = "tag1" href = "#note1">1</a></p>
+
+<div class = "poem plain">
+<p>Those venerable ancient Song-Enditers</p>
+<p>Soar'd many a Pitch above our modern Writers.</p>
+</div>
+
+<p>It is true also that Addison exhibits, at least in the first of the
+two essays on <i>Chevy Chase</i>, a degree of the normal Augustan
+condescension
+<span class = "pagenum">iv</span>
+<!-- png 5 -->
+to the archaic&mdash;the vision which informs the earlier couplet poem
+on the English poets. Both in his quotation from Sidney ("...being so
+evil apparelled in the Dust and Cobweb of that uncivil Age, what would
+it work trimmed in the gorgeous Eloquence of <i>Pindar</i>?") and in his
+own apology for the "Simplicity of the Stile" there is sufficient
+prescription for all those improvements that either a Ramsay or a Percy
+were soon actually to undertake. And some of the Virgilian passages in
+<i>Chevy Chase</i> which Addison picked out for admiration were not what
+Sidney had known but the literary invention of the more modern broadside
+writer.</p>
+
+<p>Nevertheless, the two <i>Spectators</i> on <i>Chevy Chase</i> and the
+sequel on the <i>Children in the Wood</i> were startling enough. The
+general announcement was ample, unabashed, soaring&mdash;unmistakable
+evidence of a new polite taste for the universally valid utterances of
+the primitive heart. The accompanying measurement according to the epic
+rules and models was not a qualification of the taste, but only a
+somewhat awkward theoretical dimension and justification.</p>
+
+<blockquote>
+It is impossible that any thing should be universally tasted and
+approved by a Multitude, tho' they are only the Rabble of a Nation,
+which hath not in it some peculiar Aptness to please and gratify the
+Mind of Man.... an ordinary Song or Ballad that is the Delight of the
+common People, cannot fail to please all such Readers as are not
+unqualified for the Entertainment by their Affectation or Ignorance.
+</blockquote>
+
+<p>Professor Clarence D. Thorpe is surely correct in his view of Addison
+as a "grandfather" of such that would come in romantic aesthetics for
+the next hundred years.<a class = "tag" name = "tag2" id = "tag2" href =
+"#note2">2</a> Not that Addison invents anything; but he catches every
+current whisper and swells it to the journalistic audibility. Here, if
+we take Addison at his word, are the key ideas for Wordsworth's Preface
+on the language of rustic life, for Tolstoy's ruthless reduction of
+taste to the peasant norm. Addison went on to urge what was perfectly
+just,
+<span class = "pagenum">iii</span>
+<!-- png 6 -->
+that the old popular ballads ought to be read and liked; at the same
+time he pushed his praise to a rather wild extreme, and he made some
+comic comparisons between <i>Chevy Chase</i> and Virgil and Homer.</p>
+
+<p>We know now that he was on the right track; he was riding the wave of
+the future. It will be sufficient here merely to allude to that well
+established topic of English literary history, the rise of the ballad
+during the eighteenth century&mdash;in <i>A Collection of Old
+Ballads</i> (1723-1725), in Ramsay's <i>Evergreen</i> and
+<i>Tea-Table</i>, in Percy's <i>Reliques</i>, and in all the opinions,
+the critiques, the imitations, the modern ballads, and the forgeries of
+that era&mdash;in <i>Henry and Emma</i>, <i>Colin and Lucy</i>, and
+<i>Hardyknute</i>, in Gay, Shenstone, and Gray, in Chatterton's Rowley.
+All these in a sense testified to the influence of Addison's essays.
+Addison was often enough given honorable mention and quoted.</p>
+
+<p>On the other hand, neo-classic stalwart good sense and the canons of
+decorum did not collapse easily, and the cultivation of the ballads had,
+as we have suggested, a certain aspect of silliness. It is well known
+that Addison's essays elicited the immediate objections of Dennis. The
+Spectator's "Design is to see how far he can lead his Reader by the
+Nose." He wants "to put Impotence and Imbecility upon us for
+Simplicity." Later Johnson in his <i>Life of Addison</i> quoted Dennis
+and added his own opinion of <i>Chevy Chase</i>: "The story cannot
+possibly be told in a manner that shall make less impression on the
+mind."</p>
+
+<p>It was fairly easy to parody the ballads themselves, or at least the
+ballad imitations, as Johnson would demonstrate <i>ex tempore</i>.
+"I&nbsp;put my hat upon my head And walked into the Strand, And there I
+met another man Whose hat was in his hand." And it was just as easy to
+parody ballad criticism. The present volume is an anthology of two of
+the more deserving
+<span class = "pagenum">iv</span>
+<!-- png 7 -->
+mock-criticisms which Addison's effort either wholly or in part
+inspired.</p>
+
+<p>An anonymous satirical writer who was later identified, on somewhat
+uncertain authority, as the Tory Dr. William Wagstaffe was very prompt
+in responding. His <i>Comment Upon the History of Tom Thumb</i> appeared
+in 1711 perhaps within a week or two of the third guilty
+<i>Spectator</i> (June 7) and went into a second edition, "Corrected,"
+by August 18. An advertisement in the <i>Post Man</i> of that day
+referred to yet a third "sham" edition, "full of errors."<a class =
+"tag" name = "tag3" id = "tag3" href = "#note3">3</a> The writer alludes
+to the author of the <i>Spectators</i> covertly ("we have had an
+<i>enterprising Genius</i> of late") and quotes all three of the ballad
+essays repeatedly. The choice of <i>Tom Thumb</i> as the <i>corpus
+vile</i> was perhaps suggested by Swift's momentary "handling" of it in
+<i>A Tale of a Tub</i>.<a class = "tag" name = "tag4" id = "tag4" href =
+"#note4">4</a> The satirical method is broad and easy and scarcely
+requires comment. This is the attack which was supposed by Addison's
+editor Henry Morley (<i>Spectator</i>, 1883, I, 318) to have caused
+Addison to "flinch" a little in his revision of the ballad essays. It is
+scarcely apparent that he did so. The last paragraph of the third essay,
+on the <i>Children in the Wood</i>, is a retort to some other and even
+prompter unfriendly critics&mdash;"little conceited Wits of the Age,"
+with their "little Images of Ridicule."</p>
+
+<p>But Addison is not the only target of "Wagstaffe's" <i>Comment</i>.
+"Sir B&mdash;&mdash;&mdash; B&mdash;&mdash;&mdash;&mdash;" and his
+"Arthurs" are another, and "Dr. B&mdash;tly" another. One of the most
+eloquent moments in the <i>Comment</i> occurs near the end in a
+paragraph on what the author conceives to be the follies of the
+historical method. The use of the slight vernacular poem to parody the
+Bentleyan kind of classical scholarship was to be tried by Addison
+himself in <i>Spectator</i> 470 (August 29, 1712) and had a French
+counterpart in the <i>Chef d'oeuvre d'un inconnu</i>, 1714. A&nbsp;later
+example was executed by Defoe's son-in-law Henry Baker in No. XIX of his
+<i>Universal Spectator</i>, February 15,
+<span class = "pagenum">v</span>
+<!-- png 8 -->
+1729.<a class = "tag" name = "tag5" id = "tag5" href = "#note5">5</a>
+And that year too provided the large-scale demonstration of the
+<i>Dunciad Variorum</i>. The very "matter" of Tom Thumb reappeared under
+the same light in Fielding's <i>Tragedy of Tragedies or the Life and
+Death of Tom Thumb the Great with the Annotations of H.&nbsp;Scriblerus
+Secundus</i>, 1731. Addison's criticism of the ballads was scarcely a
+legitimate object for this kind of attack, but Augustan satire and
+parody were free and hospitable genres, always ready to entertain more
+than one kind of "bard and blockhead side by side."<a class = "tag" name
+= "tag6" id = "tag6" href = "#note6">6</a></p>
+
+<p>No less a person than George Canning (as a schoolboy) was the author
+of the second of the two parodies reproduced in the present volume.
+A&nbsp;group of precocious Eton lads, Canning, J.&nbsp;Hookham Frere,
+John Smith, and Robert (Bobus) Smith, during the years 1786-1787
+produced forty octavo numbers of a weekly paper called <i>The
+Microcosm</i>. They succeeded in exciting some interest among the
+literati,<a class = "tag" name = "tag7" id = "tag7" href =
+"#note7">7</a> were coming out in a "Second Edition" as early as the
+Christmas vacation of 1786,<a class = "tag" name = "tag8" id = "tag8"
+href = "#note8">8</a> and in the end sold their copyright for fifty
+pounds to their publisher, Charles Knight of Windsor.<a class = "tag"
+name = "tag9" id = "tag9" href = "#note9">9</a> Canning wrote Nos. XI
+and XII (February 12, 1787), a&nbsp;critique of the "Epic Poem"
+concerning "The Reformation of the Knave of Hearts."<a class = "tag"
+name = "tag10" id = "tag10" href = "#note10">10</a> This essay in two
+parts, running for nearly as many pages as Wagstaffe's archetypal
+pamphlet, is a much more systematic and theoretically ambitious effort
+than any predecessor. <i>The Knave of Hearts</i> is praised for its
+<i>beginning</i> (<i>in medias res</i>), its <i>middle</i> (all "bustle
+and business"), and its <i>end</i> (full of <i>Poetical Justice</i> and
+superior <i>Moral</i>). The earlier writers had directly labored the
+resemblance of the ballads to passages in Homer and Virgil. That method
+is now hardly invoked at all. Criticism according to the epic rules of
+Aristotle had been well enough illustrated by Addison on <i>Paradise
+Lost</i> (see especially <i>Spectator</i>
+<span class = "pagenum">vi</span>
+<!-- png 9 -->
+267) if not by Addison on ballads. The decline of simple respect for the
+"Practice and Authority" of the ancient models during the neo-classic
+era, the general advance of something like reasoning in criticism, finds
+one of its quainter testimonials in the Eton schoolboy's cleverness. He
+would show by definition and strict deduction that <i>The Knave of
+Hearts</i> is a "<i>due and proper Epic Poem</i>," having as "good right
+to that title, from its adherence to prescribed rules, as any of the
+celebrated master-pieces of antiquity." The post-Ramblerian date of the
+performance and a further if incidental aim of the satire&mdash;a
+facetious removal from the Augustan coffeehouse conversation&mdash;can
+be here and there felt in a heavy roll of the periods, a doubling and
+redoubling of the abstractions.<a class = "tag" name = "tag11" id =
+"tag11" href = "#note11">11</a></p>
+
+<p>The essay, nevertheless, shows sufficient continuity with the earlier
+tradition of parody ballad criticism&mdash;for it begins by alluding to
+the <ins class = "correction" title = "not underlined"><i>Spectator's</i></ins> critiques of Shakespeare, Milton,
+and <i>Chevy Chase</i>, and near the end of the first number slides into
+a remark that "one of the <i>Scribleri</i>, a descendant of the famous
+<i>Martinus</i>, has expressed his suspicions of the text being
+corrupted." A&nbsp;page or two of irony concerning the "plain and
+simple" opening of the poem seems to hark back to something more subtle
+in the Augustans than the Wagstaffian derision, no doubt to Pope's
+victory over Philips in a <i>Guardian</i> on pastorals. "There is no
+task more difficult to a Poet, than that of <i>Rejection</i>. Ovid,
+among the ancients, and <i>Dryden</i>, among the moderns, were perhaps
+the most remarkable for the want of it."<a class = "tag" name = "tag12"
+id = "tag12" href = "#note12">12</a></p>
+
+<p>The interest of these little pieces is historical<a class = "tag"
+name = "tag13" id = "tag13" href = "#note13">13</a> in a fairly strict
+sense. Their value is indirect, half accidental, a glancing revelation
+of ideas concerning simplicity, feeling, genius, the primitive, the
+historical which run steadily beneath all the ripples during the
+<span class = "pagenum">vii</span>
+<!-- png 10 -->
+century that moves from "classic" to "romantic." Not all of Addison's
+parodists taken together muster as much fun, as such whimsical charm, as
+Addison himself in a single paragraph such as the one on "accidental
+readings" which opens the <i>Spectator</i> on the <i>Children in the
+Wood</i>. But this passage, as it happens, requires only a slightly
+sophistical application to be taken as a cue to a useful attitude in our
+present reading. "I&nbsp;once met with a Page of <i>Mr. Baxter</i> under
+a Christmas Pye.... I&nbsp;might likewise mention a Paper-Kite, from
+which I have received great Improvement."</p>
+
+<p class = "right">
+William K. Wimsatt, Jr.</p>
+
+<p class = "right">
+Yale University</p>
+
+
+
+<span class = "pagenum">viii</span>
+<!-- png 11 -->
+<h5>NOTES TO THE INTRODUCTION</h5>
+
+<div class = "footnote">
+
+<p><a name = "note1" id = "note1" href = "#tag1">1.</a>
+The chief authorities for the history which I am summarizing are
+W.&nbsp;L. Phelps, <i>The Beginnings of the English Romantic
+Movement</i>, Boston, 1893, Chapter VII; E.&nbsp;K. Broadus, "Addison's
+Influence on the Development of Interest in Folk-Poetry in the
+Eighteenth Century," <i>Modern Philology</i>, VIII (July, 1910),
+123-134; S.&nbsp;B. Hustvedt, <i>Ballad Criticism in Scandinavia and
+Great Britain During the Eighteenth Century</i>, New York, 1916.</p>
+
+<p><a name = "note2" id = "note2" href = "#tag2">2.</a>
+"Addison's Contribution to Criticism," in R.&nbsp;F. Jones <i>et
+al.</i>, <i>The Seventeenth Century</i> (Stanford, 1951), p. 329.</p>
+
+<p><a name = "note3" id = "note3" href = "#tag3">3.</a>
+Edward B. Reed, "Two Notes on Addison," <i>Modern Philology</i>, VI
+(October, 1908), 187. The attribution of <i>A Comment Upon Tom Thumb</i>
+and other satirical pieces to the Dr. William Wagstaffe who died in 1725
+as Physician to St. Bartholomew's Hospital depends entirely upon the
+fact that a collection of such pieces was published, with an anonymous
+memoir, in 1726 under the title <i>Miscellaneous Works of Dr. William
+Wagstaffe</i>. Charles Dilke, <i>Papers of a Critic</i> (London, 1875),
+I, 369-382. argues that not Wagstaffe but Swift was the author of some
+of the pieces in the volume. The case for Wagstaffe is put by Nicholas
+Moore in a letter to <i>The Athenaeum</i>, June 10, 1882 and in his
+article on Wagstaffe in the <i>DNB</i>. Paul V. Thompson, "Swift and the
+Wagstaffe Papers," <i>Notes and Queries</i>, 175 (1938), 79, supports
+the notion of Wagstaffe as an understrapper of Swift. The negative part
+of Dilke's thesis is perhaps the more plausible. <i>A Comment Upon Tom
+Thumb</i>, as Dilke himself confesses (<i>Papers</i>, p. 377), scarcely
+sounds very much like Swift.</p>
+
+<p><a name = "note4" id = "note4" href = "#tag4">4.</a>
+Text, p. 6. The nursery rhyme <i>Tom Thumb, His Life and Death</i>,
+1630, and the augmented <i>History of Tom Thumb</i>, c. 1670, are
+printed with introductory remarks by W.&nbsp;C. Hazlitt, <i>Remains of
+the Early Popular Poetry of England</i>, II (London, 1866), 166-250.</p>
+
+<p><a name = "note5" id = "note5" href = "#tag5">5.</a>
+Cf. George R. Potter, "Henry Baker, F.R.S. (1698-1774)," <i>Modern
+Philology</i>, XXIX (1932), 305. Nathan Drake, <i>The Gleaner</i>, I
+(London, 1811), 220 seems mistaken in his remark that Baker's
+Scriblerian commentary (upon the nursery rhyme "Once I was a Batchelor,
+and lived by myself") was the model for later
+mock-ballad-criticisms.</p>
+
+<p><a name = "note6" id = "note6" href = "#tag6">6.</a>
+For another early instance of our genre and a very pure one, see an
+anonymous Cambridge correspondent's critique of the burlesque broadside
+ballad of "Moor of Moore-Hall and the Dragon of Wantley," in Nathaniel
+Mist's <i>Weekly Journal</i> (second series), September 2, 1721,
+reproduced by Roger P. McCutcheon, "Another Burlesque of Addison's
+Ballad Criticism," <i>Studies in Philology</i>, XXXIII (October, 1926),
+451-456.</p>
+
+<p><a name = "note7" id = "note7" href = "#tag7">7.</a>
+<i>Diary &amp; Letters of Madame d'Arblay</i> (London, 1904-1905), III,
+121-122, 295: November 28, 1786; July 29, 1787; William Roberts,
+<i>Memoirs of the Life and Correspondence of Mrs. Hannah More</i>
+(London, 1834), II, 46, letter from W.&nbsp;W. Pepys, December 31,
+1786.</p>
+
+<span class = "pagenum">ix</span>
+<!-- png 12 -->
+<p><a name = "note8" id = "note8" href = "#tag8">8.</a>
+Advertisement inserted before No. I in a collected volume dated 1787
+(Yale 217. 304g).</p>
+
+<p><a name = "note9" id = "note9" href = "#tag9">9.</a>
+The source of the anecdote seems to be William Jordan, <i>National
+Portrait Gallery</i> (London, 1831), II, 3, quoting a communication from
+Charles Knight the publisher, son of Charles Knight of Windsor.</p>
+
+<p>The present reprint of Nos. XI and XII of <i>The Microcosm</i> is
+from the "Second" octavo collected edition, Windsor, 1788. <i>The
+Microcosm</i> had reappeared at least seven times by 1835.</p>
+
+<p><a name = "note10" id = "note10" href = "#tag10">10.</a>
+Iona and Peter Opie, <i>The Oxford Dictionary of Nursery Rhymes</i>
+(Oxford, 1951), are unable to find an earlier printed source for this
+rhyme than the <i>European Magazine</i>, I (April, 1782), 252.</p>
+
+<p><a name = "note11" id = "note11" href = "#tag11">11.</a>
+No. XXXVI of <i>The Microcosm</i> is a letter from Capel Lofft defending
+the "Middle Style" of Addison in contrast to the more modern Johnsonian
+eloquence. Robert Bell, <i>The Life of the Rt. Hon. George Canning</i>
+(London, 1846), pp. 48-54, in a helpful account of <i>The Microcosm</i>,
+stresses its general fidelity to <i>Spectator</i> style and themes.</p>
+
+<p><a name = "note12" id = "note12" href = "#tag12">12.</a>
+Canning's critique closes with an appendix of three and a half pages
+alluding to the Eton Shrovetide custom of writing Latin verses, known as
+the "Bacchus." See H.&nbsp;C. Maxwell Lyte, <i>A History of Eton
+College</i> (London, 1911), pp. 146-147.</p>
+
+<p><a name = "note13" id = "note13" href = "#tag13">13.</a>
+As late as the turn of the century the trick was still in a manner
+feasible. The anonymous author of <i>Literary Leisure, or the
+Recreations of Solomon Saunter, Esq.</i> (1799-1800) divides two
+numbers, VIII and XV, between other affairs and a Shandyesque argument
+about the nursery charm for the hiccup "Peter Piper picked a peck of
+pickled pepper." This author was most likely not Byron's assailant
+Hewson Clarke (born 1787, author of <i>The Saunterer in 1804</i>), as
+asserted in the <i>Catalogue</i> of the Hope Collection (Oxford, 1865),
+p. 128.</p>
+
+<p>A historical interest may be not only retrospective but contemporary.
+The reader of the present volume will appreciate "How to Criticize a
+Poem (In the Manner of Certain Contemporary Poets)", a critique of the
+mnemonic rhyme "Thirty days hath September," in the <i>New Republic</i>,
+December 6, 1943.</p>
+</div>
+
+</div> <!-- end div intro -->
+
+<!-- png 13 -->
+
+<div class = "thumb">
+<a name = "tom_thumb" id = "tom_thumb">&nbsp;</a>
+
+<span class = "pagenum"></span>
+<!-- png 14 -->
+
+<table class = "tomthumb" summary = "formatted text">
+<tr>
+<td>
+<p>A</p>
+
+<p class = "s250 extended">COMMENT</p>
+
+<p>UPON THE</p>
+
+<p class = "s200 extended">HISTORY</p>
+
+<p>OF</p>
+
+<p class = "s250">Tom Thumb.</p>
+
+<div class = "poem topline bottomline">
+<p>&mdash;&mdash;Juvat immemorata ferentem</p>
+<p>Ingenuis oculisq<sup>ue</sup> legi manibusq<sup>ue</sup> teneri.
+&nbsp; &nbsp; <em>Hor.</em></p>
+</div>
+
+<p class = "extended"><i>LONDON</i>,</p>
+
+<p>Printed for <i>J. Morphew</i> near <i>Stationers-Hall</i>.<br>
+1711. &nbsp; &nbsp; Price 3 <i>d.</i></p>
+
+</td>
+</tr>
+</table>
+
+<!-- png 15 -->
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<span class = "pagenum">3</span>
+<span class = "folionum">A2</span>
+<!-- png 16 -->
+
+<p class = "center">A</p>
+
+<p class = "center s250 extended">COMMENT</p>
+
+<p class = "center">UPON THE</p>
+
+<p class = "center s200 extended">HISTORY</p>
+
+<p class = "center">OF</p>
+
+<p class = "center s200 extended ital">TOM THUMB.</p>
+
+<p><span class = "firstletter">I</span>T is a surprising thing that in
+an Age so Polite as this, in which we have such a Number of Poets,
+Criticks and Commentators, some of the best things that are extant in
+our Language shou'd pass unobserv'd amidst a Croud of inferiour
+Productions, and lie so long buried as it were, among those that profess
+such a Readiness to give Life to every thing that is valuable. Indeed we
+have had an Enterprising Genius of late, that has thought fit to
+disclose the Beauties of some Pieces to the World, that might have been
+otherwise indiscernable, and believ'd to have
+<span class = "pagenum">4</span>
+<!-- png 17 -->
+been trifling and insipid, for no other Reason but their unpolish'd
+Homeliness of Dress. And if we were to apply our selves, instead of the
+Classicks, to the Study of Ballads and other ingenious Composures of
+that Nature, in such Periods of our Lives, when we are arriv'd to a
+Maturity of Judgment, it is impossible to say what Improvement might be
+made to Wit in general, and the Art of Poetry in particular: And
+certainly our Passions are describ'd in them so naturally, in such
+lively, tho' simple, Colours, that how far they may fall short of the
+Artfulness and <ins class = "correction" title = "text reads 'Embel/llishments' at line break">Embellishments</ins> of the
+<i>Romans</i> in their Way of Writing, <i>yet cannot fail to please all
+such Readers as are not unqualify'd for the Entertainment by their
+Affectation or Ignorance</i>.</p>
+
+<p>It was my good Fortune some time ago to have the Library of a
+School-Boy committed to my Charge, where, among other undiscover'd
+valuable Authors, I&nbsp;pitch'd upon <i>Tom Thumb</i> and <i>Tom
+Hickathrift</i>, Authors indeed more proper to adorn the Shelves of
+<i>Bodley</i> or the <i>Vatican</i>, than to be confin'd to the
+Retirement and Obscurity of a private Study. I&nbsp;have perus'd the
+first of these with an infinite Pleasure, and a more than ordinary
+Application, and have made some Observations on it, which may not,
+I&nbsp;hope, prove unacceptable to the Publick; and however it may have
+been ridicul'd, and look'd upon as an Entertainment only for Children,
+and those of younger Years, may be found perhaps a Performance not
+unworthy the Perusal of the Judicious, and the Model superiour to either
+of those incomparable Poems of <i>Chevy Chase</i>, or <i>The Children in
+the Wood</i>. The Design was undoubtedly
+<span class = "pagenum">5</span>
+<!-- png 18 -->
+to recommend Virtue, and to shew that however any one may labour under
+the Disadvantages of Stature or Deformity, or the Meanness of Parentage,
+yet if his Mind and Actions are above the ordinary Level, those very
+Disadvantages that seem to depress him, shall add a Lustre to his
+Character.</p>
+
+<p>There are Variety of Incidents, dispers'd thro' the whole Series of
+this Historical Poem, that give an agreeable Delight and Surprise,
+<i>and are such as </i>Virgil<i> himself wou'd have touch'd upon, had
+the like Story been told by that Divine Poet</i>, viz. his falling into
+the Pudding-Bowl and others; which shew the Courage and Constancy, the
+Intrepidity and Greatness of Soul of this little Hero, amidst the
+greatest Dangers that cou'd possibly befall him, and which are the
+unavoidable Attendants of human Life.</p>
+
+<div class = "poem latin">
+<p>Si fractus illabatur orbis,</p>
+<p>Impavidum ferient ruinæ.</p>
+</div>
+
+<p>The Author of this was unquestionably a Person of an Universal
+Genius, and if we consider that the Age he wrote in, must be an Age of
+the most profound Ignorance, as appears from the second Stanza of the
+first <i>Canto</i>, he was a Miracle of a Man.</p>
+
+<p>I have consulted Monsieur <i>Le Clerk</i>, and my Friend Dr.
+<i>B&mdash;ly</i> concerning the Chronology of this Author, who both
+assure me, tho' Neither can settle the Matter exactly, that he is the
+most ancient of our Poets, and 'tis very probable he was a <i>Druid</i>,
+who, as <i>Julius Cæsar</i> mentions in his <i>Commentaries</i>, us'd to
+deliver their
+<span class = "pagenum">6</span>
+<!-- png 19 -->
+Precepts in Poetry and Metre. The Author of <i>The Tale of a Tub</i>,
+believes he was a <i>Pythagorean</i> Philosopher, and held the
+<i>Metempsichosis</i>; and Others that he had read <i>Ovid's
+Metamorphosis</i>, and was the first Person <ins class = "correction"
+title = "text reads 'that that'">that</ins> ever found out the
+Philosopher's Stone. A&nbsp;certain Antiquary of my Acquaintance, who is
+willing to forget every thing he shou'd remember, tells me, He can
+scarcely believe him to be Genuine, but if he is, he must have liv'd
+some time before the <i>Barons</i> Wars; which he proves, as he does the
+Establishment of Religion in this Nation, upon the Credit of an old
+Monument.</p>
+
+<p>There is another Matter which deserves to be clear'd, whether this is
+a Fiction, or whether there was really such a Person as <i>Tom
+Thumb</i>. As to this, my Friends tell me, 'Twas Matter of Fact, and
+that 'twas an unpardonable Omission in a certain Author never once to
+mention him in his <i>Arthur</i>'s, when nothing is more certain than
+that he was the greatest Favourite of that Prince, and a Person who had
+perform'd some very eminent Services for his Country. And indeed I can't
+excuse his taking no Notice of our Poet who has afforded him such Helps,
+and to whom he is so much oblig'd for the Model of those Productions:
+Besides it had been but a Debt of Gratitude, as Sir <i>R&mdash;&mdash;
+B&mdash;&mdash;</i> was a Member of the Faculty, to have made honourable
+mention of him who has spoke so honourably of the Profession, on the
+Account of the Sickness of his Hero.</p>
+
+<p>I have an old Edition of this Author by me, the Title of which is
+more Sonorous and Heroical, than those of later Date, which for the
+<span class = "pagenum">7</span>
+<!-- png 20 -->
+better Information of the Reader, it may not be improper to insert in
+this Place. <i></i>Tom Thumb<i> his Life and Death, wherein is declar'd
+his many marvellous Acts of Manhood, full of Wonder and strange
+Merriment</i>: Then he adds, <i>which little Knight liv'd in King
+</i>Arthur<i>'s Time in the Court of </i>Great Britain<i></i>. Indeed
+there are so many spurious Editions of this Piece upon one Account or
+other, that I wou'd advise my Readers to be very cautious in their
+Choice, and it would be very wisely done, if they wou'd consult the
+curious <i>Ælianus</i> concerning this Matter, who has the choicest
+Collection of any Man in <i>England</i>, and understands the most
+correct Editions of Books of this Nature.</p>
+
+<p>I have took a great deal of Pains to set these Matters of Importance
+in as clear a Light as we Criticks generally do, and shall begin with
+the first <i>Canto</i>, which treats of our Hero's Birth and Parentage,
+and Education, with some other Circumstances which you'll find are
+carry'd on in a manner not very inelegant, <i>and cannot fail to please
+those who are not Judges of Language, or those who notwithstanding they
+are Judges of Language, have a genuine and unprejudic'd Tast of
+Nature</i>.</p>
+
+<div class = "poem">
+<p>In <em>Arthur&rsquo;s</em> Court <em>Tom Thumb</em> did live;</p>
+<p>A Man of mickle Might,</p>
+<p>The best of all the Table round,</p>
+<p>And eke a doubty Knight,</p>
+<p>In Stature but an Inch in Height,</p>
+<p>Or quarter of a Span;</p>
+<span class = "pagenum">8</span>
+<!-- png 21 -->
+<p>Then think you not this worthy Knight</p>
+<p>Was prov&rsquo;d a valiant Man.</p>
+</div>
+
+<p>This Beginning is agreeable to the best of the Greek and Latin Poets;
+<i>Homer</i> and <i>Virgil</i> give an Idea of the whole Poem in a few
+of the first Lines, and here our Author draws the Character of his Hero,
+and shews what you may expect from a Person so well qualify'd for the
+greatest Undertakings.</p>
+
+<p>In the Description of him, which is very fine, he insinuates, that
+tho' perhaps his Person may appear despicable and little, yet you'll
+find him an Hero of the most consummate Bravery and Conduct, and is
+almost the same Account <i>Statius</i> gives of <i>Tydeus</i>.</p>
+
+<div class = "poem latin">
+<p>&mdash;&mdash;&mdash;&mdash;Totos infusa per artus,</p>
+<p>Major in exiguo regnabat corpore virtus.</p>
+</div>
+
+<p>If any suppose the Notion of such an Hero improbable, they'll find
+the Character <i>Virgil</i> gives <i>Camilla</i> to be as far
+stretch'd:</p>
+
+<div class = "poem latin">
+<p>Illa vel Intactæ segetis per summa volaret</p>
+<p>Gramina, nec teneras cursu læsisset Aristas:</p>
+<p>Vel mare per medium, fluctu suspensa tumenti</p>
+<p>Ferret Iter: celeres nec tingeret æquore plantas.</p>
+</div>
+
+<p>But to proceed,</p>
+
+<div class = "poem">
+<p>His Father was a Plowman plain,</p>
+<p>His Mother milk&rsquo;d the Cow,</p>
+<p>And yet a Way to get a Son</p>
+<p>This Couple knew not how,</p>
+<span class = "pagenum">9</span>
+<span class = "folionum">B</span>
+<!-- png 22 -->
+<p>Until such time the good old Man</p>
+<p>To learned <em>Merlin</em> goes,</p>
+<p>And there to him in deep Distress</p>
+<p>In secret Manner shows,</p>
+<p>How in his Heart he wish&rsquo;d to have,</p>
+<p>A Child in time to come,</p>
+<p>To be his Heir, tho&rsquo; it might be</p>
+<p>No bigger than his Thumb.</p>
+<p>Of which old <em>Merlin</em> was foretold,</p>
+<p>That he his Wish should have,</p>
+<p>And so a Son of Stature small</p>
+<p>The Charmer to him gave.</p>
+</div>
+
+<p>There is nothing more common throughout the Poets of the finest
+Taste, than to give an Account of the Pedigree of their Hero. So
+<i>Virgil</i>,</p>
+
+<div class = "poem latin">
+<p>&mdash;&mdash;Æneas quem Dardanio Anchisæ</p>
+<p>Alma Venus Phrygii genuit Simoentis ad undas.</p>
+</div>
+
+<p>And the Manner of the Countryman's going to consult <i>Merlin</i>, is
+like that of <i>Æneas</i>'s approaching the Oracle of
+<i>Delphos</i>.</p>
+
+<div class = "poem latin">
+<p>&mdash;&mdash;Egressi veneramur Apollinis Urbem.</p>
+</div>
+
+<p>And how naturally and poetically does he describe the Modesty of the
+Man, who wou'd be content, if <i>Merlin</i> wou'd grant him his Request,
+with a Son no bigger than his Thumb.</p>
+
+<p>The Two next Stanza's carry on the Idea with a great deal of
+Probability and Consistence; and to convince the World that he
+<span class = "pagenum">10</span>
+<!-- png 23 -->
+was born to be something more than Man, he produces a Miracle to bring
+him into&nbsp;it.</p>
+
+<div class = "poem">
+<p>Begot, and born in half an Hour,</p>
+<p>To fit his Father&rsquo;s Will.</p>
+</div>
+
+<p>The following Stanza continues the Miracle, and brings the <i>Fairy
+Queen</i> and her Subjects, who gives him his Name, and makes him a
+Present of his Apparel.</p>
+
+<div class = "poem">
+<p>Whereas she cloath&rsquo;d him fine and brave,</p>
+<p>In Garments richly fair,</p>
+<p>The which did serve him many Years</p>
+<p>In seemly sort to wear.</p>
+</div>
+
+<p>So <i>Virgil</i> of Queen <i>Dido</i>'s Present to
+<i>Ascanius</i>:</p>
+
+<div class = "poem latin">
+<p>Hoc Juvenem egregium præstanti munere donat.</p>
+</div>
+
+<p>And again,</p>
+
+<div class = "poem latin">
+<p>&mdash;&mdash;&mdash;&mdash;Quem candida Dido</p>
+<p>Esse sui dederat Monumentum &amp; pignus Amoris.</p>
+</div>
+
+<p>The Description of his Dress is very agreeable, and is not unlike
+what I have met with somewhere of a Giant going a Fishing, with an
+Account of his Implements equal to his Proportion.</p>
+
+<div class = "poem">
+<p>His Hat made of an Oaken Leaf,</p>
+<p class = "inset1">
+His Shirt a Spider&rsquo;s Web,</p>
+<p>Both light and soft for these his Limbs</p>
+<p class = "inset1">
+That were so smally bred.</p>
+<span class = "pagenum">11</span>
+<span class = "folionum">B2</span>
+<!-- png 24 -->
+<p>His Hose and Doublet Thistle Down,</p>
+<p class = "inset1">
+Together weav&rsquo;d full fine;</p>
+<p>His Stockings of an Apple green,</p>
+<p class = "inset1">
+Made of the outward Rind;</p>
+<p>His Garters were two little Hairs</p>
+<p class = "inset1">
+Pluck&rsquo;d from his Mothers Eye;</p>
+<p>His Shooes made of a Mouse&rsquo;s Skin,</p>
+<p class = "inset1">
+And Tann&rsquo;d most curiously.</p>
+</div>
+
+<p>The next Stanza's relate his Diversions, bearing some Analogy to
+those of <i>Ascanius</i> and other Lads in <i>Virgil</i>:</p>
+
+<div class = "poem">
+<p>Thus like a valiant Gallant He</p>
+<p class = "inset1">
+Adventures forth to go,</p>
+<p>With other Children in the Street,</p>
+<p class = "inset1">
+His pretty Tricks to show.</p>
+</div>
+
+<div class = "poem latin">
+<p>Una Acies Juvenum ducit quam Parvus Ovantem</p>
+<p>Nomen Avi referens Priamus.</p>
+</div>
+
+<p>There is a Piece of Revenge our little Hero took upon a Play-fellow,
+which proves, to what an height Mechanical and Experimental Philosophy
+was arriv'd to in that Age, and may be worth while to be considered by
+the <i>Royal Society</i>.</p>
+
+<div class = "poem">
+<p>Of whom to be reveng&rsquo;d, he took</p>
+<p class = "inset1">
+In Mirth and pleasant Game,</p>
+<p>Black Pots and Glasses, which he hung</p>
+<p class = "inset1">
+Upon a bright Sun-Beam.</p>
+</div>
+
+<p>The third Line is a Demonstration of the Antiquity of Drinking out of
+Black-Pots, which still prevails in most Counties of this Nation, among
+the Justices of Peace at their Petty and Quarter Sessions.</p>
+
+<span class = "pagenum">12</span>
+<!-- png 25 -->
+<p>The last four Lines of this Canto, and the beginning of the next,
+contain the miraculous Adventure of the Pudding-Bowl: And, by the by, we
+may observe, That it was the Custom of the <i>Christians</i> at that
+time, to make Hog-Puddings instead of Minc'd-Pies at <i>Christmas</i>; a
+laudable Custom very probably brought up to distinguish 'em more
+particularly from the <i>Jews</i>.</p>
+
+<div class = "poem">
+<p>Whereas about a <em>Christmas</em> time,</p>
+<p class = "inset1">
+His Father an Hog had kill&rsquo;d,</p>
+<p>And <em>Tom</em> to see the Pudding made,</p>
+<p class = "inset1">
+Fear that it should be spill&rsquo;d;</p>
+<p>He sat, the Candle for to Light,</p>
+<p class = "inset1">
+Upon the Pudding-Bowl:</p>
+<p>Of which there is unto this Day</p>
+<p class = "inset1">
+A pretty Pastime told:</p>
+<p class = "inset2">
+For <em>Tom</em> fell in&mdash;&mdash;</p>
+</div>
+
+<p>Perhaps some may think it below our Hero to stoop to such a mean
+Employment as the Poet has here enjoyn'd him, of holding the Candle, and
+that it looks too much like a <i>Citizen</i>, or a <i>Cot</i>, as the
+Women call it: But if we reflect on the Obedience due to Parents, as our
+Author undoubtedly did, and the Necessities those People labour'd under,
+we cannot but admire at his ready Compliance with what could by no Means
+be agreeable to the Heroical Bent of his Inclinations, and perceive what
+a tender Regard he had for the Wellfare of his Family, when he took the
+strictest Care imaginable for the Preservation of the Hog-Pudding. And
+what can be more remarkable? What can raise the Sentiments of Pity and
+Compassion to an higher Pitch, than to see an Hero fall into such an
+unforeseen Disaster in the honourable Execution of his Office?
+<span class = "pagenum">13</span>
+<!-- png 26 -->
+<i>This certainly is conformable to the way of Thinking among the
+Ancient Poets, and what a good-natur'd Reader cannot but be affected
+with.</i></p>
+
+<p>The following Part of this Canto is the Relation of our Hero's being
+put into a Pudding, and convey'd away in a Tinker's Budget; which is
+design'd by our Author to prove, if it is understood literally, That the
+greatest Men are subject to Misfortunes. But it is thought by Dr.
+<i>B&mdash;tly</i> to be all Mythology, and to contain the Doctrine of
+the Transmutation of Metals, and is design'd to shew, that all Matter is
+the same, tho' very differently Modified. He tells me, he intends to
+publish a distinct Treatise of this Canto; and I don't question, but
+he'll manage the Dispute with the same Learning, Conduct, and good
+Manners, he has done others, and as Dr. <i>Salmon</i> uses in his
+Corrections of Dr. <i>Sydenham</i> and the <i>Dispensatory</i>.</p>
+
+<p>The next Canto is the Story of <i>Tom Thumb</i>'s being Swallow'd by
+a Cow, and his Deliverance out of her, which is treated of at large by
+<i>Giordano Bruno</i> in his <i>Spaccio de la Bestia trionfante</i>;
+which Book, tho' very scarce, yet a <i>certain Gentleman</i>, who has it
+in his Possession, has been so obliging as to let every Body know where
+to meet with it. After this, you find him carried off by a Raven, and
+swallow'd by a Giant; and 'tis almost the same Story as that of
+<i>Ganimede</i>, and the Eagle in <i>Ovid</i>.</p>
+
+<div class = "poem">
+<p>Now by a Raven of great Strength,</p>
+<p class = "inset1">
+Away poor <em>Tom</em> was born.</p>
+</div>
+
+<div class = "poem latin">
+<p>Nec mora: percusso mendacibus aere pennis</p>
+<p>Abripit Iliaden.</p>
+</div>
+
+<span class = "pagenum">14</span>
+<!-- png 27 -->
+<p>A certain great <i>Critick</i> and <i>Schoolmaster</i> who has
+publish'd such Notes upon <i>Horace</i> as were never seen before, is of
+Opinion, and has very good Authority for what he says, that 'twas rather
+an Owl than a Raven; for, as he observes with a wonderful deal of
+Penetration and Sagacity, our Hero's Shoes were made of a Mouse's Skin
+which might induce the Owl to run away with him. The Giant, he owns,
+looks very probable, because we find 'em swallowing People very fast in
+almost all Romances.</p>
+
+<p>This Canto concludes with our Hero's Arrival at Court; after he had
+spent a considerable Part of his Youth in Labours and Fatigues, had been
+inur'd to nothing else but Hardships and Adventures, we see him receive
+the Recompence of his Merit, and become the Favourite of his Prince: And
+here we may perceive all the Fineness of the Gentleman, mixt with all
+the Resolution and Courage of the Warriour; We may behold him as ready
+to oblige the Ladies with a Dance, as he was to draw his Sword in their
+Defence.</p>
+
+<div class = "poem">
+<p>Amongst the Deeds of Courtship done,</p>
+<p class = "inset1">
+His Highness did command,</p>
+<p>That he shou&rsquo;d dance a Galliard brave</p>
+<p class = "inset1">
+Upon the Queen&rsquo;s Left Hand.</p>
+<p>The which he did&mdash;&mdash;</p>
+</div>
+
+<p>This shews he had all the Accomplishments of <i>Achilles</i> who was
+undoubtedly one of the best Dancers in the Age he liv'd, according to
+the Character <i>Homer</i> gives him so frequently of the Agility of his
+Feet. I&nbsp;have consulted a Master of the Profession of Dancing, who
+is excellently vers'd in the Chronology of all Dances, he tells me that
+<span class = "pagenum">15</span>
+<!-- png 28 -->
+this <i>Galliard</i> came into Vogue about the latter End of the Reign
+of <i>Uter Pendragon</i>, and continu'd during that of King
+<i>Arthur</i>, which is Demonstration to me that our Poet liv'd about
+that Age.</p>
+
+<p>It is asserted very positively in the later Editions of this Poem,
+that the four following Lines are a Relation of the King and <i>Tom
+Thumb</i>'s going together an Hunting, but I have took indefatigable
+Pains to consult all the <i>Manuscripts</i> in <i>Europe</i> concerning
+this Matter, and I find it an <i>Interpolation</i>. I&nbsp;have also an
+<i>Arabick Copy</i> by me, which I got a <i>Friend</i> to translate,
+being unacquainted with the Language, and it is plain by the Translation
+that 'tis there also <i>interpolated</i>.</p>
+
+<div class = "poem">
+<p>Now after that the King wou&rsquo;d not</p>
+<p class = "inset1">
+Abroad for Pleasure go,</p>
+<p>But still <em>Tom Thumb</em> must go with him</p>
+<p class = "inset1">
+Plac'd on his Saddle Bow.</p>
+</div>
+
+<div class = "poem latin">
+<p>&mdash;&mdash;Ipse Uno graditur comitatus Achate.</p>
+</div>
+
+<p>There is scarcely any Scene more moving than this that follows, and
+is <i>such an one as wou'd have shined in </i>Homer<i> or
+</i>Virgil<i></i>. When he was favour'd with his Prince's Ear, and might
+have ask'd the most profitable and important Posts in the Government,
+and been indemnified if guilty of a <i>Peculatus</i>; He only used his
+Interest to relieve the Necessities of his Parents, when another
+<i>Person</i> wou'd have scarcely own'd 'em for his <i>Relations</i>.
+This discovers such a Generosity of Soul, such an Humility in the
+greatest Prosperity, such a tender Affection for his Parents, as is
+hardly to be met with, but in our Author.</p>
+
+<span class = "pagenum">16</span>
+<!-- png 29 -->
+<div class = "poem">
+<p>And being near his Highness Heart</p>
+<p class = "inset1">
+He crav&rsquo;d a wealthy Boon,</p>
+<p>A noble Gift, the which the King</p>
+<p class = "inset1">
+Commanded to be done;</p>
+<p>To relieve his Father&rsquo;s Wants,</p>
+<p class = "inset1">
+And Mother being old.</p>
+</div>
+
+<p>The rest of this Canto relates the Visit to his Father, in which
+there is something very soft and tender, something <i>that may move the
+Mind of the most polite Reader, with the inward Meltings of Humanity and
+Compassion</i>.</p>
+
+<p>The Next Canto of the Tilts and Tournaments, is much like the Fifth
+Book of <i>Virgil</i>, and tho' we can't suppose our Poet ever saw that
+Author, yet we may believe he was directed to almost the same Passages,
+<i>by the same kind of Poetical Genius, and the same Copyings after
+Nature</i>.</p>
+
+<div class = "poem">
+<p>Now he with Tilts and Tournaments,</p>
+<p class = "inset1">
+Was entertained so,</p>
+<p>That all the rest of <em>Arthur</em>&rsquo;s Knights</p>
+<p class = "inset1">
+Did him much Pleasure show;</p>
+<p>And good Sir <em>Lancelot</em> of <em>Lake</em>,</p>
+<p class = "inset1">
+Sir <em>Tristram</em>, and Sir <em>Guy</em>;</p>
+<p>But none like to <em>Tom Thumb</em></p>
+<p class = "inset1">
+For Acts of Chivalry.</p>
+</div>
+
+<div class = "poem latin">
+<p>Longeque ante omnia Corpora Nisus</p>
+<p>Emicat&mdash;&mdash;</p>
+</div>
+
+<p>And agen,</p>
+
+<div class = "poem latin">
+<p>Post Elymus subit, &amp; nunc tertia palma Diores.</p>
+</div>
+
+<span class = "pagenum">17</span>
+<span class = "folionum">C</span>
+<!-- png 30 -->
+<div class = "poem">
+<p>In Honour of which noble Day,</p>
+<p class = "inset1">
+And for his Lady&rsquo;s Sake,</p>
+<p>A Challenge in King <em>Arthur</em>&rsquo;s Court,</p>
+<p class = "inset1">
+<em>Tom Thumb</em> did bravely make.</p>
+</div>
+
+<div class = "poem latin">
+<p>Talis prima Dares caput altum in prælia tollit,</p>
+<p>Ostenditq<sup>ue</sup> humeros latos, alternaq<sup>ue</sup>
+Iactat</p>
+<p>Brachia portendens, &amp; verberat Ictibus auras,</p>
+<p>Quæritur huic alius:&mdash;&mdash;</p>
+</div>
+
+<div class = "poem">
+<p>&rsquo;Gainst whom those noble Knights did run,</p>
+<p class = "inset1">
+Sir <em>Chion</em> and the rest,</p>
+<p>But, still <em>Tom Thumb</em> with all his Might</p>
+<p class = "inset1">
+Did bear away the best.</p>
+</div>
+
+<div class = "poem latin">
+<p>Et primum ante omnes victorem appellat Acesten.</p>
+</div>
+
+<p>At the same time our Poet shews a laudable Partiality for his Hero,
+he represents Sir <i>Lancelot</i> after a manner not unbecoming so bold
+and brave a Knight.</p>
+
+<div class = "poem">
+<p>At last Sir <em>Lancelot</em> of <em>Lake</em>,</p>
+<p class = "inset1">
+In manly sort came in,</p>
+<p>And with this stout and hardy Knight</p>
+<p class = "inset1">
+A Battle to begin.</p>
+</div>
+
+<div class = "poem latin">
+<p>Huic contra Æneas, speculatus in agmine longo</p>
+<p>Obvius ire parat&mdash;&mdash;</p>
+</div>
+
+<p>Which made the Courtiers all aghast.</p>
+
+<div class = "poem latin">
+<p>Obstupuere animi&mdash;&mdash;</p>
+</div>
+
+<p>This Canto concludes with the Presents made by the King to the
+Champion according to the
+<span class = "pagenum">18</span>
+<!-- png 31 -->
+Custom of the <i>Greeks</i> and <i>Romans</i> in such Cases; only his
+tumbling thro' the Queen's Ring is observable, and may serve to give
+some Light into the Original of that ingenious Exercise so much
+practis'd by the Moderns, of tumbling thro' an Hoop.</p>
+
+<p>The last Canto treats of the Champion's Sickness and Death, and
+whoever considers the Beauty, Regularity and majestic Simplicity of the
+Relation, cannot but be surpris'd at the Advances that may be made in
+Poetry by the Strength of an uncultivated Genius, and may see how far
+Nature can proceed without the Ornamental Helps and Assistances of Art.
+The Poet don't attribute his Sickness to a Debauch, to the Irregularity
+or Intemperance of his Life, but to an Exercise becoming an Hero; and
+tho' he dies quietly in his Bed, he may be said in some measure to die
+in the Bed of Honour. And to shew the great Affection the King had for
+him, he sends for his Physicians, and orders all the Care imaginable to
+be taken for the Conservation of his Life.</p>
+
+<div class = "poem">
+<p>He being slender and tall,</p>
+<p class = "inset1">
+This cunning Doctor took</p>
+<p>A fine perspective Glass, with which,</p>
+<p class = "inset1">
+He did in Secret look.</p>
+</div>
+
+<p>It is a Wonder that the learned World shou'd differ so in their
+Opinions concerning the Invention and Antiquity of Optic Glasses, and
+that any one should contend for <i>Metius</i> of <i>Alcmaer</i>, or, as
+Dr. <i>Plot</i> does, for <i>Fryar Bacon</i>, when, if this Author had
+been consulted, Matters might have been so easily adjusted. Some great
+Men indeed
+<span class = "pagenum">19</span>
+<span class = "folionum">C2</span>
+<!-- png 32 -->
+wou'd prove from hence, our Knight was the Inventor of 'em, that his
+Valet might the more commodiously see to dress him; but if we consider
+there were no Beau's in that Age, or reflect more maturely on the
+Epithet here given to the Doctor, we may readily conclude, that the
+Honour of this Invention belongs more particularly to that ingenious
+Profession.</p>
+
+<p>How lovely is the Account of the Departure of his Soul from his
+Body:</p>
+
+<div class = "poem">
+<p>And so with Peace and Quietness</p>
+<p class = "inset1">
+He left the World below.</p>
+</div>
+
+<div class = "poem latin">
+<p>Placidaq<sup>ue</sup> demum ibi morte quievit.</p>
+</div>
+
+<div class = "poem">
+<p>And up into the Fairy Land</p>
+<p class = "inset1">
+His Soul did fleeting go.</p>
+</div>
+
+<div class = "poem latin">
+<p>&mdash;&mdash;At Æthereas repetit mens ignea sedes.</p>
+</div>
+
+<div class = "poem">
+<p>Whereas the Fairy Queen receiv&rsquo;d</p>
+<p class = "inset1">
+With happy Mourning Cheer</p>
+<p>The Body of this valiant Knight,</p>
+<p class = "inset1">
+Whom she esteem&rsquo;d so dear;</p>
+<p>For with her dancing Nymphs in Green</p>
+<p class = "inset1">
+She fetch&rsquo;d him from his Bed,</p>
+<p>With Musick and with Melody,</p>
+<p class = "inset1">
+As soon as Life was fled.</p>
+</div>
+
+<div class = "poem latin">
+<p>&mdash;&mdash;Et fotum gremio Dea tollit in Altos</p>
+<p>Idaliæ lucos&mdash;&mdash;</p>
+</div>
+
+<p>So one of our Modern Poets;</p>
+
+<span class = "pagenum">20</span>
+<!-- png 33 -->
+<div class = "poem">
+<p>Thither the Fairys and their Train resort,</p>
+<p>And leave their Revels, and their midnight Sport.</p>
+</div>
+
+<p>We find in all the most celebrated Poets some Goddess that takes upon
+her to be the peculiar Guardian of the Hero, which has been carry'd on
+very elegantly in this Author.</p>
+
+<p>But agen;</p>
+
+<div class = "poem">
+<p>For whom King <em>Arthur</em> and his Knights,</p>
+<p class = "inset1">
+Full forty Days did mourn,</p>
+<p>And in Remembrance of his name,</p>
+<p class = "inset1">
+Who was so strangely born,</p>
+<p>He built a Tomb of Marble grey,</p>
+<p class = "inset1">
+And Year by Year did come,</p>
+<p>To celebrate the Mournful Day,</p>
+<p class = "inset1">
+And Burial of <em>Tom Thumb</em>,</p>
+<p>Whose Fame lives here in <em>England</em> still,</p>
+<p class = "inset1">
+Among the Country sort,</p>
+<p>Of whom their Wives and Children small,</p>
+<p class = "inset1">
+Tell Tales of pleasant Sport.</p>
+</div>
+
+<p>So <i>Ovid</i>;</p>
+
+<div class = "poem latin">
+<p>&mdash;&mdash;Luctus monumenta manebunt</p>
+<p>Semper Adoni mei, repetitaq<sup>ue</sup> mortis Imago</p>
+<p>Annua plangoris peragit simulamina Nostri.</p>
+</div>
+
+<p>Nor is this Conclusion unlike one of the best Latin Poems this Age
+has produc'd.</p>
+
+<div class = "poem latin">
+<p>Tu Taffi Æternum vives, tua munera Cambri</p>
+<p>Nunc etiam Celebrant, quotiesq<sup>ue</sup> revolvitur Annus</p>
+<span class = "pagenum">21</span>
+<!-- png 34 -->
+<p>Te memorant, Patrium Gens tota tuetur Honorem,</p>
+<p>Et cingunt viridi redolentia tempora Porro.</p>
+</div>
+
+<p>And now, tho' I am very well satisfied with this Performance, yet,
+according to the usual Modesty of us Authors, I&nbsp;am oblig'd to tell
+the World, <i>it will be a great Satisfaction to me, knowing my own
+Insufficiency</i>, if I have given but some Hints of the Beauties of
+this Poem, which are capable of being improv'd by those of greater
+Learning and Abilities. And I am glad to find by a Letter I have
+receiv'd from one of the <i>Literati</i> in <i>Holland</i>, That the
+learned <i>Huffius</i>, a great Man of our Nation, is about the
+Translation of this Piece into <i>Latin</i> Verse, which he assures me
+will be done with a great deal of Judgment, in case he has enough of
+that Language to furnish out the Undertaking. I&nbsp;am very well
+Appris'd, That there has been publish'd Two Poems lately, Intituled, The
+Second and Third Parts of this Author; which treat of our little Hero's
+rising from the Dead in the Days of King <i>Edgar</i>: But I am inform'd
+by my Friend the <i>Schoolmaster</i>, and others, That they were
+compos'd by an Enthusiast in the last Century, and have been since
+Printed for the Establishment of the Doctrine of Monsieur <i>Marion</i>
+and his Followers, and the Resurrection of Dr. <i>Ems</i>.</p>
+
+<p>I hope no Body will be offended at my asserting Things so positively,
+since 'tis the Priviledge of us <i>Commentators</i>, who understand the
+meaning of an Author Seventeen Hundred Years after he has wrote, much
+better than ever he cou'd be suppos'd to do himself. And certainly, a
+<span class = "pagenum">22</span>
+<!-- png 35 -->
+Critick ought not only to know what his Authors Thoughts were when he
+was Writing such and such Passages, but how those Thoughts came into his
+Head, where he was when he wrote, or what he was doing of; whether he
+wrote in a Garden, a Garret, or a Coach; upon a Lady, or a Milkmaid;
+whether at that Time he was scratching his Elbow, drinking a Bottle, or
+playing at Questions and Commands. These are material and important
+Circumstances so well known to the <i>True Commentator</i>, that were
+<i>Virgil</i> and <i>Horace</i> to revisit the World at this time,
+they'd be wonderfully surpris'd to see the minutest of their Perfections
+discover'd by the Assistances of <i>Modern Criticism</i>. Nor have the
+Classicks only reap'd Benefit from Inquiries of this Nature, but
+Divinity it self seems to be render'd more intelligible. I&nbsp;know a
+Divine, who understands what St. <i>Paul</i> meant by <i>Higher
+Powers</i>, much better than that Apostle cou'd pretend to do; and
+another, That can unfold all the Mysteries of the <i>Revelations</i>
+without Spectacles.</p>
+
+<p>I know there are some People that cast an Odium on me, and others,
+for pointing out the Beauties of such Authors, as have, they say, been
+hitherto unknown, and argue, That 'tis a sort of Heresie in Wit, and is
+like the fruitless Endeavours of proving the Apostolical Constitutions
+<i>Genuine</i>, that have been indisputably <i>Spurious</i> for so many
+Ages: But let these Gentlemen consider, whether they pass not the same
+Judgment on an Author, as a Woman does on a Man, by the gayety of his
+Dress, or the gaudy Equipage of his Epithets. And however they may call
+me <i>second-sighted</i>, for discerning what they
+<span class = "pagenum">23</span>
+<!-- png 36 -->
+are Blind to, I&nbsp;must tell them this Poem has not been altogether so
+obscure, but that the most refin'd <i>Writers</i> of this Age have been
+delighted with the reading it. Mr. <i>Tho. D'Urfey</i>, I&nbsp;am told,
+is an Admirer, and Mr. <i>John Dunton</i> has been heard to say, more
+than once, he had rather be the Author of it than all his Works.</p>
+
+<p>How often, <i>says my Author</i>, have I seen the Tears trickle down
+the Face of the Polite <i>Woodwardius</i> upon reading some of the most
+pathetical Encounters of <i>Tom Thumb</i>! How soft, how musically
+sorrowful was his Voice! How good Natur'd, how gentle, how unaffected
+was the Ceremoniale of his Gesture, and how unfit for a Profession so
+Merciless and Inhumane!</p>
+
+<p>I was persuaded by a Friend to write some Copies of Verses and place
+'em in the Frontispiece of this Poem, in Commendation of My self and my
+<i>Comment</i>, suppos'd to be compos'd by <i>AG. FT. LM. RW.</i> and so
+forth. <i>To their very worthy and honour'd Friend</i> C.&nbsp;D. upon
+his admirable and useful <i>Comment</i> on the History of <i>Tom
+Thumb</i>; but my Bookseller told me the Trick was so common, 'twou'd
+not answer. Then I propos'd a Dedication to my Lord <i>such an One</i>,
+or Sir <i>Thomas such an One</i>; but he told me the Stock to be rais'd
+on Dedications was so small now a Days, and the Discount to my Lord's
+Gentleman, <i>&amp;c.</i> so high, that 'twou'd not be worth while;
+besides, says he, it is the Opinion of some Patrons, that a Dinner now
+and then, with, <i>Sir, I&nbsp;shall expect to see you sometimes</i>, is
+a suitable Reward for a publick Compliment in Print. But if, <ins class
+= "correction" title = "text reads 'conti/tinues' at line break">continues</ins> my Bookseller, you have a Mind it
+<span class = "pagenum">24</span>
+<!-- png 37 -->
+shou'd turn to Advantage, write Treason or Heresy, get censur'd by the
+Parliament or Convocation, and condemn'd to be burnt by the Hands of the
+common Hangman, and you can't fail having a Multitude of Readers, by the
+same Reason, <i>A&nbsp;notorious Rogue has such a Number of Followers to
+the Gallows</i>.</p>
+
+<hr class = "finis">
+
+<h4 class = "extended ital">FINIS.</h4>
+
+<hr class = "finis">
+
+</div> <!-- end div thumb -->
+
+
+<div class = "knave">
+<a name = "knave_hearts" id = "knave_hearts">&nbsp;</a>
+
+<span class = "pagenum"></span>
+<!-- png 38 -->
+<p class = "illustration">
+<img src = "images/microcosm.png" width = "359" height = "360"
+alt = "title-page illustration">
+</p>
+
+<p class = "center s150">THE</p>
+
+<p class = "center s200 extended">MICROCOSM.</p>
+
+<p class = "center s150 cursive">by</p>
+
+<p class = "center s150 cursive">Gregory Griffin.</p>
+
+<p>&nbsp;</p>
+
+<hr class = "mid">
+<hr>
+<hr class = "mid">
+
+<p>&nbsp;</p>
+
+<span class = "pagenum">129</span>
+<!-- png 39 -->
+
+<p class = "center">
+No. XI. <span class = "smallcaps">of the</span><br>
+<span class = "s200">MICROCOSM.</span><br>
+MONDAY, <i>February</i> 12, 1787.</p>
+
+<div class = "poem">
+<p>Res gestæ regumque, ducumque, et tristia bella,</p>
+<p>Quo scribi possint numero, monstravit Homerus.&mdash;<span class
+= "smallcaps">Hor.</span></p>
+<p>By Homer taught, the modern poet sings,</p>
+<p>In Epic strains, of heroes, wars, and Kings.&mdash;<span class =
+"smallcaps">Francis.</span></p>
+</div>
+
+<p><span class = "dropcap">
+<img src = "images/capT.png" width = "80" height = "81"
+alt = "T(There)"></span>HERE are certain forms and etiquettes in life,
+which, though the neglect of them does not amount to the commission of a
+crime, or the violation of a duty, are yet so established by example,
+and sanctioned by custom, as to pass into Statutes, equally acknowledged
+by society, and almost equally binding to individuals, with the laws of
+the land, or the precepts of morality. A&nbsp;man guilty of breaking
+these, though he cannot be transported for a felon, or indicted for
+treasonable practices, is yet, in the High Court of Custom, branded as a
+flagrant offender against decorum, as notorious for an unprecedented
+infringement on propriety.</p>
+
+<p>There is no race of men on whom these laws are more severe than
+Authors; and no species of Authors more subject to them, than Periodical
+Essayists.
+<span class = "pagenum">130</span>
+<!-- png 40 -->
+<i>Homer</i> having prescribed the form, or to use a more modern phrase,
+<i>set the fashion</i> of <i>Epic Poems</i>, whoever presumes to deviate
+from his plan, must not hope to participate his dignity: And whatever
+method, <i>The Spectator</i>, <i>The Guardian</i>, and others, who first
+adopted this species of writing, have pursued in their undertaking, is
+set down as a rule for the conduct of their followers; which, whoever is
+bold enough to transgress, is accused of a deviation from the original
+design, and a breach of established regulation.</p>
+
+<p>It has hitherto been customary for all Periodical Writers, to take
+some opportunity, in the course of their labours, to display their
+Critical abilities, either by making observations on some popular
+Author, and work of known character, or by bringing forth the
+performances of hidden merit, and throwing light on genius in obscurity.
+To the critiques of <i>The Spectator</i>, <i>Shakespear</i>, and more
+particularly, <i>Milton</i>, are indebted, for no inconsiderable share
+of the reputation, which they now so universally enjoy; and by his means
+were the ruder graces, and more simple beauties of <i>Chevy Chace</i>
+held up to public view, and recommended to general admiration.</p>
+
+<p>I should probably be accused of swerving from the imitation of so
+great an example, were not I
+<span class = "pagenum">131</span>
+<!-- png 41 -->
+to take occasion to shew that I too am not entirely destitute of
+abilities of this kind; but that by possessing a decent share of
+critical discernment, and critical jargon, I&nbsp;am capable of becoming
+a very tolerable commentator. For the proof of which, I&nbsp;shall
+rather prefer calling the attention of my readers to an object as yet
+untreated of by any of my immediate predecessors, than venture to throw
+in my observations on any work which has before passed the ordeal of
+frequent examination. And this I shall do for two reasons; partly,
+because were I to choose a field, how fertile soever, of which many
+others had before me been reaping the fruits, mine would be at best but
+the gleanings of criticism; and partly, from a more interested view,
+from a selfish desire of accumulated praise; since, by making a work, as
+yet almost wholly unknown, the subject of my consideration, I&nbsp;shall
+acquire the reputation of taste, as well as judgement;&mdash;of
+judiciousness in selection, as well as justness in observation;&mdash;of
+propriety in choosing the object, as well as skill in using the
+language, of commentary.</p>
+
+<p>The <i>Epic Poem</i> on which I shall ground my present critique, has
+for its chief characteristics, brevity and simplicity. The
+Author,&mdash;whose name I lament that I am, in some degree, prevented
+from
+<span class = "pagenum">132</span>
+<!-- png 42 -->
+consecrating to immortal fame, by not knowing what it is&mdash;the
+Author, I&nbsp;say, has not branched his poem into excressences of
+episode, or prolixities of digression; it is neither variegated with
+diversity of unmeaning similitudes, nor glaring with the varnish of
+unnatural metaphor. The whole is plain and uniform; so much so indeed,
+that I should hardly be surprised, if some morose readers were to
+conjecture, that the poet had been thus simple rather from necessity
+than choice; that he had been restrained not so much by chastity of
+judgement, as sterility of imagination.</p>
+
+<p>Nay, some there may be perhaps, who will dispute his claim to the
+title of an <i>Epic Poet</i>; and will endeavour to degrade him even to
+the rank of a <i>ballad-monger</i>. But&nbsp;I, as his Commentator, will
+contend for the dignity of my Author; and will plainly demonstrate his
+Poem to be an <i>Epic Poem</i>, agreeable to the example of all Poets,
+and the consent of all Critics heretofore.</p>
+
+<p>First, it is universally agreed, that an <i>Epic Poem</i> should have
+three component parts, <i>a beginning</i>, <i>a middle</i>, and <i>an
+end</i>;&mdash;secondly, it is allowed, that it should have one <i>grand
+action</i>, or <i>main design</i>, to the forwarding of which, all the
+parts of it should directly or indirectly tend; and that this design
+<span class = "pagenum">133</span>
+<!-- png 43 -->
+should be in some measure consonant with, and conducive to, the purposes
+of <i>Morality</i>;&mdash;and thirdly, it is indisputably settled, that
+it should have <i>a Hero</i>. I&nbsp;trust that in none of these points
+the poem before us will be found deficient. There are other inferior
+properties, which I shall consider in due order.</p>
+
+<p>Not to keep my readers longer in suspense, the subject of the poem is
+"<i>The Reformation of the Knave of Hearts</i>." It is not improbable,
+that some may object to me that a <i>Knave</i> is an unworthy Hero for
+an Epic Poem; that a Hero ought to be all that is great and good. The
+objection is frivolous. The greatest work of this kind that the World
+has ever produced, has "<i>The Devil</i>" for its hero; and supported as
+my author is by so great a precedent, I&nbsp;contend, that his Hero is a
+very decent Hero; and especially as he has the advantage of
+<i>Milton</i>'s, by reforming at the end, is evidently entitled to a
+competent share of celebrity.</p>
+
+<p>I shall now proceed in the more immediate examination of the poem in
+its different parts. The <i>beginning</i>, say the Critics, ought to be
+plain and simple; neither embellished with the flowers of poetry, nor
+turgid with pomposity of diction. In
+<span class = "pagenum">134</span>
+<!-- png 44 -->
+this how exactly does our Author conform to the established opinion! he
+begins thus,</p>
+
+<div class = "poem">
+<p class = "inset1">
+&ldquo;The Queen of Hearts</p>
+<p class = "inset1">
+&ldquo;She made some Tarts&rdquo;&mdash;</p>
+</div>
+
+<p>Can any thing be more clear! more natural! more agreeable to the true
+spirit of simplicity! Here are no tropes,&mdash;no figurative
+expressions,&mdash;not even so much as an invocation to the Muse. He
+does not detain his readers by any needless circumlocution; by
+unnecessarily informing them, what he <i>is</i> going to sing; or still
+more unnecessarily enumerating what he <i>is not</i> going to sing: but
+according to the precept of Horace,</p>
+
+<div class = "poem">
+<p>&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;in medias res,</p>
+<p>Non secus ac notas, auditorem rapit,&mdash;&mdash;</p>
+</div>
+
+<p>That is, he at once introduces us, and sets us on the most easy and
+familiar footing imaginable, with her Majesty of Hearts, and interests
+us deeply in her domestic concerns. But to proceed,</p>
+
+<div class = "poem">
+<p class = "inset1">
+&ldquo;The Queen of Hearts</p>
+<p class = "inset1">
+&ldquo;She made some Tarts, </p>
+<p>&ldquo;All on a Summer&rsquo;s Day.&rdquo;</p>
+</div>
+
+<p>Here indeed the prospect brightens, and we are led to expect some
+liveliness of imagery, some warmth of poetical colouring;&mdash;but here
+is no such thing.&mdash;There is no task more difficult to a Poet, than
+that of <i>Rejection</i>. <i>Ovid</i>, among the ancients, and
+<i>Dryden</i>, among the moderns, were
+<span class = "pagenum">135</span>
+<!-- png 45 -->
+perhaps the most remarkable for the want of it. The latter from the
+haste in which he generally produced his compositions, seldom paid much
+attention to the "<i>limæ labor</i>," "the labour of correction," and
+seldom therefore rejected the assistance of any idea that presented
+itself. <i>Ovid</i>, not content with catching the leading features of
+any scene or character, indulged himself in a thousand minutiæ of
+description, a thousand puerile prettinesses, which were in themselves
+uninteresting, and took off greatly from the effect of the whole; as the
+numberless suckers, and straggling branches of a fruit tree, if
+permitted to shoot out unrestrained, while they are themselves barren
+and useless, diminish considerably the vigour of the parent stock.
+<i>Ovid</i> had more genius, but less judgement than <i>Virgil</i>;
+<i>Dryden</i> more imagination, but less correctness than <i>Pope</i>;
+had they not been deficient in these points, the former would certainly
+have equalled, the latter infinitely outshone the merits of his
+countryman.&mdash;<i>Our Author</i> was undoubtedly possessed of that
+power which they wanted; and was cautious not to indulge too far the
+sallies of a lively imagination. Omitting therefore any mention
+of&mdash;sultry Sirius,&mdash;silvan shade,&mdash;sequestered
+glade,&mdash;verdant hills,&mdash;purling rills,&mdash;mossy
+mountains,&mdash;gurgling fountains,&mdash;&amp;c. &amp;c.&mdash;he
+simply tells us that it was
+<span class = "pagenum">136</span>
+<!-- png 46 -->
+"<i>All on a Summers Day</i>." For my own part, I&nbsp;confess, that I
+find myself rather flattered than disappointed; and consider the Poet as
+rather paying a compliment to the abilities of his readers, than
+baulking their expectations. It is certainly a great pleasure to see a
+picture well painted; but it is a much greater to paint it well oneself.
+This therefore I look upon as a stroke of excellent management in the
+Poet. Here every reader is at liberty to gratify his own taste; to
+design for himself just what sort of "<i>Summer's Day</i>" he likes
+best; to choose his own scenery; dispose his lights and shades as he
+pleases; to solace himself with a rivulet or a horse-pond,&mdash;a
+shower, or a sun-beam,&mdash;a grove, or a kitchen
+garden,&mdash;according to his fancy. How much more considerate this,
+than if the Poet had, from an affected accuracy of description, thrown
+us into an unmannerly perspiration by the heat of the atmosphere; forced
+us into a landscape of his own planning, with perhaps a paltry
+good-for-nothing zephyr or two, and a limited quantity of wood and
+water.&mdash;All this <i>Ovid</i> would undoubtedly have done. Nay, to
+use the expression of a learned brother-commentator, "<i>quovis pignore
+decertem</i>" "I&nbsp;would lay any wager," that he would have gone so
+far as to tell us what the tarts were made of; and perhaps wandered into
+an episode on the art of preserving cherries. But <i>our Poet</i>,
+<span class = "pagenum">137</span>
+<!-- png 47 -->
+above such considerations, leaves every reader to choose his own
+ingredients, and sweeten them to his own liking; wisely foreseeing, no
+doubt, that the more palatable each had rendered them to his own taste,
+the more he would be affected at their approaching loss.</p>
+
+<div class = "poem">
+<p>&ldquo;All on a Summer&rsquo;s Day.&rdquo;</p>
+</div>
+
+<p>I cannot leave this line without remarking, that one of the
+<i>Scribleri</i>, a descendant of the famous <i>Martinus</i>, has
+expressed his suspicions of the text being corrupted here, and proposes,
+instead of "<i>All on</i>" reading "<i>Alone</i>," alledging, in favour
+of this alteration, the effect of Solitude in raising the passions. But
+<i>Hiccius Doctius</i>, a High Dutch commentator, one nevertheless well
+versed in British literature, in a note of his usual length and
+learning, has confuted the arguments of <i>Scriblerus</i>. In support of
+the present reading, he quotes a passage from a poem written about the
+same period with our author's, by the celebrated <i>Johannes
+Pastor</i>*, intituled "<i>An Elegiac Epistle to the Turnkey of
+Newgate</i>," wherein the gentleman declares, that rather indeed in
+compliance with an old custom, than to gratify any particular will of
+his own, he is going</p>
+
+<div class = "poem">
+<p>&mdash;&mdash;&mdash;&mdash;&ldquo;All hanged for to be</p>
+<p>&ldquo;Upon that fatal Tyburn tree.&rdquo;&mdash;&mdash;</p>
+</div>
+
+<p class = "footnote">
+* More commonly known, I believe, by the appellation of "<i>Jack
+Shepherd</i>."</p>
+
+<span class = "pagenum">138</span>
+<!-- png 48 -->
+<p>Now as nothing throws greater light on an author, than the
+concurrence of a contemporary writer, I&nbsp;am inclined to be of
+<i>Hiccius's</i> opinion, and to consider the "<i>All</i>" as an elegant
+expletive, or, as he more aptly phrases it "<i>elegans expletivum</i>."
+The passage therefore must stand thus,</p>
+
+<div class = "poem">
+<p class = "inset1">
+&ldquo;The Queen of Hearts</p>
+<p class = "inset1">
+&ldquo;She made some Tarts,</p>
+<p>&ldquo;All on a Summer&rsquo;s Day.&rdquo;</p>
+</div>
+
+<p>And thus ends the first part, or <i>beginning</i>; which is simple
+and unembellished; opens the subject in a natural and easy manner;
+excites, but does not too far gratify our curiosity: for a reader of
+accurate observation may easily discover, that the <i>Hero</i> of the
+Poem has not, as yet, made his appearance.</p>
+
+<hr class = "mid">
+
+<p>I could not continue my examination at present through the whole of
+this Poem, without far exceeding the limits of a single paper.
+I&nbsp;have therefore divided it into two; but shall not delay the
+publication of the second to another week,&mdash;as that, besides
+breaking the connection of criticism, would materially injure the
+<i>unities</i> of the Poem.</p>
+
+</div>
+
+<div class = "knave">
+
+<span class = "pagenum">139</span>
+<!-- png 49 -->
+<p class = "center">No. XII.</p>
+
+<p class = "center smallcaps">of the</p>
+
+<p class = "center s200 extended">MICROCOSM.</p>
+
+<p class = "center"><span class = "extended">MONDAY</span>,
+<i>February 12, 1787</i>.</p>
+
+<div class = "poem">
+<p>&mdash;&mdash;&mdash;&mdash;Servetur ad imum,</p>
+<p>Qualis ab incepto processerit, et sibi constet.</p>
+</div>
+
+<p class = "right smallcaps">Horace.</p>
+
+<div class = "poem">
+<p>From his first Entrance to the closing Scene,</p>
+<p>Let him one equal Character maintain.</p>
+</div>
+
+<p class = "right smallcaps">Francis.</p>
+
+<p><span class = "dropcap">
+<img src = "images/capH.png" width = "51" height = "59"
+alt = "H(Having)"></span>AVING thus gone through the first part, or
+<i>beginning</i> of the Poem, we may naturally enough proceed to the
+consideration of the second.</p>
+
+<p>The second part, or <i>middle</i>, is the proper place for bustle and
+business; for incident and adventure.</p>
+
+<div class = "poem">
+<p>&ldquo;The Knave of Hearts</p>
+<p>&ldquo;He stole those Tarts.&rdquo;</p>
+</div>
+
+<p>Here attention is awakened; and our whole souls are intent upon the
+first appearance of the
+<span class = "pagenum">140</span>
+<!-- png 50 -->
+Hero. Some readers may perhaps be offended at his making his
+<i>entré</i> in so disadvantageous a character as that of a
+<i>thief</i>. To this I plead precedent.</p>
+
+<p>The Hero of the Iliad, as I observed in a former paper, is made to
+lament very pathetically,&mdash;that "life is not like all other
+possessions, to be acquired by theft."&mdash;A reflection, in my
+opinion, evidently shewing, that, if he <i>did</i> refrain from the
+practice of this ingenious art, it was not from want of an inclination
+that way. We may remember too, that in <i>Virgil's</i> poem, almost the
+first light in which the <i>Pious Æneas</i> appears to us, is a
+<i>deer-stealer</i>; nor is it much excuse for him, that the deer were
+wandering without keepers; for however he might, from this circumstance,
+have been unable to ascertain whose property they were; he might,
+I&nbsp;think, have been pretty well assured that they were not
+<i>his</i>.</p>
+
+<p>Having thus acquitted our Hero of misconduct, by the example of his
+betters, I&nbsp;proceed to what I think the Master-Stroke of the
+Poet.</p>
+
+<div class = "poem">
+<p class = "inset1">
+&ldquo;The Knave of Hearts</p>
+<p class = "inset1">
+&ldquo;He stole those Tarts,</p>
+<p>&ldquo;And&mdash;&mdash;took them&mdash;&mdash;quite
+away!!&rdquo;</p>
+</div>
+
+<span class = "pagenum">141</span>
+<!-- png 51 -->
+<p>Here, whoever has an ear for harmony, and a heart for feeling, must
+be touched! There is a desponding melancholy in the run of the last
+line! an air of tender regret in the addition of "<i>quite away!</i>" a
+something so expressive of irrecoverable loss! so forcibly intimating
+the "<i>Ah nunquam reditura!</i>" "They never can return!" in short,
+such an union of sound and sense, as we rarely, if ever meet with in any
+author, ancient or modern. Our feelings are all alive&mdash;but the
+Poet, wisely dreading that our sympathy with the injured Queen might
+alienate our affections from his Hero, contrives immediately to awaken
+our fears for him, by telling us, that</p>
+
+<div class = "poem">
+<p class = "inset1">
+&ldquo;The King of Hearts</p>
+<p class = "inset1">
+&ldquo;Call&rsquo;d for those Tarts,&rdquo;&mdash;</p>
+</div>
+
+<p>We are all conscious of the fault of our Hero, and all tremble with
+him, for the punishment which the enraged Monarch may inflict;</p>
+
+<div class = "poem">
+<p>&ldquo;And beat the Knave&mdash;full sore!&rdquo;</p>
+</div>
+
+<p>The fatal blow is struck! We cannot but rejoice that guilt is justly
+punished, though we sympathize with the guilty object of punishment.
+Here <i>Scriblerus</i>, who, by the bye, is very fond of making
+unnecessary alterations, proposes reading "<i>Score</i>" instead of
+"<i>sore</i>," meaning thereby to
+<span class = "pagenum">142</span>
+<!-- png 52 -->
+particularize, that the beating bestowed by this Monarch, consisted of
+<i>twenty</i> stripes. But this proceeds from his ignorance of the
+genius of our language, which does not admit of such an expression as
+"<i>full score</i>," but would require the insertion of the particle
+"<i>a</i>," which cannot be, on account of the metre. And this is
+another great artifice of the Poet: by leaving the quantity of beating
+indeterminate, he gives every reader the liberty to administer it, in
+exact proportion to the sum of indignation which he may have conceived
+against his Hero; that by thus amply satisfying their resentment, they
+may be the more easily reconciled to him afterwards.</p>
+
+<div class = "poem">
+<p class = "inset1">
+&ldquo;The King of Hearts</p>
+<p class = "inset1">
+&ldquo;Call&rsquo;d for those Tarts,</p>
+<p>&ldquo;And beat the Knave full sore!&rdquo;</p>
+</div>
+
+<p>Here ends the second part, or <i>middle</i> of the poem; in which we
+see the character, and exploits of the Hero, pourtrayed with the hand of
+a master.</p>
+
+<p>Nothing now remains to be examined, but the third part, or
+<i>End</i>. In the <i>End</i>, it is a rule pretty well established,
+that the Work should draw towards a conclusion, which our Author manages
+thus.</p>
+
+<span class = "pagenum">143</span>
+<!-- png 53 -->
+<div class = "poem">
+<p class = "inset1">
+&ldquo;The Knave of Hearts</p>
+<p class = "inset1">
+&ldquo;Brought back those Tarts.&rdquo;</p>
+</div>
+
+<p>Here every thing is at length settled; the theft is compensated; the
+tarts restored to their right owner; and <i>Poetical Justice</i>, in
+every respect, strictly, and impartially administered.</p>
+
+<p>We may observe, that there is nothing in which our Poet has better
+succeeded, than in keeping up an unremitted attention in his readers to
+the main instruments, the machinery of his poem, viz. The <i>Tarts</i>;
+insomuch, that the aforementioned <i>Scriblerus</i> has sagely observed,
+that "he can't tell, but he doesn't know, but the tarts may be reckoned
+the heroes of the Poem." <i>Scriblerus</i>, though a man of learning,
+and frequently right in his opinion, has here certainly hazarded a rash
+conjecture. His arguments are overthrown entirely by his great opponent,
+<i>Hiccius</i>, who concludes, by triumphantly asking, "Had the tarts
+been eaten, how could the Poet have compensated for the loss of his
+Heroes?"</p>
+
+<p>We are now come to the <ins class = "correction" title = "text unchanged"><i>denouèment</i></ins>, the setting all to rights: and our
+Poet, in the management of his <i>moral</i>, is certainly superior to
+his great ancient
+<span class = "pagenum">144</span>
+<!-- png 54 -->
+predecessors. The moral of their fables, if any they have, is so
+interwoven with the main body of their work, that in endeavouring to
+unravel it, we should tear the whole. <i>Our Author</i> has very
+properly preserved his whole and entire for the <i>end</i> of his poem,
+where he completes his <i>main design</i>, the <i>Reformation</i> of his
+Hero, thus,</p>
+
+<div class = "poem">
+<p>&ldquo;And vow&rsquo;d he&rsquo;d steal no more.&rdquo;</p>
+</div>
+
+<p>Having in the course of his work, shewn the bad effects arising from
+theft, he evidently means this last moral reflection, to operate with
+his readers as a gentle and polite dissuasive from stealing.</p>
+
+<div class = "poem">
+<p class = "inset1">
+&ldquo;The Knave of Hearts</p>
+<p class = "inset1">
+&ldquo;Brought back those Tarts,</p>
+<p>&ldquo;And vow&rsquo;d he&rsquo;d steal no more!&rdquo;</p>
+</div>
+
+<p>Thus have I industriously gone through the several parts of this
+wonderful Work; and clearly proved it, in every one of these parts, and
+in all of them together, to be a <i>due and proper Epic Poem</i>; and to
+have as good a right to that title, from its adherence to prescribed
+rules, as any of the celebrated master-pieces of antiquity. And here I
+cannot help again lamenting, that, by not knowing the name of the
+Author, I&nbsp;am unable to twine our laurels together; and to transmit
+to posterity
+<span class = "pagenum">145</span>
+<!-- png 55 -->
+the mingled praises of Genius, and Judgment; of the Poet, and his
+commentator.</p>
+
+<hr class = "mid">
+
+<p>Having some space left in this paper, I will now, with the permission
+of my readers of the <i>great world</i>, address myself more
+particularly to my fellow-citizens.</p>
+
+<p>To them, the essay which I have here presented, will, I&nbsp;flatter
+myself, be peculiarly serviceable at this time; and I would earnestly
+recommend an attentive perusal of it, to all of them whose muses are
+engaged in compositions of the Epic kind.&mdash;I am very much afraid
+that I may run into the error, which I have myself pointed out, of
+becoming too <i>local</i>,&mdash;but where it is evidently intended for
+the good of my fellow citizens, it may, I&nbsp;hope, be now and then
+pardonable. At the present juncture, as many have applied for my
+assistance, I&nbsp;cannot find in my heart to refuse it them. Were I to
+attempt fully explaining, why, at the <i>present juncture</i>,
+I&nbsp;fear it would be vain. Would it not seem incredible to the
+Ladies, were I to tell them, that the period approaches, when upwards of
+a hundred <i>Epic Poems</i> will be exposed to public view, most of them
+nearly of equal length, and many of them nearly of equal merit,
+<span class = "pagenum">146</span>
+<!-- png 56 -->
+with the one which I have here taken into consideration; illustrated
+moreover with elegant etchings, designed either as <i>hieroglyphical</i>
+explanations of the subject, or as <i>practical puns</i> on the name of
+the author?&mdash;And yet in truth so it is,&mdash;and on this subject I
+wish to give a word of advice to my countrymen.</p>
+
+<p>Many of them have applied to me by letter, to assist them with
+designs for prefixing to their poems; and this I should very willingly
+have done, had those gentlemen been kind enough to subscribe their real
+names to their requests: whereas, all that I have received have been
+signed, <i>Tom Long</i>, <i>Philosophus</i>, <i>Philalethes</i>, and
+such like. I&nbsp;have therefore been prevented from affording them the
+assistance I wished; and cannot help wondering, that the gentlemen did
+not consider, that it was impossible for me to provide <i>typical
+references</i> for feigned names; as, for ought I know, the person who
+signs himself <i>Tom Long</i> may not be four feet high;
+<i>Philosophus</i> may be possessed of a considerable share of folly;
+and <i>Philalethes</i> may be as arrant a liar as any in the
+kingdom.</p>
+
+<p>It may not however be useless to offer some general reflections for
+all who may require them.
+<span class = "pagenum">147</span>
+<!-- png 57 -->
+It is not improbable, that, as the subject of their poems is the
+<i>Restoration</i>, many of my fellow-citizens may choose to adorn their
+<i>title-pages</i> with the representation of His Majesty, Charles the
+Second, escaping the vigilance of his pursuers in the <i>Royal Oak</i>.
+There are some particularities generally observable in this picture,
+which I shall point out to them, lest they fall into similar errors.
+Though I am as far as any other Briton can be, from wishing to "curtail"
+his Majesty's Wig "of its fair proportion;" yet I have sometimes been
+apt to think it rather improper, to make the Wig, as is usually done, of
+larger dimensions than the tree in which it and his Majesty are
+concealed. It is a rule in Logic, and I believe may hold good in most
+other Sciences, that "<i>omne majus continet in se minus</i>," that
+"every <ins class = "correction" title = "text reads 'think'">thing</ins> larger can hold any thing that is less;" but I own,
+I&nbsp;never heard the contrary advanced or defended with any plausible
+arguments, viz. "that every little thing can hold one larger."
+I&nbsp;therefore humbly propose, that there should be at least an edge
+of foliage round the outskirts of the said wig; and that its curls
+should not exceed in number the leaves of the tree. There is also
+another practice almost equally prevalent, of which I am sceptic enough
+to doubt the propriety. I&nbsp;own, I&nbsp;cannot think it by any
+<span class = "pagenum">148</span>
+<!-- png 58 -->
+means conducive to the more effectual concealment of his Majesty, that
+there should be three Regal Crowns stuck on three different branches of
+the tree. Horace says indeed,</p>
+
+<div class = "poem">
+<p>&mdash;&mdash;&mdash;&mdash;Pictoribus atque Poetis,</p>
+<p>Quidlibet audendi semper fuit æqua potestas.</p>
+<p>Painters and Poets our indulgence claim,</p>
+<p>Their daring equal, and their art the same.&mdash;<span class = "smallcaps">Fran.</span></p>
+</div>
+
+<p>And this may be reckoned a very allowable <i>poetical licence</i>;
+inasmuch as it lets the spectator into the secret, <i>who is in the
+tree</i>. But it is apt to make him at the same time throw the
+accusation of negligence and want of penetration on the three dragoons,
+who are usually depicted on the foreground, cantering along very
+composedly, with serene countenances, erect persons, and drawn swords,
+very little longer than themselves.</p>
+
+</div> <!-- end div knave -->
+
+<div class = "publist">
+
+<!-- png 59 -->
+
+<h4><a name = "publications" id = "publications">
+PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY</a></h4>
+
+<div class = "mynote">
+<p>Many of the listed titles are available from Project Gutenberg. Where
+possible, links are included.</p>
+</div>
+
+<p class = "heading">
+First Year (1946-1947)</p>
+
+<p class = "indent">Numbers 1-6 out of print.</p>
+
+<div class = "mynote">
+<p>Titles:</p>
+
+<p><a href = "http://www.gutenberg.org/etext/13484">1.</a>
+Richard Blackmore's <i>Essay upon Wit</i> (1716),
+and Addison's <i>Freeholder</i> No. 45 (1716).</p>
+
+<p><a href = "http://www.gutenberg.org/etext/14973">2.</a>
+Anon., <i>Essay on Wit</i> (1748), together with Characters by Flecknoe,
+and Joseph Warton's <i>Adventurer</i> Nos. 127 and 133.</p>
+
+<p><a href = "http://www.gutenberg.org/etext/14047">3.</a>
+Anon., <i>Letter to A. H. Esq.; concerning the Stage</i> (1698), and
+Richard Willis' <i>Occasional Paper</i> No. IX (1698).</p>
+
+<p><a href = "http://www.gutenberg.org/etext/14528">4.</a>
+Samuel Cobb's <i>Of Poetry</i> and <i>Discourse
+on Criticism</i> (1707).</p>
+
+<p><a href = "http://www.gutenberg.org/etext/16506">5.</a>
+Samuel Wesley's <i>Epistle to a Friend Concerning Poetry</i> (1700)
+and <i>Essay on Heroic Poetry</i> (1693).</p>
+
+<p><a href = "http://www.gutenberg.org/etext/15656">6.</a>
+Anon., <i>Representation of the Impiety and Immorality of the Stage</i>
+(1704) and anon., <i>Some Thoughts Concerning the Stage</i> (1704).</p>
+</div>
+
+<p class = "heading">
+Second Year (1947-1948)</p>
+
+<p>&nbsp;<a href = "http://www.gutenberg.org/etext/14800">7.</a>
+John Gay's <i>The Present State of Wit</i> (1711); and a section on Wit
+from <i>The English Theophrastus</i> (1702).</p>
+
+<p>&nbsp;<a href = "http://www.gutenberg.org/etext/14495">8.</a>
+Rapin's <i>De Carmine Pastorali</i>, translated by Creech (1684).</p>
+
+<p>&nbsp;<a href = "http://www.gutenberg.org/etext/14899">9.</a>
+T. Hanmer's (?) <i>Some Remarks on the Tragedy of Hamlet</i> (1736).</p>
+
+<p><a href = "http://www.gutenberg.org/etext/16233">10.</a>
+Corbyn Morris' <i>Essay towards Fixing the True Standards of Wit,
+etc.</i> (1744).</p>
+
+<p><a href = "http://www.gutenberg.org/etext/15313">11.</a>
+Thomas Purney's <i>Discourse on the Pastoral</i> (1717).</p>
+
+<p><a href = "http://www.gutenberg.org/etext/16335">12.</a>
+Essays on the Stage, selected, with an Introduction by Joseph Wood
+Krutch.</p>
+
+
+<p class = "heading">
+Third Year (1948-1949)</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/15999">13.</a>
+Sir John Falstaff (pseud.), <i>The Theatre</i> (1720).</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/16267">14.</a>
+Edward Moore's <i>The Gamester</i>(1753).</p>
+
+<p>
+<ins class = "correction" title = "in preparation">15.</ins>
+John Oldmixon's <i>Reflections on Dr. Swift's Letter to Harley</i>
+(1712); and Arthur Mainwaring's <i>The British Academy</i> (1712).</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/16916">16.</a>
+Nevil Payne's <i>Fatal Jealousy</i> (1673).</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/16275">17.</a>
+Nicholas Rowe's <i>Some Account of the Life of Mr. William
+Shakespeare</i> (1709).</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/15870">18.</a>
+"Of Genius," in <i>The Occasional Paper</i>, Vol. III, No.&nbsp;10
+(1719); and Aaron Hill's Preface to <i>The Creation</i> (1720).</p>
+
+
+<p class = "heading">
+Fourth Year (1949-1950)</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/16740">19.</a>
+Susanna Centlivre's <i>The Busie Body</i> (1709).</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/16346">20.</a>
+Lewis Theobold's <i>Preface to The Works of Shakespeare</i> (1734).</p>
+
+<p>
+21. <i>Critical Remarks on Sir Charles Grandison, Clarissa, and
+Pamela</i> (1754).</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/13350">22.</a>
+Samuel Johnson's <i>The Vanity of Human Wishes</i> (1749) and Two
+<i>Rambler</i> papers (1750).</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/15074">23.</a>
+John Dryden's <i>His Majesties Declaration Defended</i> (1681).</p>
+
+<p>24. Pierre Nicole's <i>An Essay on True and Apparent Beauty in Which
+from Settled Principles is Rendered the Grounds for Choosing and
+Rejecting Epigrams</i>, translated by J.&nbsp;V. Cunningham.</p>
+
+
+<p class = "heading">
+Fifth Year (1950-1951)</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/14467">25.</a>
+Thomas Baker's <i>The Fine Lady's Airs</i> (1709).</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/14463">26.</a>
+Charles Macklin's <i>The Man of the World</i> (1792).</p>
+
+<p>27. Out of print.</p>
+
+<div class = "mynote">
+<p><a href = "http://www.gutenberg.org/etext/13485">27.</a>
+Frances Reynolds' <i>An Enquiry Concerning the Principles of Taste, and
+of the Origin of Our Ideas of Beauty, etc.</i> (1785).</p></div>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/17833">28.</a>
+John Evelyn's <i>An Apologie for the Royal Party</i> (1659); and
+<i>A&nbsp;Panegyric to Charles the Second</i> (1661).</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/14084">29.</a>
+Daniel Defoe's <i>A Vindication of the Press</i> (1718).</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/13464">30.</a>
+Essays on Taste from John Gilbert Cooper's <i>Letters Concerning
+Taste</i>, 3rd edition (1757), &amp; John Armstrong's
+<i>Miscellanies</i> (1770).</p>
+
+
+<span class = "pagenum"></span>
+<!-- png 60 -->
+
+<p class = "heading">
+Sixth Year (1951-1952)</p>
+
+<p><a href = "http://www.gutenberg.org/etext/15409">31.</a>
+Thomas Gray's <i>An Elegy Wrote in a Country Church Yard</i> (1751); and
+<i>The Eton College Manuscript</i>.</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/14525">32.</a>
+Prefaces to Fiction; Georges de Scudéry's Preface to <i>Ibrahim</i>
+(1674), etc.</p>
+
+<p>
+<a href = "http://www.gutenberg.org/etext/16299">33.</a>
+Henry Gally's <i>A Critical Essay</i> on Characteristic-Writings
+(1725).</p>
+
+<p>34. Thomas Tyers' A Biographical Sketch of Dr. Samuel Johnson
+(1785).</p>
+
+<p><a href = "http://www.gutenberg.org/etext/15857">35.</a>
+James Boswell, Andrew Erskine, and George Dempster. <i>Critical
+Strictures on the New Tragedy of Elvira, Written by Mr. David
+Malloch</i> (1763).</p>
+
+<p><ins class = "correction" title = "in preparation">36.</ins>
+Joseph Harris's <i>The City Bride</i> (1696).</p>
+
+
+<p class = "heading">
+Seventh Year (1952-1953)</p>
+
+<p><ins class = "correction" title = "in preparation">37.</ins>
+Thomas Morrison's <i>A Pindarick Ode on Painting</i> (1767).</p>
+
+<p>38. John Phillips' <i>A Satyr Against Hypocrites</i> (1655).</p>
+
+<p>39. Thomas Warton's <i>A History of English Poetry</i>.</p>
+
+<p>40. Edward Bysshe's <i>The Art of English Poetry</i> (1708).</p>
+
+<p>41. Bernard Mandeville's "A Letter to Dion" (1732).</p>
+
+<p>42. Prefaces to Four Seventeenth-Century Romances.</p>
+
+
+<p class = "heading">
+Eighth Year (1953-1954)</p>
+
+<p>43. John Baillie's <i>An Essay on the Sublime</i> (1747).</p>
+
+<p>44. Mathias Casimire Sarbiewski's <i>The Odes of Casimire,</i>
+Translated by G.&nbsp;Hils (1646).</p>
+
+<p>45. John Robert Scott's <i>Dissertation on the Progress of the Fine
+Arts</i>.</p>
+
+<p>46. Selections from Seventeenth Century Songbooks.</p>
+
+<p>47. Contemporaries of the <i>Tatler</i> and <i>Spectator</i>.</p>
+
+<p>48. Samuel Richardson's Introduction to <i>Pamela</i>.</p>
+
+
+<p class = "heading">
+Ninth Year (1954-1955)</p>
+
+<p>49. Two St. Cecilia's Day Sermons (1696-1697).</p>
+
+<p>50. Hervey Aston's <i>A Sermon Before the Sons of the Clergy</i>
+(1745).</p>
+
+<p>51. Lewis Maidwell's <i>An Essay upon the Necessity and Excellency of
+Education</i> (1705).</p>
+
+<p><a href = "http://www.gutenberg.org/etext/7018">52.</a>
+Pappity Stampoy's <i>A Collection of Scotch Proverbs</i> (1663).</p>
+
+<p>53. Urian Oakes' <i>The Soveraign Efficacy of Divine Providence</i>
+(1682).</p>
+
+<p>54. Mary Davys' <i>Familiar Letters Betwixt a Gentleman and a
+Lady</i> (1725).</p>
+
+
+<p class = "heading">
+Tenth Year (1955-1956)</p>
+
+<p>55. Samuel Say's <i>An Essay on the Harmony, Variety, and Power of
+Numbers</i> (1745).</p>
+
+<p>56. <i>Theologia Ruris, sive Schola &amp; Scala Naturae</i>
+(1686).</p>
+
+<p>57. Henry Fielding's <i>Shamela</i> (1741).</p>
+
+<p>58. Eighteenth Century Book Illustrations.</p>
+
+<p><a href = "http://www.gutenberg.org/etext/7780">59.</a>
+Samuel Johnson's <i>Notes to Shakespeare</i>. Vol. I, Comedies,
+Part&nbsp;I.</p>
+
+<p><a href = "http://www.gutenberg.org/etext/7780">60.</a>
+Samuel Johnson's <i>Notes to Shakespeare</i>. Vol. I, Comedies,
+Part&nbsp;II.</p>
+
+</div> <!-- end div publist (ARS) -->
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Parodies of Ballad Criticism
+(1711-1787), by William Wagstaffe and Gregory Griffin AKA George Canning
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PARODIES OF BALLAD CRITICISM ***
+
+***** This file should be named 22081-h.htm or 22081-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/2/0/8/22081/
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/22081-h/images/capH.png b/22081-h/images/capH.png
new file mode 100644
index 0000000..3f58928
--- /dev/null
+++ b/22081-h/images/capH.png
diff --git a/22081-h/images/capT.png b/22081-h/images/capT.png
new file mode 100644
index 0000000..4352c5a
--- /dev/null
+++ b/22081-h/images/capT.png
diff --git a/22081-h/images/microcosm.png b/22081-h/images/microcosm.png
new file mode 100644
index 0000000..848110c
--- /dev/null
+++ b/22081-h/images/microcosm.png
diff --git a/22081-page-images/f001.png b/22081-page-images/f001.png
new file mode 100644
index 0000000..9546f20
--- /dev/null
+++ b/22081-page-images/f001.png
diff --git a/22081-page-images/f002.png b/22081-page-images/f002.png
new file mode 100644
index 0000000..8802144
--- /dev/null
+++ b/22081-page-images/f002.png
diff --git a/22081-page-images/f003.png b/22081-page-images/f003.png
new file mode 100644
index 0000000..831aa66
--- /dev/null
+++ b/22081-page-images/f003.png
diff --git a/22081-page-images/f004.png b/22081-page-images/f004.png
new file mode 100644
index 0000000..171d6e5
--- /dev/null
+++ b/22081-page-images/f004.png
diff --git a/22081-page-images/f005.png b/22081-page-images/f005.png
new file mode 100644
index 0000000..2acdefe
--- /dev/null
+++ b/22081-page-images/f005.png
diff --git a/22081-page-images/f006.png b/22081-page-images/f006.png
new file mode 100644
index 0000000..9283c1a
--- /dev/null
+++ b/22081-page-images/f006.png
diff --git a/22081-page-images/f007.png b/22081-page-images/f007.png
new file mode 100644
index 0000000..b077e78
--- /dev/null
+++ b/22081-page-images/f007.png
diff --git a/22081-page-images/f008.png b/22081-page-images/f008.png
new file mode 100644
index 0000000..aae0c10
--- /dev/null
+++ b/22081-page-images/f008.png
diff --git a/22081-page-images/f009.png b/22081-page-images/f009.png
new file mode 100644
index 0000000..dca5029
--- /dev/null
+++ b/22081-page-images/f009.png
diff --git a/22081-page-images/f010.png b/22081-page-images/f010.png
new file mode 100644
index 0000000..59f1ef6
--- /dev/null
+++ b/22081-page-images/f010.png
diff --git a/22081-page-images/f011.png b/22081-page-images/f011.png
new file mode 100644
index 0000000..5e2d246
--- /dev/null
+++ b/22081-page-images/f011.png
diff --git a/22081-page-images/f012.png b/22081-page-images/f012.png
new file mode 100644
index 0000000..f8e05dc
--- /dev/null
+++ b/22081-page-images/f012.png
diff --git a/22081-page-images/p002.png b/22081-page-images/p002.png
new file mode 100644
index 0000000..fde795a
--- /dev/null
+++ b/22081-page-images/p002.png
diff --git a/22081-page-images/p003.png b/22081-page-images/p003.png
new file mode 100644
index 0000000..cbd2979
--- /dev/null
+++ b/22081-page-images/p003.png
diff --git a/22081-page-images/p004.png b/22081-page-images/p004.png
new file mode 100644
index 0000000..eb24674
--- /dev/null
+++ b/22081-page-images/p004.png
diff --git a/22081-page-images/p005.png b/22081-page-images/p005.png
new file mode 100644
index 0000000..337cf32
--- /dev/null
+++ b/22081-page-images/p005.png
diff --git a/22081-page-images/p006.png b/22081-page-images/p006.png
new file mode 100644
index 0000000..6c737e1
--- /dev/null
+++ b/22081-page-images/p006.png
diff --git a/22081-page-images/p007.png b/22081-page-images/p007.png
new file mode 100644
index 0000000..1beac05
--- /dev/null
+++ b/22081-page-images/p007.png
diff --git a/22081-page-images/p008.png b/22081-page-images/p008.png
new file mode 100644
index 0000000..15b1eff
--- /dev/null
+++ b/22081-page-images/p008.png
diff --git a/22081-page-images/p009.png b/22081-page-images/p009.png
new file mode 100644
index 0000000..62d3daa
--- /dev/null
+++ b/22081-page-images/p009.png
diff --git a/22081-page-images/p010.png b/22081-page-images/p010.png
new file mode 100644
index 0000000..589054a
--- /dev/null
+++ b/22081-page-images/p010.png
diff --git a/22081-page-images/p011.png b/22081-page-images/p011.png
new file mode 100644
index 0000000..9e8cdf5
--- /dev/null
+++ b/22081-page-images/p011.png
diff --git a/22081-page-images/p012.png b/22081-page-images/p012.png
new file mode 100644
index 0000000..d5f321d
--- /dev/null
+++ b/22081-page-images/p012.png
diff --git a/22081-page-images/p013.png b/22081-page-images/p013.png
new file mode 100644
index 0000000..f700857
--- /dev/null
+++ b/22081-page-images/p013.png
diff --git a/22081-page-images/p014.png b/22081-page-images/p014.png
new file mode 100644
index 0000000..fe98dd3
--- /dev/null
+++ b/22081-page-images/p014.png
diff --git a/22081-page-images/p015.png b/22081-page-images/p015.png
new file mode 100644
index 0000000..404462c
--- /dev/null
+++ b/22081-page-images/p015.png
diff --git a/22081-page-images/p016.png b/22081-page-images/p016.png
new file mode 100644
index 0000000..e9b0bf5
--- /dev/null
+++ b/22081-page-images/p016.png
diff --git a/22081-page-images/p017.png b/22081-page-images/p017.png
new file mode 100644
index 0000000..962fc0a
--- /dev/null
+++ b/22081-page-images/p017.png
diff --git a/22081-page-images/p018.png b/22081-page-images/p018.png
new file mode 100644
index 0000000..1c404f6
--- /dev/null
+++ b/22081-page-images/p018.png
diff --git a/22081-page-images/p019.png b/22081-page-images/p019.png
new file mode 100644
index 0000000..e85c70d
--- /dev/null
+++ b/22081-page-images/p019.png
diff --git a/22081-page-images/p020.png b/22081-page-images/p020.png
new file mode 100644
index 0000000..ad3ba80
--- /dev/null
+++ b/22081-page-images/p020.png
diff --git a/22081-page-images/p021.png b/22081-page-images/p021.png
new file mode 100644
index 0000000..f3583ee
--- /dev/null
+++ b/22081-page-images/p021.png
diff --git a/22081-page-images/p022.png b/22081-page-images/p022.png
new file mode 100644
index 0000000..505241f
--- /dev/null
+++ b/22081-page-images/p022.png
diff --git a/22081-page-images/p023.png b/22081-page-images/p023.png
new file mode 100644
index 0000000..5f6ea27
--- /dev/null
+++ b/22081-page-images/p023.png
diff --git a/22081-page-images/p024.png b/22081-page-images/p024.png
new file mode 100644
index 0000000..c013286
--- /dev/null
+++ b/22081-page-images/p024.png
diff --git a/22081-page-images/q128.png b/22081-page-images/q128.png
new file mode 100644
index 0000000..ecf844c
--- /dev/null
+++ b/22081-page-images/q128.png
diff --git a/22081-page-images/q129.png b/22081-page-images/q129.png
new file mode 100644
index 0000000..f5cdea9
--- /dev/null
+++ b/22081-page-images/q129.png
diff --git a/22081-page-images/q130.png b/22081-page-images/q130.png
new file mode 100644
index 0000000..b2af871
--- /dev/null
+++ b/22081-page-images/q130.png
diff --git a/22081-page-images/q131.png b/22081-page-images/q131.png
new file mode 100644
index 0000000..3cf782a
--- /dev/null
+++ b/22081-page-images/q131.png
diff --git a/22081-page-images/q132.png b/22081-page-images/q132.png
new file mode 100644
index 0000000..68a0655
--- /dev/null
+++ b/22081-page-images/q132.png
diff --git a/22081-page-images/q133.png b/22081-page-images/q133.png
new file mode 100644
index 0000000..fad7517
--- /dev/null
+++ b/22081-page-images/q133.png
diff --git a/22081-page-images/q134.png b/22081-page-images/q134.png
new file mode 100644
index 0000000..5b59ebb
--- /dev/null
+++ b/22081-page-images/q134.png
diff --git a/22081-page-images/q135.png b/22081-page-images/q135.png
new file mode 100644
index 0000000..fc49ce5
--- /dev/null
+++ b/22081-page-images/q135.png
diff --git a/22081-page-images/q136.png b/22081-page-images/q136.png
new file mode 100644
index 0000000..72a5c9c
--- /dev/null
+++ b/22081-page-images/q136.png
diff --git a/22081-page-images/q137.png b/22081-page-images/q137.png
new file mode 100644
index 0000000..31134b7
--- /dev/null
+++ b/22081-page-images/q137.png
diff --git a/22081-page-images/q138.png b/22081-page-images/q138.png
new file mode 100644
index 0000000..0786151
--- /dev/null
+++ b/22081-page-images/q138.png
diff --git a/22081-page-images/q139.png b/22081-page-images/q139.png
new file mode 100644
index 0000000..9bdcf9d
--- /dev/null
+++ b/22081-page-images/q139.png
diff --git a/22081-page-images/q140.png b/22081-page-images/q140.png
new file mode 100644
index 0000000..0edfcdd
--- /dev/null
+++ b/22081-page-images/q140.png
diff --git a/22081-page-images/q141.png b/22081-page-images/q141.png
new file mode 100644
index 0000000..cd80c1b
--- /dev/null
+++ b/22081-page-images/q141.png
diff --git a/22081-page-images/q142.png b/22081-page-images/q142.png
new file mode 100644
index 0000000..83be8b2
--- /dev/null
+++ b/22081-page-images/q142.png
diff --git a/22081-page-images/q143.png b/22081-page-images/q143.png
new file mode 100644
index 0000000..3862bcc
--- /dev/null
+++ b/22081-page-images/q143.png
diff --git a/22081-page-images/q144.png b/22081-page-images/q144.png
new file mode 100644
index 0000000..300e55c
--- /dev/null
+++ b/22081-page-images/q144.png
diff --git a/22081-page-images/q145.png b/22081-page-images/q145.png
new file mode 100644
index 0000000..fa4ede4
--- /dev/null
+++ b/22081-page-images/q145.png
diff --git a/22081-page-images/q146.png b/22081-page-images/q146.png
new file mode 100644
index 0000000..d0b1584
--- /dev/null
+++ b/22081-page-images/q146.png
diff --git a/22081-page-images/q147.png b/22081-page-images/q147.png
new file mode 100644
index 0000000..4a7a5b1
--- /dev/null
+++ b/22081-page-images/q147.png
diff --git a/22081-page-images/q148.png b/22081-page-images/q148.png
new file mode 100644
index 0000000..4d31228
--- /dev/null
+++ b/22081-page-images/q148.png
diff --git a/22081-page-images/q149.png b/22081-page-images/q149.png
new file mode 100644
index 0000000..70bb466
--- /dev/null
+++ b/22081-page-images/q149.png
diff --git a/22081-page-images/q150.png b/22081-page-images/q150.png
new file mode 100644
index 0000000..164ce5e
--- /dev/null
+++ b/22081-page-images/q150.png
diff --git a/22081.txt b/22081.txt
new file mode 100644
index 0000000..751b2b1
--- /dev/null
+++ b/22081.txt
@@ -0,0 +1,2105 @@
+The Project Gutenberg EBook of Parodies of Ballad Criticism (1711-1787), by
+William Wagstaffe and Gregory Griffin AKA George Canning
+
+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: Parodies of Ballad Criticism (1711-1787)
+       A Comment Upon the History of Tom Thumb, 1711, by Wm.
+       Wagstaffe; The Knave of Hearts, 1787, by Gregory Griffin
+       AKA George Canning
+
+Author: William Wagstaffe
+        Gregory Griffin AKA George Canning
+
+Release Date: July 16, 2007 [EBook #22081]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PARODIES OF BALLAD CRITICISM ***
+
+
+
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+  [In the "Tom Thumb" article, Latin "-que" was abbreviated with a
+  notation similar to "-q;". It has been "unpacked" for this e-text as
+  [que] in brackets.
+
+  The original texts printed all names in Italic type; italicized
+  passages put names in Roman type. To avoid ambiguity, these have been
+  marked with *asterisks*. All verse citations were printed in italics.]
+
+
+
+
+         THE AUGUSTAN REPRINT SOCIETY
+
+
+         _Parodies of Ballad Criticism_
+
+                  (1711-1787)
+
+               William Wagstaffe,
+_A Comment Upon the History of Tom Thumb_, 1711
+
+                George Canning,
+          _The Knave of Hearts_, 1787
+
+
+       Selected, with an Introduction, by
+            William K. Wimsatt, Jr.
+
+
+             Publication Number 63
+
+                  Los Angeles
+      William Andrews Clark Memorial Library
+            University of California
+                      1957
+
+
+       *       *       *       *       *
+
+  GENERAL EDITORS
+
+  RICHARD C. BOYS, University of Michigan
+  RALPH COHEN, University of California, Los Angeles
+  VINTON A. DEARING, University of California, Los Angeles
+  LAWRENCE CLARK POWELL, Clark Memorial Library
+
+  ASSISTANT EDITOR
+
+  W. EARL BRITTON, University of Michigan
+
+  ADVISORY EDITORS
+
+  EMMETT L. AVERY, State College of Washington
+  BENJAMIN BOYCE, Duke University
+  LOUIS BREDVOLD, University of Michigan
+  JOHN BUTT, King's College, University of Durham
+  JAMES L. CLIFFORD, Columbia University
+  ARTHUR FRIEDMAN, University of Chicago
+  LOUIS A. LANDA, Princeton University
+  SAMUEL H. MONK, University of Minnesota
+  ERNEST C. MOSSNER, University of Texas
+  JAMES SUTHERLAND, University College, London
+  H. T. SWEDENBERG, JR., University of California, Los Angeles
+
+  CORRESPONDING SECRETARY
+
+  EDNA C. DAVIS, Clark Memorial Library
+
+
+       *       *       *       *       *
+
+The Augustan Reprint Society regrets to announce the death
+of one of its founders and editors, Edward Niles Hooker.
+The editors hope, in the near future, to issue a volume
+in his memory.
+
+
+       *       *       *       *       *
+
+INTRODUCTION
+
+
+Joseph Addison's enthusiasm for ballad poetry (_Spectators_ 70, 74, 85)
+was not a sheer novelty. He had a ringing English precedent in Sidney,
+whom he quotes. And he may have had one in Jonson; at least he thought
+he had. He cited Dryden and Dorset as collectors and readers of ballads;
+and he might have cited others. He found comfort in the fact that
+Moliere's Misanthrope was on his side. The modern or broadside version
+of _Chevy Chase_, the one which Addison quoted, had been printed, with a
+Latin translation, in the third volume of Dryden's _Miscellany_ (1702)
+and had been appreciated along with _The Nut-Brown Maid_ in an essay _Of
+the Old English Poets and Poetry_ in _The Muses Mercury_ for June, 1707.
+The feelings expressed in Addison's essays on the ballads were part of
+the general patriotic archaism which at that time was moving in rapport
+with cyclic theories of the robust and the effete, as in Temple's
+essays, and was complicating the issue of the classical ancients versus
+the moderns. Again, these feelings were in harmony with the new
+Longinianism of boldness and bigness, cultivated in one way by Dennis
+and in another by Addison himself in later _Spectators_. The tribute to
+the old writers in Rowe's Prologue to _Jane Shore_ (1713) is of course
+not simply the result of Addison's influence.[1]
+
+  Those venerable ancient Song-Enditers
+  Soar'd many a Pitch above our modern Writers.
+
+It is true also that Addison exhibits, at least in the first of the two
+essays on _Chevy Chase_, a degree of the normal Augustan condescension
+to the archaic--the vision which informs the earlier couplet poem on the
+English poets. Both in his quotation from Sidney ("... being so evil
+apparelled in the Dust and Cobweb of that uncivil Age, what would it
+work trimmed in the gorgeous Eloquence of _Pindar_?") and in his own
+apology for the "Simplicity of the Stile" there is sufficient
+prescription for all those improvements that either a Ramsay or a Percy
+were soon actually to undertake. And some of the Virgilian passages in
+_Chevy Chase_ which Addison picked out for admiration were not what
+Sidney had known but the literary invention of the more modern broadside
+writer.
+
+Nevertheless, the two _Spectators_ on _Chevy Chase_ and the sequel on
+the _Children in the Wood_ were startling enough. The general
+announcement was ample, unabashed, soaring--unmistakable evidence of a
+new polite taste for the universally valid utterances of the primitive
+heart. The accompanying measurement according to the epic rules and
+models was not a qualification of the taste, but only a somewhat awkward
+theoretical dimension and justification.
+
+  It is impossible that any thing should be universally tasted and
+  approved by a Multitude, tho' they are only the Rabble of a Nation,
+  which hath not in it some peculiar Aptness to please and gratify the
+  Mind of Man.... an ordinary Song or Ballad that is the Delight of
+  the common People, cannot fail to please all such Readers as are not
+  unqualified for the Entertainment by their Affectation or Ignorance.
+
+Professor Clarence D. Thorpe is surely correct in his view of Addison as
+a "grandfather" of such that would come in romantic aesthetics for the
+next hundred years.[2] Not that Addison invents anything; but he catches
+every current whisper and swells it to the journalistic audibility.
+Here, if we take Addison at his word, are the key ideas for Wordsworth's
+Preface on the language of rustic life, for Tolstoy's ruthless reduction
+of taste to the peasant norm. Addison went on to urge what was perfectly
+just, that the old popular ballads ought to be read and liked; at the
+same time he pushed his praise to a rather wild extreme, and he made
+some comic comparisons between _Chevy Chase_ and Virgil and Homer.
+
+We know now that he was on the right track; he was riding the wave of
+the future. It will be sufficient here merely to allude to that well
+established topic of English literary history, the rise of the ballad
+during the eighteenth century--in _A Collection of Old Ballads_
+(1723-1725), in Ramsay's _Evergreen_ and _Tea-Table_, in Percy's
+_Reliques_, and in all the opinions, the critiques, the imitations, the
+modern ballads, and the forgeries of that era--in _Henry and Emma_,
+_Colin and Lucy_, and _Hardyknute_, in Gay, Shenstone, and Gray, in
+Chatterton's Rowley. All these in a sense testified to the influence of
+Addison's essays. Addison was often enough given honorable mention and
+quoted.
+
+On the other hand, neo-classic stalwart good sense and the canons of
+decorum did not collapse easily, and the cultivation of the ballads had,
+as we have suggested, a certain aspect of silliness. It is well known
+that Addison's essays elicited the immediate objections of Dennis. The
+Spectator's "Design is to see how far he can lead his Reader by the
+Nose." He wants "to put Impotence and Imbecility upon us for
+Simplicity." Later Johnson in his _Life of Addison_ quoted Dennis and
+added his own opinion of _Chevy Chase_: "The story cannot possibly be
+told in a manner that shall make less impression on the mind."
+
+It was fairly easy to parody the ballads themselves, or at least the
+ballad imitations, as Johnson would demonstrate _ex tempore_. "I put my
+hat upon my head And walked into the Strand, And there I met another man
+Whose hat was in his hand." And it was just as easy to parody ballad
+criticism. The present volume is an anthology of two of the more
+deserving mock-criticisms which Addison's effort either wholly or in
+part inspired.
+
+An anonymous satirical writer who was later identified, on somewhat
+uncertain authority, as the Tory Dr. William Wagstaffe was very prompt
+in responding. His _Comment Upon the History of Tom Thumb_ appeared in
+1711 perhaps within a week or two of the third guilty _Spectator_ (June
+7) and went into a second edition, "Corrected," by August 18. An
+advertisement in the _Post Man_ of that day referred to yet a third
+"sham" edition, "full of errors."[3] The writer alludes to the author of
+the _Spectators_ covertly ("we have had an _enterprising Genius_ of
+late") and quotes all three of the ballad essays repeatedly. The choice
+of _Tom Thumb_ as the _corpus vile_ was perhaps suggested by Swift's
+momentary "handling" of it in _A Tale of a Tub_.[4] The satirical method
+is broad and easy and scarcely requires comment. This is the attack
+which was supposed by Addison's editor Henry Morley (_Spectator_, 1883,
+I, 318) to have caused Addison to "flinch" a little in his revision of
+the ballad essays. It is scarcely apparent that he did so. The last
+paragraph of the third essay, on the _Children in the Wood_, is a retort
+to some other and even prompter unfriendly critics--"little conceited
+Wits of the Age," with their "little Images of Ridicule."
+
+But Addison is not the only target of "Wagstaffe's" _Comment_. "Sir
+B------ B--------" and his "Arthurs" are another, and "Dr. B--tly"
+another. One of the most eloquent moments in the _Comment_ occurs near
+the end in a paragraph on what the author conceives to be the follies of
+the historical method. The use of the slight vernacular poem to parody
+the Bentleyan kind of classical scholarship was to be tried by Addison
+himself in _Spectator_ 470 (August 29, 1712) and had a French
+counterpart in the _Chef d'oeuvre d'un inconnu_, 1714. A later example
+was executed by Defoe's son-in-law Henry Baker in No. XIX of his
+_Universal Spectator_, February 15, 1729.[5] And that year too provided
+the large-scale demonstration of the _Dunciad Variorum_. The very
+"matter" of Tom Thumb reappeared under the same light in Fielding's
+_Tragedy of Tragedies or the Life and Death of Tom Thumb the Great with
+the Annotations of H. Scriblerus Secundus_, 1731. Addison's criticism of
+the ballads was scarcely a legitimate object for this kind of attack,
+but Augustan satire and parody were free and hospitable genres, always
+ready to entertain more than one kind of "bard and blockhead side by
+side."[6]
+
+No less a person than George Canning (as a schoolboy) was the author of
+the second of the two parodies reproduced in the present volume. A group
+of precocious Eton lads, Canning, J. Hookham Frere, John Smith, and
+Robert (Bobus) Smith, during the years 1786-1787 produced forty octavo
+numbers of a weekly paper called _The Microcosm_. They succeeded in
+exciting some interest among the literati,[7] were coming out in a
+"Second Edition" as early as the Christmas vacation of 1786,[8] and in
+the end sold their copyright for fifty pounds to their publisher,
+Charles Knight of Windsor.[9] Canning wrote Nos. XI and XII (February
+12, 1787), a critique of the "Epic Poem" concerning "The Reformation of
+the Knave of Hearts."[10] This essay in two parts, running for nearly as
+many pages as Wagstaffe's archetypal pamphlet, is a much more systematic
+and theoretically ambitious effort than any predecessor. _The Knave of
+Hearts_ is praised for its _beginning_ (_in medias res_), its _middle_
+(all "bustle and business"), and its _end_ (full of _Poetical Justice_
+and superior _Moral_). The earlier writers had directly labored the
+resemblance of the ballads to passages in Homer and Virgil. That method
+is now hardly invoked at all. Criticism according to the epic rules of
+Aristotle had been well enough illustrated by Addison on _Paradise Lost_
+(see especially _Spectator_ 267) if not by Addison on ballads. The
+decline of simple respect for the "Practice and Authority" of the
+ancient models during the neo-classic era, the general advance of
+something like reasoning in criticism, finds one of its quainter
+testimonials in the Eton schoolboy's cleverness. He would show by
+definition and strict deduction that _The Knave of Hearts_ is a "_due
+and proper Epic Poem_," having as "good right to that title, from its
+adherence to prescribed rules, as any of the celebrated master-pieces of
+antiquity." The post-Ramblerian date of the performance and a further if
+incidental aim of the satire--a facetious removal from the Augustan
+coffeehouse conversation--can be here and there felt in a heavy roll of
+the periods, a doubling and redoubling of the abstractions.[11]
+
+The essay, nevertheless, shows sufficient continuity with the earlier
+tradition of parody ballad criticism--for it begins by alluding to the
+_Spectator's_ critiques of Shakespeare, Milton, and _Chevy Chase_, and
+near the end of the first number slides into a remark that "one of the
+_Scribleri_, a descendant of the famous _Martinus_, has expressed his
+suspicions of the text being corrupted." A page or two of irony
+concerning the "plain and simple" opening of the poem seems to hark back
+to something more subtle in the Augustans than the Wagstaffian derision,
+no doubt to Pope's victory over Philips in a _Guardian_ on pastorals.
+"There is no task more difficult to a Poet, than that of _Rejection_.
+Ovid, among the ancients, and _Dryden_, among the moderns, were perhaps
+the most remarkable for the want of it."[12]
+
+The interest of these little pieces is historical[13] in a fairly strict
+sense. Their value is indirect, half accidental, a glancing revelation
+of ideas concerning simplicity, feeling, genius, the primitive, the
+historical which run steadily beneath all the ripples during the century
+that moves from "classic" to "romantic." Not all of Addison's parodists
+taken together muster as much fun, as such whimsical charm, as Addison
+himself in a single paragraph such as the one on "accidental readings"
+which opens the _Spectator_ on the _Children in the Wood_. But this
+passage, as it happens, requires only a slightly sophistical application
+to be taken as a cue to a useful attitude in our present reading.
+"I once met with a Page of _Mr. Baxter_ under a Christmas Pye....
+I might likewise mention a Paper-Kite, from which I have received great
+Improvement."
+
+  William K. Wimsatt, Jr.
+  Yale University
+
+
+  NOTES TO THE INTRODUCTION
+
+    [Footnote 1: The chief authorities for the history which I am
+    summarizing are W. L. Phelps, _The Beginnings of the English
+    Romantic Movement_, Boston, 1893, Chapter VII; E. K. Broadus,
+    "Addison's Influence on the Development of Interest in Folk-Poetry
+    in the Eighteenth Century," _Modern Philology_, VIII (July, 1910),
+    123-134; S. B. Hustvedt, _Ballad Criticism in Scandinavia and
+    Great Britain During the Eighteenth Century_, New York, 1916.]
+
+    [Footnote 2: "Addison's Contribution to Criticism," in R. F. Jones
+    _et al._, _The Seventeenth Century_ (Stanford, 1951), p. 329.]
+
+    [Footnote 3: Edward B. Reed, "Two Notes on Addison," _Modern
+    Philology_, VI (October, 1908), 187. The attribution of _A Comment
+    Upon Tom Thumb_ and other satirical pieces to the Dr. William
+    Wagstaffe who died in 1725 as Physician to St. Bartholomew's
+    Hospital depends entirely upon the fact that a collection of such
+    pieces was published, with an anonymous memoir, in 1726 under the
+    title _Miscellaneous Works of Dr. William Wagstaffe_. Charles
+    Dilke, _Papers of a Critic_ (London, 1875), I, 369-382. argues
+    that not Wagstaffe but Swift was the author of some of the pieces
+    in the volume. The case for Wagstaffe is put by Nicholas Moore in
+    a letter to _The Athenaeum_, June 10, 1882 and in his article on
+    Wagstaffe in the _DNB_. Paul V. Thompson, "Swift and the Wagstaffe
+    Papers," _Notes and Queries_, 175 (1938), 79, supports the notion
+    of Wagstaffe as an understrapper of Swift. The negative part of
+    Dilke's thesis is perhaps the more plausible. _A Comment Upon Tom
+    Thumb_, as Dilke himself confesses (_Papers_, p. 377), scarcely
+    sounds very much like Swift.]
+
+    [Footnote 4: Text, p. 6. The nursery rhyme _Tom Thumb, His Life
+    and Death_, 1630, and the augmented _History of Tom Thumb_,
+    c. 1670, are printed with introductory remarks by W. C. Hazlitt,
+    _Remains of the Early Popular Poetry of England_, II (London,
+    1866), 166-250.]
+
+    [Footnote 5: Cf. George R. Potter, "Henry Baker, F.R.S.
+    (1698-1774)," _Modern Philology_, XXIX (1932), 305. Nathan Drake,
+    _The Gleaner_, I (London, 1811), 220 seems mistaken in his remark
+    that Baker's Scriblerian commentary (upon the nursery rhyme "Once
+    I was a Batchelor, and lived by myself") was the model for later
+    mock-ballad-criticisms.]
+
+    [Footnote 6: For another early instance of our genre and a very
+    pure one, see an anonymous Cambridge correspondent's critique of
+    the burlesque broadside ballad of "Moor of Moore-Hall and the
+    Dragon of Wantley," in Nathaniel Mist's _Weekly Journal_ (second
+    series), September 2, 1721, reproduced by Roger P. McCutcheon,
+    "Another Burlesque of Addison's Ballad Criticism," _Studies in
+    Philology_, XXXIII (October, 1926), 451-456.]
+
+    [Footnote 7: _Diary & Letters of Madame d'Arblay_ (London,
+    1904-1905), III, 121-122, 295: November 28, 1786; July 29, 1787;
+    William Roberts, _Memoirs of the Life and Correspondence of Mrs.
+    Hannah More_ (London, 1834), II, 46, letter from W. W. Pepys,
+    December 31, 1786.]
+
+    [Footnote 8: Advertisement inserted before No. I in a collected
+    volume dated 1787 (Yale 217. 304g).]
+
+    [Footnote 9: The source of the anecdote seems to be William
+    Jordan, _National Portrait Gallery_ (London, 1831), II, 3, quoting
+    a communication from Charles Knight the publisher, son of Charles
+    Knight of Windsor.
+
+    The present reprint of Nos. XI and XII of _The Microcosm_ is from
+    the "Second" octavo collected edition, Windsor, 1788. _The
+    Microcosm_ had reappeared at least seven times by 1835.]
+
+    [Footnote 10: Iona and Peter Opie, _The Oxford Dictionary of
+    Nursery Rhymes_ (Oxford, 1951), are unable to find an earlier
+    printed source for this rhyme than the _European Magazine_, I
+    (April, 1782), 252.]
+
+    [Footnote 11: No. XXXVI of _The Microcosm_ is a letter from Capel
+    Lofft defending the "Middle Style" of Addison in contrast to the
+    more modern Johnsonian eloquence. Robert Bell, _The Life of the
+    Rt. Hon. George Canning_ (London, 1846), pp. 48-54, in a helpful
+    account of _The Microcosm_, stresses its general fidelity to
+    _Spectator_ style and themes.]
+
+    [Footnote 12: Canning's critique closes with an appendix of three
+    and a half pages alluding to the Eton Shrovetide custom of writing
+    Latin verses, known as the "Bacchus." See H. C. Maxwell Lyte,
+    _A History of Eton College_ (London, 1911), pp. 146-147.]
+
+    [Footnote 13: As late as the turn of the century the trick was
+    still in a manner feasible. The anonymous author of _Literary
+    Leisure, or the Recreations of Solomon Saunter, Esq._ (1799-1800)
+    divides two numbers, VIII and XV, between other affairs and a
+    Shandyesque argument about the nursery charm for the hiccup "Peter
+    Piper picked a peck of pickled pepper." This author was most
+    likely not Byron's assailant Hewson Clarke (born 1787, author of
+    _The Saunterer in 1804_), as asserted in the _Catalogue_ of the
+    Hope Collection (Oxford, 1865), p. 128.
+
+    A historical interest may be not only retrospective but
+    contemporary. The reader of the present volume will appreciate
+    "How to Criticize a Poem (In the Manner of Certain Contemporary
+    Poets)", a critique of the mnemonic rhyme "Thirty days hath
+    September," in the _New Republic_, December 6, 1943.]
+
+
+       *       *       *       *       *
+           *       *       *       *
+
+                       A
+
+                    COMMENT
+
+                    upon the
+
+                    HISTORY
+
+                       of
+
+                   Tom Thumb.
+
+
+    ----Juvat immemorata ferentem
+    Ingenuis oculis[que] legi manibus[que] teneri._
+        Hor.
+
+
+                    _LONDON_,
+
+ Printed for _J. Morphew_ near _Stationers-Hall_.
+     1711.    Price 3 _d._
+
+
+
+
+        A
+     COMMENT
+
+    upon the
+     HISTORY
+
+       of
+  _TOM THUMB_.
+
+It is a surprising thing that in an Age so Polite as this, in which we
+have such a Number of Poets, Criticks and Commentators, some of the best
+things that are extant in our Language shou'd pass unobserv'd amidst a
+Croud of inferiour Productions, and lie so long buried as it were, among
+those that profess such a Readiness to give Life to every thing that is
+valuable. Indeed we have had an Enterprising Genius of late, that has
+thought fit to disclose the Beauties of some Pieces to the World, that
+might have been otherwise indiscernable, and believ'd to have been
+trifling and insipid, for no other Reason but their unpolish'd
+Homeliness of Dress. And if we were to apply our selves, instead of the
+Classicks, to the Study of Ballads and other ingenious Composures of
+that Nature, in such Periods of our Lives, when we are arriv'd to a
+Maturity of Judgment, it is impossible to say what Improvement might be
+made to Wit in general, and the Art of Poetry in particular: And
+certainly our Passions are describ'd in them so naturally, in such
+lively, tho' simple, Colours, that how far they may fall short of the
+Artfulness and Embellishments of the _Romans_ in their Way of Writing,
+_yet cannot fail to please all such Readers as are not unqualify'd for
+the Entertainment by their Affectation or Ignorance_.
+
+It was my good Fortune some time ago to have the Library of a School-Boy
+committed to my Charge, where, among other undiscover'd valuable
+Authors, I pitch'd upon _Tom Thumb_ and _Tom Hickathrift_, Authors
+indeed more proper to adorn the Shelves of _Bodley_ or the _Vatican_,
+than to be confin'd to the Retirement and Obscurity of a private Study.
+I have perus'd the first of these with an infinite Pleasure, and a more
+than ordinary Application, and have made some Observations on it, which
+may not, I hope, prove unacceptable to the Publick; and however it may
+have been ridicul'd, and look'd upon as an Entertainment only for
+Children, and those of younger Years, may be found perhaps a Performance
+not unworthy the Perusal of the Judicious, and the Model superiour to
+either of those incomparable Poems of _Chevy Chase_, or _The Children in
+the Wood_. The Design was undoubtedly to recommend Virtue, and to shew
+that however any one may labour under the Disadvantages of Stature or
+Deformity, or the Meanness of Parentage, yet if his Mind and Actions are
+above the ordinary Level, those very Disadvantages that seem to depress
+him, shall add a Lustre to his Character.
+
+There are Variety of Incidents, dispers'd thro' the whole Series of this
+Historical Poem, that give an agreeable Delight and Surprise, _and are
+such as *Virgil* himself wou'd have touch'd upon, had the like Story
+been told by that Divine Poet_, viz. his falling into the Pudding-Bowl
+and others; which shew the Courage and Constancy, the Intrepidity and
+Greatness of Soul of this little Hero, amidst the greatest Dangers that
+cou'd possibly befall him, and which are the unavoidable Attendants of
+human Life.
+
+  Si fractus illabatur orbis,
+  Impavidum ferient ruinae.
+
+The Author of this was unquestionably a Person of an Universal Genius,
+and if we consider that the Age he wrote in, must be an Age of the most
+profound Ignorance, as appears from the second Stanza of the first
+_Canto_, he was a Miracle of a Man.
+
+I have consulted Monsieur _Le Clerk_, and my Friend Dr. _B--ly_
+concerning the Chronology of this Author, who both assure me, tho'
+Neither can settle the Matter exactly, that he is the most ancient of
+our Poets, and 'tis very probable he was a _Druid_, who, as _Julius
+Caesar_ mentions in his _Commentaries_, us'd to deliver their Precepts in
+Poetry and Metre. The Author of _The Tale of a Tub_, believes he was a
+_Pythagorean_ Philosopher, and held the _Metempsichosis_; and Others
+that he had read _Ovid's Metamorphosis_, and was the first Person that
+ever found out the Philosopher's Stone. A certain Antiquary of my
+Acquaintance, who is willing to forget every thing he shou'd remember,
+tells me, He can scarcely believe him to be Genuine, but if he is, he
+must have liv'd some time before the _Barons_ Wars; which he proves, as
+he does the Establishment of Religion in this Nation, upon the Credit of
+an old Monument.
+
+There is another Matter which deserves to be clear'd, whether this is a
+Fiction, or whether there was really such a Person as _Tom Thumb_. As to
+this, my Friends tell me, 'Twas Matter of Fact, and that 'twas an
+unpardonable Omission in a certain Author never once to mention him in
+his _Arthur_'s, when nothing is more certain than that he was the
+greatest Favourite of that Prince, and a Person who had perform'd some
+very eminent Services for his Country. And indeed I can't excuse his
+taking no Notice of our Poet who has afforded him such Helps, and to
+whom he is so much oblig'd for the Model of those Productions: Besides
+it had been but a Debt of Gratitude, as Sir _R---- B----_ was a Member
+of the Faculty, to have made honourable mention of him who has spoke so
+honourably of the Profession, on the Account of the Sickness of his
+Hero.
+
+I have an old Edition of this Author by me, the Title of which is more
+Sonorous and Heroical, than those of later Date, which for the better
+Information of the Reader, it may not be improper to insert in this
+Place. _*Tom Thumb* his Life and Death, wherein is declar'd his many
+marvellous Acts of Manhood, full of Wonder and strange Merriment_: Then
+he adds, _which little Knight liv'd in King *Arthur*'s Time in the Court
+of *Great Britain*_. Indeed there are so many spurious Editions of this
+Piece upon one Account or other, that I wou'd advise my Readers to be
+very cautious in their Choice, and it would be very wisely done, if they
+wou'd consult the curious _AElianus_ concerning this Matter, who has the
+choicest Collection of any Man in _England_, and understands the most
+correct Editions of Books of this Nature.
+
+I have took a great deal of Pains to set these Matters of Importance in
+as clear a Light as we Criticks generally do, and shall begin with the
+first _Canto_, which treats of our Hero's Birth and Parentage, and
+Education, with some other Circumstances which you'll find are carry'd
+on in a manner not very inelegant, _and cannot fail to please those who
+are not Judges of Language, or those who notwithstanding they are Judges
+of Language, have a genuine and unprejudic'd Tast of Nature_.
+
+  In _Arthur's_ Court _Tom Thumb_ did live;
+  A Man of mickle Might,
+  The best of all the Table round,
+  And eke a doubty Knight,
+  In Stature but an Inch in Height,
+  Or quarter of a Span;
+  Then think you not this worthy Knight
+  Was prov'd a valiant Man.
+
+This Beginning is agreeable to the best of the Greek and Latin Poets;
+_Homer_ and _Virgil_ give an Idea of the whole Poem in a few of the
+first Lines, and here our Author draws the Character of his Hero, and
+shews what you may expect from a Person so well qualify'd for the
+greatest Undertakings.
+
+In the Description of him, which is very fine, he insinuates, that tho'
+perhaps his Person may appear despicable and little, yet you'll find him
+an Hero of the most consummate Bravery and Conduct, and is almost the
+same Account _Statius_ gives of _Tydeus_.
+
+  --------Totos infusa per artus,
+  Major in exiguo regnabat corpore virtus.
+
+If any suppose the Notion of such an Hero improbable, they'll find the
+Character _Virgil_ gives _Camilla_ to be as far stretch'd:
+
+  Illa vel Intactae segetis per summa volaret
+  Gramina, nec teneras cursu laesisset Aristas:
+  Vel mare per medium, fluctu suspensa tumenti
+  Ferret Iter: celeres nec tingeret aequore plantas.
+
+But to proceed,
+
+  His Father was a Plowman plain,
+  His Mother milk'd the Cow,
+  And yet a Way to get a Son
+  This Couple knew not how,
+  Until such time the good old Man
+  To learned _Merlin_ goes,
+  And there to him in deep Distress
+  In secret Manner shows,
+  How in his Heart he wish'd to have,
+  A Child in time to come,
+  To be his Heir, tho' it might be
+  No bigger than his Thumb.
+  Of which old _Merlin_ was foretold,
+  That he his Wish should have,
+  And so a Son of Stature small
+  The Charmer to him gave.
+
+There is nothing more common throughout the Poets of the finest Taste,
+than to give an Account of the Pedigree of their Hero. So _Virgil_,
+
+  ----AEneas quem Dardanio Anchisae
+  Alma Venus Phrygii genuit Simoentis ad undas.
+
+And the Manner of the Countryman's going to consult _Merlin_, is like
+that of _AEneas_'s approaching the Oracle of _Delphos_.
+
+  ----Egressi veneramur Apollinis Urbem.
+
+And how naturally and poetically does he describe the Modesty of the
+Man, who wou'd be content, if _Merlin_ wou'd grant him his Request, with
+a Son no bigger than his Thumb.
+
+The Two next Stanza's carry on the Idea with a great deal of Probability
+and Consistence; and to convince the World that he was born to be
+something more than Man, he produces a Miracle to bring him into it.
+
+  Begot, and born in half an Hour,
+  To fit his Father's Will.
+
+The following Stanza continues the Miracle, and brings the _Fairy Queen_
+and her Subjects, who gives him his Name, and makes him a Present of his
+Apparel.
+
+  Whereas she cloath'd him fine and brave,
+  In Garments richly fair,
+  The which did serve him many Years
+  In seemly sort to wear.
+
+So _Virgil_ of Queen _Dido_'s Present to _Ascanius_:
+
+  Hoc Juvenem egregium praestanti munere donat.
+
+And again,
+
+  --------Quem candida Dido
+  Esse sui dederat Monumentum & pignus Amoris.
+
+The Description of his Dress is very agreeable, and is not unlike what I
+have met with somewhere of a Giant going a Fishing, with an Account of
+his Implements equal to his Proportion.
+
+  His Hat made of an Oaken Leaf,
+    His Shirt a Spider's Web,
+  Both light and soft for these his Limbs
+    That were so smally bred.
+  His Hose and Doublet Thistle Down,
+    Together weav'd full fine;
+  His Stockings of an Apple green,
+    Made of the outward Rind;
+  His Garters were two little Hairs
+    Pluck'd from his Mothers Eye;
+  His Shooes made of a Mouse's Skin,
+    And Tann'd most curiously.
+
+The next Stanza's relate his Diversions, bearing some Analogy to those
+of _Ascanius_ and other Lads in _Virgil_:
+
+  Thus like a valiant Gallant He
+    Adventures forth to go,
+  With other Children in the Street,
+    His pretty Tricks to show.
+
+  Una Acies Juvenum ducit quam Parvus Ovantem
+  Nomen Avi referens Priamus.
+
+There is a Piece of Revenge our little Hero took upon a Play-fellow,
+which proves, to what an height Mechanical and Experimental Philosophy
+was arriv'd to in that Age, and may be worth while to be considered by
+the _Royal Society_.
+
+  Of whom to be reveng'd, he took
+    In Mirth and pleasant Game,
+  Black Pots and Glasses, which he hung
+    Upon a bright Sun-Beam.
+
+The third Line is a Demonstration of the Antiquity of Drinking out of
+Black-Pots, which still prevails in most Counties of this Nation, among
+the Justices of Peace at their Petty and Quarter Sessions.
+
+The last four Lines of this Canto, and the beginning of the next,
+contain the miraculous Adventure of the Pudding-Bowl: And, by the by,
+we may observe, That it was the Custom of the _Christians_ at that time,
+to make Hog-Puddings instead of Minc'd-Pies at _Christmas_; a laudable
+Custom very probably brought up to distinguish 'em more particularly
+from the _Jews_.
+
+  Whereas about a _Christmas_ time,
+    His Father an Hog had kill'd,
+  And _Tom_ to see the Pudding made,
+    Fear that it should be spill'd;
+  He sat, the Candle for to Light,
+    Upon the Pudding-Bowl:
+  Of which there is unto this Day
+    A pretty Pastime told:
+      For _Tom_ fell in----
+
+Perhaps some may think it below our Hero to stoop to such a mean
+Employment as the Poet has here enjoyn'd him, of holding the Candle, and
+that it looks too much like a _Citizen_, or a _Cot_, as the Women call
+it: But if we reflect on the Obedience due to Parents, as our Author
+undoubtedly did, and the Necessities those People labour'd under, we
+cannot but admire at his ready Compliance with what could by no Means be
+agreeable to the Heroical Bent of his Inclinations, and perceive what a
+tender Regard he had for the Wellfare of his Family, when he took the
+strictest Care imaginable for the Preservation of the Hog-Pudding. And
+what can be more remarkable? What can raise the Sentiments of Pity and
+Compassion to an higher Pitch, than to see an Hero fall into such an
+unforeseen Disaster in the honourable Execution of his Office? _This
+certainly is conformable to the way of Thinking among the Ancient Poets,
+and what a good-natur'd Reader cannot but be affected with._
+
+The following Part of this Canto is the Relation of our Hero's being put
+into a Pudding, and convey'd away in a Tinker's Budget; which is
+design'd by our Author to prove, if it is understood literally, That the
+greatest Men are subject to Misfortunes. But it is thought by Dr.
+_B--tly_ to be all Mythology, and to contain the Doctrine of the
+Transmutation of Metals, and is design'd to shew, that all Matter is the
+same, tho' very differently Modified. He tells me, he intends to publish
+a distinct Treatise of this Canto; and I don't question, but he'll
+manage the Dispute with the same Learning, Conduct, and good Manners,
+he has done others, and as Dr. _Salmon_ uses in his Corrections of Dr.
+_Sydenham_ and the _Dispensatory_.
+
+The next Canto is the Story of _Tom Thumb_'s being Swallow'd by a Cow,
+and his Deliverance out of her, which is treated of at large by
+_Giordano Bruno_ in his _Spaccio de la Bestia trionfante_; which Book,
+tho' very scarce, yet a _certain Gentleman_, who has it in his
+Possession, has been so obliging as to let every Body know where to meet
+with it. After this, you find him carried off by a Raven, and swallow'd
+by a Giant; and 'tis almost the same Story as that of _Ganimede_, and
+the Eagle in _Ovid_.
+
+  Now by a Raven of great Strength,
+    Away poor _Tom_ was born.
+
+  Nec mora: percusso mendacibus aere pennis
+  Abripit Iliaden.
+
+A certain great _Critick_ and _Schoolmaster_ who has publish'd such
+Notes upon _Horace_ as were never seen before, is of Opinion, and has
+very good Authority for what he says, that 'twas rather an Owl than a
+Raven; for, as he observes with a wonderful deal of Penetration and
+Sagacity, our Hero's Shoes were made of a Mouse's Skin which might
+induce the Owl to run away with him. The Giant, he owns, looks very
+probable, because we find 'em swallowing People very fast in almost all
+Romances.
+
+This Canto concludes with our Hero's Arrival at Court; after he had
+spent a considerable Part of his Youth in Labours and Fatigues, had been
+inur'd to nothing else but Hardships and Adventures, we see him receive
+the Recompence of his Merit, and become the Favourite of his Prince: And
+here we may perceive all the Fineness of the Gentleman, mixt with all
+the Resolution and Courage of the Warriour; We may behold him as ready
+to oblige the Ladies with a Dance, as he was to draw his Sword in their
+Defence.
+
+  Amongst the Deeds of Courtship done,
+    His Highness did command,
+  That he shou'd dance a Galliard brave
+    Upon the Queen's Left Hand.
+  The which he did----
+
+This shews he had all the Accomplishments of _Achilles_ who was
+undoubtedly one of the best Dancers in the Age he liv'd, according to
+the Character _Homer_ gives him so frequently of the Agility of his
+Feet. I have consulted a Master of the Profession of Dancing, who is
+excellently vers'd in the Chronology of all Dances, he tells me that
+this _Galliard_ came into Vogue about the latter End of the Reign of
+_Uter Pendragon_, and continu'd during that of King _Arthur_, which is
+Demonstration to me that our Poet liv'd about that Age.
+
+It is asserted very positively in the later Editions of this Poem, that
+the four following Lines are a Relation of the King and _Tom Thumb_'s
+going together an Hunting, but I have took indefatigable Pains to
+consult all the _Manuscripts_ in _Europe_ concerning this Matter, and I
+find it an _Interpolation_. I have also an _Arabick Copy_ by me, which I
+got a _Friend_ to translate, being unacquainted with the Language, and
+it is plain by the Translation that 'tis there also _interpolated_.
+
+  Now after that the King wou'd not
+    Abroad for Pleasure go,
+  But still _Tom Thumb_ must go with him
+   Plac'd on his Saddle Bow.
+
+  ----Ipse Uno graditur comitatus Achate.
+
+There is scarcely any Scene more moving than this that follows, and is
+_such an one as wou'd have shined in *Homer* or *Virgil*_. When he was
+favour'd with his Prince's Ear, and might have ask'd the most profitable
+and important Posts in the Government, and been indemnified if guilty of
+a _Peculatus_; He only used his Interest to relieve the Necessities of
+his Parents, when another _Person_ wou'd have scarcely own'd 'em for his
+_Relations_. This discovers such a Generosity of Soul, such an Humility
+in the greatest Prosperity, such a tender Affection for his Parents, as
+is hardly to be met with, but in our Author.
+
+  And being near his Highness Heart
+    He crav'd a wealthy Boon,
+  A noble Gift, the which the King
+    Commanded to be done;
+  To relieve his Father's Wants,
+    And Mother being old.
+
+The rest of this Canto relates the Visit to his Father, in which there
+is something very soft and tender, something _that may move the Mind of
+the most polite Reader, with the inward Meltings of Humanity and
+Compassion_.
+
+The Next Canto of the Tilts and Tournaments, is much like the Fifth Book
+of _Virgil_, and tho' we can't suppose our Poet ever saw that Author,
+yet we may believe he was directed to almost the same Passages, _by the
+same kind of Poetical Genius, and the same Copyings after Nature_.
+
+  Now he with Tilts and Tournaments,
+    Was entertained so,
+  That all the rest of _Arthur_'s Knights
+    Did him much Pleasure show;
+  And good Sir _Lancelot_ of _Lake_,
+    Sir _Tristram_, and Sir _Guy_;
+  But none like to _Tom Thumb_
+    For Acts of Chivalry.
+
+  Longeque ante omnia Corpora Nisus
+  Emicat----
+
+And agen,
+
+  Post Elymus subit, & nunc tertia palma Diores.
+
+  In Honour of which noble Day,
+    And for his Lady's Sake,
+  A Challenge in King _Arthur_'s Court,
+    _Tom Thumb_ did bravely make.
+
+  Talis prima Dares caput altum in praelia tollit,
+  Ostendit[que] humeros latos, alterna[que] Iactat
+  Brachia portendens, & verberat Ictibus auras,
+  Quaeritur huic alius:----
+
+  'Gainst whom those noble Knights did run,
+    Sir _Chion_ and the rest,
+  But, still _Tom Thumb_ with all his Might
+    Did bear away the best.
+
+  Et primum ante omnes victorem appellat Acesten.
+
+At the same time our Poet shews a laudable Partiality for his Hero, he
+represents Sir _Lancelot_ after a manner not unbecoming so bold and
+brave a Knight.
+
+  At last Sir _Lancelot_ of _Lake_,
+    In manly sort came in,
+  And with this stout and hardy Knight
+    A Battle to begin.
+
+  Huic contra AEneas, speculatus in agmine longo
+  Obvius ire parat----
+
+  Which made the Courtiers all aghast.
+
+  Obstupuere animi----
+
+This Canto concludes with the Presents made by the King to the Champion
+according to the Custom of the _Greeks_ and _Romans_ in such Cases; only
+his tumbling thro' the Queen's Ring is observable, and may serve to give
+some Light into the Original of that ingenious Exercise so much
+practis'd by the Moderns, of tumbling thro' an Hoop.
+
+The last Canto treats of the Champion's Sickness and Death, and whoever
+considers the Beauty, Regularity and majestic Simplicity of the
+Relation, cannot but be surpris'd at the Advances that may be made in
+Poetry by the Strength of an uncultivated Genius, and may see how far
+Nature can proceed without the Ornamental Helps and Assistances of Art.
+The Poet don't attribute his Sickness to a Debauch, to the Irregularity
+or Intemperance of his Life, but to an Exercise becoming an Hero; and
+tho' he dies quietly in his Bed, he may be said in some measure to die
+in the Bed of Honour. And to shew the great Affection the King had for
+him, he sends for his Physicians, and orders all the Care imaginable to
+be taken for the Conservation of his Life.
+
+  He being slender and tall,
+    This cunning Doctor took
+  A fine perspective Glass, with which,
+    He did in Secret look.
+
+It is a Wonder that the learned World shou'd differ so in their Opinions
+concerning the Invention and Antiquity of Optic Glasses, and that any
+one should contend for _Metius_ of _Alcmaer_, or, as Dr. _Plot_ does,
+for _Fryar Bacon_, when, if this Author had been consulted, Matters
+might have been so easily adjusted. Some great Men indeed wou'd prove
+from hence, our Knight was the Inventor of 'em, that his Valet might the
+more commodiously see to dress him; but if we consider there were no
+Beau's in that Age, or reflect more maturely on the Epithet here given
+to the Doctor, we may readily conclude, that the Honour of this
+Invention belongs more particularly to that ingenious Profession.
+
+How lovely is the Account of the Departure of his Soul from his Body:
+
+  And so with Peace and Quietness
+    He left the World below.
+
+  Placida[que] demum ibi morte quievit.
+
+  And up into the Fairy Land
+    His Soul did fleeting go.
+
+  ----At AEthereas repetit mens ignea sedes.
+
+  Whereas the Fairy Queen receiv'd
+    With happy Mourning Cheer
+  The Body of this valiant Knight,
+    Whom she esteem'd so dear;
+  For with her dancing Nymphs in Green
+    She fetch'd him from his Bed,
+  With Musick and with Melody,
+    As soon as Life was fled.
+
+  ----Et fotum gremio Dea tollit in Altos
+  Idaliae lucos----
+
+So one of our Modern Poets;
+
+  Thither the Fairys and their Train resort,
+  And leave their Revels, and their midnight Sport.
+
+We find in all the most celebrated Poets some Goddess that takes upon
+her to be the peculiar Guardian of the Hero, which has been carry'd on
+very elegantly in this Author.
+
+But agen;
+
+  For whom King _Arthur_ and his Knights,
+    Full forty Days did mourn,
+  And in Remembrance of his name,
+    Who was so strangely born,
+  He built a Tomb of Marble grey,
+    And Year by Year did come,
+  To celebrate the Mournful Day,
+    And Burial of _Tom Thumb_,
+  Whose Fame lives here in _England_ still,
+    Among the Country sort,
+  Of whom their Wives and Children small,
+    Tell Tales of pleasant Sport.
+
+So _Ovid_;
+
+  ----Luctus monumenta manebunt
+  Semper Adoni mei, repetita[que] mortis Imago
+  Annua plangoris peragit simulamina Nostri.
+
+Nor is this Conclusion unlike one of the best Latin Poems this Age has
+produc'd.
+
+  Tu Taffi AEternum vives, tua munera Cambri
+  Nunc etiam Celebrant, quoties[que] revolvitur Annus
+  Te memorant, Patrium Gens tota tuetur Honorem,
+  Et cingunt viridi redolentia tempora Porro.
+
+And now, tho' I am very well satisfied with this Performance, yet,
+according to the usual Modesty of us Authors, I am oblig'd to tell the
+World, _it will be a great Satisfaction to me, knowing my own
+Insufficiency_, if I have given but some Hints of the Beauties of this
+Poem, which are capable of being improv'd by those of greater Learning
+and Abilities. And I am glad to find by a Letter I have receiv'd from
+one of the _Literati_ in _Holland_, That the learned _Huffius_, a great
+Man of our Nation, is about the Translation of this Piece into _Latin_
+Verse, which he assures me will be done with a great deal of Judgment,
+in case he has enough of that Language to furnish out the Undertaking.
+I am very well Appris'd, That there has been publish'd Two Poems lately,
+Intituled, The Second and Third Parts of this Author; which treat of our
+little Hero's rising from the Dead in the Days of King _Edgar_: But I am
+inform'd by my Friend the _Schoolmaster_, and others, That they were
+compos'd by an Enthusiast in the last Century, and have been since
+Printed for the Establishment of the Doctrine of Monsieur _Marion_ and
+his Followers, and the Resurrection of Dr. _Ems_.
+
+I hope no Body will be offended at my asserting Things so positively,
+since 'tis the Priviledge of us _Commentators_, who understand the
+meaning of an Author Seventeen Hundred Years after he has wrote, much
+better than ever he cou'd be suppos'd to do himself. And certainly,
+a Critick ought not only to know what his Authors Thoughts were when he
+was Writing such and such Passages, but how those Thoughts came into his
+Head, where he was when he wrote, or what he was doing of; whether he
+wrote in a Garden, a Garret, or a Coach; upon a Lady, or a Milkmaid;
+whether at that Time he was scratching his Elbow, drinking a Bottle,
+or playing at Questions and Commands. These are material and important
+Circumstances so well known to the _True Commentator_, that were
+_Virgil_ and _Horace_ to revisit the World at this time, they'd be
+wonderfully surpris'd to see the minutest of their Perfections
+discover'd by the Assistances of _Modern Criticism_. Nor have the
+Classicks only reap'd Benefit from Inquiries of this Nature, but
+Divinity it self seems to be render'd more intelligible. I know a
+Divine, who understands what St. _Paul_ meant by _Higher Powers_, much
+better than that Apostle cou'd pretend to do; and another, That can
+unfold all the Mysteries of the _Revelations_ without Spectacles.
+
+I know there are some People that cast an Odium on me, and others, for
+pointing out the Beauties of such Authors, as have, they say, been
+hitherto unknown, and argue, That 'tis a sort of Heresie in Wit, and is
+like the fruitless Endeavours of proving the Apostolical Constitutions
+_Genuine_, that have been indisputably _Spurious_ for so many Ages: But
+let these Gentlemen consider, whether they pass not the same Judgment on
+an Author, as a Woman does on a Man, by the gayety of his Dress, or the
+gaudy Equipage of his Epithets. And however they may call me
+_second-sighted_, for discerning what they are Blind to, I must tell
+them this Poem has not been altogether so obscure, but that the most
+refin'd _Writers_ of this Age have been delighted with the reading it.
+Mr. _Tho. D'Urfey_, I am told, is an Admirer, and Mr. _John Dunton_ has
+been heard to say, more than once, he had rather be the Author of it
+than all his Works.
+
+How often, _says my Author_, have I seen the Tears trickle down the Face
+of the Polite _Woodwardius_ upon reading some of the most pathetical
+Encounters of _Tom Thumb_! How soft, how musically sorrowful was his
+Voice! How good Natur'd, how gentle, how unaffected was the Ceremoniale
+of his Gesture, and how unfit for a Profession so Merciless and
+Inhumane!
+
+I was persuaded by a Friend to write some Copies of Verses and place 'em
+in the Frontispiece of this Poem, in Commendation of My self and my
+_Comment_, suppos'd to be compos'd by _AG. FT. LM. RW._ and so forth.
+_To their very worthy and honour'd Friend_ C. D. upon his admirable and
+useful _Comment_ on the History of _Tom Thumb_; but my Bookseller told
+me the Trick was so common, 'twou'd not answer. Then I propos'd a
+Dedication to my Lord _such an One_, or Sir _Thomas such an One_; but he
+told me the Stock to be rais'd on Dedications was so small now a Days,
+and the Discount to my Lord's Gentleman, _&c._ so high, that 'twou'd not
+be worth while; besides, says he, it is the Opinion of some Patrons,
+that a Dinner now and then, with, _Sir, I shall expect to see you
+sometimes_, is a suitable Reward for a publick Compliment in Print. But
+if, continues my Bookseller, you have a Mind it shou'd turn to
+Advantage, write Treason or Heresy, get censur'd by the Parliament or
+Convocation, and condemn'd to be burnt by the Hands of the common
+Hangman, and you can't fail having a Multitude of Readers, by the same
+Reason, _A notorious Rogue has such a Number of Followers to the
+Gallows_.
+
+
+_FINIS._
+
+
+       *       *       *       *       *
+           *       *       *       *
+
+                [Illustration]
+
+
+                THE MICROCOSM.
+
+                       by
+
+                Gregory Griffin.
+
+
+
+
+  No. XI. of the
+
+  MICROCOSM.
+
+  MONDAY, _February_ 12, 1787.
+
+  Res gestae regumque, ducumque, et tristia bella,
+  _Quo scribi possint numero, monstravit Homerus_.--HOR.
+  By Homer taught, the modern poet sings,
+  _In Epic strains, of heroes, wars, and Kings_.--FRANCIS.
+
+
+There are certain forms and etiquettes in life, which, though the
+neglect of them does not amount to the commission of a crime, or the
+violation of a duty, are yet so established by example, and sanctioned
+by custom, as to pass into Statutes, equally acknowledged by society,
+and almost equally binding to individuals, with the laws of the land,
+or the precepts of morality. A man guilty of breaking these, though he
+cannot be transported for a felon, or indicted for treasonable
+practices, is yet, in the High Court of Custom, branded as a flagrant
+offender against decorum, as notorious for an unprecedented infringement
+on propriety.
+
+There is no race of men on whom these laws are more severe than Authors;
+and no species of Authors more subject to them, than Periodical
+Essayists. _Homer_ having prescribed the form, or to use a more modern
+phrase, _set the fashion_ of _Epic Poems_, whoever presumes to deviate
+from his plan, must not hope to participate his dignity: And whatever
+method, _The Spectator_, _The Guardian_, and others, who first adopted
+this species of writing, have pursued in their undertaking, is set down
+as a rule for the conduct of their followers; which, whoever is bold
+enough to transgress, is accused of a deviation from the original
+design, and a breach of established regulation.
+
+It has hitherto been customary for all Periodical Writers, to take some
+opportunity, in the course of their labours, to display their Critical
+abilities, either by making observations on some popular Author, and
+work of known character, or by bringing forth the performances of hidden
+merit, and throwing light on genius in obscurity. To the critiques of
+_The Spectator_, _Shakespear_, and more particularly, _Milton_, are
+indebted, for no inconsiderable share of the reputation, which they now
+so universally enjoy; and by his means were the ruder graces, and more
+simple beauties of _Chevy Chace_ held up to public view, and recommended
+to general admiration.
+
+I should probably be accused of swerving from the imitation of so great
+an example, were not I to take occasion to shew that I too am not
+entirely destitute of abilities of this kind; but that by possessing a
+decent share of critical discernment, and critical jargon, I am capable
+of becoming a very tolerable commentator. For the proof of which,
+I shall rather prefer calling the attention of my readers to an object
+as yet untreated of by any of my immediate predecessors, than venture to
+throw in my observations on any work which has before passed the ordeal
+of frequent examination. And this I shall do for two reasons; partly,
+because were I to choose a field, how fertile soever, of which many
+others had before me been reaping the fruits, mine would be at best but
+the gleanings of criticism; and partly, from a more interested view,
+from a selfish desire of accumulated praise; since, by making a work,
+as yet almost wholly unknown, the subject of my consideration, I shall
+acquire the reputation of taste, as well as judgement;--of judiciousness
+in selection, as well as justness in observation;--of propriety in
+choosing the object, as well as skill in using the language, of
+commentary.
+
+The _Epic Poem_ on which I shall ground my present critique, has for its
+chief characteristics, brevity and simplicity. The Author,--whose name I
+lament that I am, in some degree, prevented from consecrating to
+immortal fame, by not knowing what it is--the Author, I say, has not
+branched his poem into excressences of episode, or prolixities of
+digression; it is neither variegated with diversity of unmeaning
+similitudes, nor glaring with the varnish of unnatural metaphor. The
+whole is plain and uniform; so much so indeed, that I should hardly be
+surprised, if some morose readers were to conjecture, that the poet had
+been thus simple rather from necessity than choice; that he had been
+restrained not so much by chastity of judgement, as sterility of
+imagination.
+
+Nay, some there may be perhaps, who will dispute his claim to the title
+of an _Epic Poet_; and will endeavour to degrade him even to the rank of
+a _ballad-monger_. But I, as his Commentator, will contend for the
+dignity of my Author; and will plainly demonstrate his Poem to be an
+_Epic Poem_, agreeable to the example of all Poets, and the consent of
+all Critics heretofore.
+
+First, it is universally agreed, that an _Epic Poem_ should have three
+component parts, _a beginning_, _a middle_, and _an end_;--secondly,
+it is allowed, that it should have one _grand action_, or _main design_,
+to the forwarding of which, all the parts of it should directly or
+indirectly tend; and that this design should be in some measure
+consonant with, and conducive to, the purposes of _Morality_;--and
+thirdly, it is indisputably settled, that it should have _a Hero_.
+I trust that in none of these points the poem before us will be found
+deficient. There are other inferior properties, which I shall consider
+in due order.
+
+Not to keep my readers longer in suspense, the subject of the poem is
+"_The Reformation of the Knave of Hearts_." It is not improbable, that
+some may object to me that a _Knave_ is an unworthy Hero for an Epic
+Poem; that a Hero ought to be all that is great and good. The objection
+is frivolous. The greatest work of this kind that the World has ever
+produced, has "_The Devil_" for its hero; and supported as my author is
+by so great a precedent, I contend, that his Hero is a very decent Hero;
+and especially as he has the advantage of _Milton_'s, by reforming at
+the end, is evidently entitled to a competent share of celebrity.
+
+I shall now proceed in the more immediate examination of the poem in its
+different parts. The _beginning_, say the Critics, ought to be plain and
+simple; neither embellished with the flowers of poetry, nor turgid with
+pomposity of diction. In this how exactly does our Author conform to the
+established opinion! he begins thus,
+
+    "The Queen of Hearts
+    "She made some Tarts"--
+
+Can any thing be more clear! more natural! more agreeable to the true
+spirit of simplicity! Here are no tropes,--no figurative
+expressions,--not even so much as an invocation to the Muse. He does not
+detain his readers by any needless circumlocution; by unnecessarily
+informing them, what he _is_ going to sing; or still more unnecessarily
+enumerating what he _is not_ going to sing: but according to the precept
+of Horace,
+
+  ----in medias res,
+  Non secus ac notas, auditorem rapit,----
+
+That is, he at once introduces us, and sets us on the most easy and
+familiar footing imaginable, with her Majesty of Hearts, and interests
+us deeply in her domestic concerns. But to proceed,
+
+    "The Queen of Hearts
+    "She made some Tarts,
+  "All on a Summer's Day."
+
+Here indeed the prospect brightens, and we are led to expect some
+liveliness of imagery, some warmth of poetical colouring;--but here is
+no such thing.--There is no task more difficult to a Poet, than that of
+_Rejection_. _Ovid_, among the ancients, and _Dryden_, among the
+moderns, were perhaps the most remarkable for the want of it. The latter
+from the haste in which he generally produced his compositions, seldom
+paid much attention to the "_limae labor_," "the labour of correction,"
+and seldom therefore rejected the assistance of any idea that presented
+itself. _Ovid_, not content with catching the leading features of any
+scene or character, indulged himself in a thousand minutiae of
+description, a thousand puerile prettinesses, which were in themselves
+uninteresting, and took off greatly from the effect of the whole; as the
+numberless suckers, and straggling branches of a fruit tree, if
+permitted to shoot out unrestrained, while they are themselves barren
+and useless, diminish considerably the vigour of the parent stock.
+_Ovid_ had more genius, but less judgement than _Virgil_; _Dryden_ more
+imagination, but less correctness than _Pope_; had they not been
+deficient in these points, the former would certainly have equalled, the
+latter infinitely outshone the merits of his countryman.--_Our Author_
+was undoubtedly possessed of that power which they wanted; and was
+cautious not to indulge too far the sallies of a lively imagination.
+Omitting therefore any mention of--sultry Sirius,--silvan
+shade,--sequestered glade,--verdant hills,--purling rills,--mossy
+mountains,--gurgling fountains,--&c. &c.--he simply tells us that it was
+"_All on a Summers Day_." For my own part, I confess, that I find myself
+rather flattered than disappointed; and consider the Poet as rather
+paying a compliment to the abilities of his readers, than baulking their
+expectations. It is certainly a great pleasure to see a picture well
+painted; but it is a much greater to paint it well oneself. This
+therefore I look upon as a stroke of excellent management in the Poet.
+Here every reader is at liberty to gratify his own taste; to design for
+himself just what sort of "_Summer's Day_" he likes best; to choose his
+own scenery; dispose his lights and shades as he pleases; to solace
+himself with a rivulet or a horse-pond,--a shower, or a sun-beam,--a
+grove, or a kitchen garden,--according to his fancy. How much more
+considerate this, than if the Poet had, from an affected accuracy of
+description, thrown us into an unmannerly perspiration by the heat of
+the atmosphere; forced us into a landscape of his own planning, with
+perhaps a paltry good-for-nothing zephyr or two, and a limited quantity
+of wood and water.--All this _Ovid_ would undoubtedly have done. Nay,
+to use the expression of a learned brother-commentator, "_quovis pignore
+decertem_" "I would lay any wager," that he would have gone so far as to
+tell us what the tarts were made of; and perhaps wandered into an
+episode on the art of preserving cherries. But _our Poet_, above such
+considerations, leaves every reader to choose his own ingredients, and
+sweeten them to his own liking; wisely foreseeing, no doubt, that the
+more palatable each had rendered them to his own taste, the more he
+would be affected at their approaching loss.
+
+  "All on a Summer's Day."
+
+I cannot leave this line without remarking, that one of the _Scribleri_,
+a descendant of the famous _Martinus_, has expressed his suspicions of
+the text being corrupted here, and proposes, instead of "_All on_"
+reading "_Alone_," alledging, in favour of this alteration, the effect
+of Solitude in raising the passions. But _Hiccius Doctius_, a High Dutch
+commentator, one nevertheless well versed in British literature, in a
+note of his usual length and learning, has confuted the arguments of
+_Scriblerus_. In support of the present reading, he quotes a passage
+from a poem written about the same period with our author's, by the
+celebrated _Johannes Pastor_[*], intituled "_An Elegiac Epistle to the
+Turnkey of Newgate_," wherein the gentleman declares, that rather indeed
+in compliance with an old custom, than to gratify any particular will of
+his own, he is going
+
+  --------"All hanged for to be
+  "Upon that fatal Tyburn tree."----
+
+    [Footnote *: More commonly known, I believe, by the appellation of
+    "_Jack Shepherd_."]
+
+Now as nothing throws greater light on an author, than the concurrence
+of a contemporary writer, I am inclined to be of _Hiccius's_ opinion,
+and to consider the "_All_" as an elegant expletive, or, as he more
+aptly phrases it "_elegans expletivum_." The passage therefore must
+stand thus,
+
+    "The Queen of Hearts
+    "She made some Tarts,
+  "All on a Summer's Day."
+
+And thus ends the first part, or _beginning_; which is simple and
+unembellished; opens the subject in a natural and easy manner; excites,
+but does not too far gratify our curiosity: for a reader of accurate
+observation may easily discover, that the _Hero_ of the Poem has not,
+as yet, made his appearance.
+
+
+I could not continue my examination at present through the whole of this
+Poem, without far exceeding the limits of a single paper. I have
+therefore divided it into two; but shall not delay the publication of
+the second to another week,--as that, besides breaking the connection of
+criticism, would materially injure the _unities_ of the Poem.
+
+
+
+
+  No. XII.
+
+  of the
+
+  MICROCOSM.
+
+  MONDAY, _February 12, 1787_.
+
+  --------Servetur ad imum,
+  Qualis ab incepto processerit, et sibi constet.
+
+      HORACE.
+
+  From his first Entrance to the closing Scene,
+  Let him one equal Character maintain.
+
+      FRANCIS.
+
+
+Having thus gone through the first part, or _beginning_ of the Poem,
+we may naturally enough proceed to the consideration of the second.
+
+The second part, or _middle_, is the proper place for bustle and
+business; for incident and adventure.
+
+    "The Knave of Hearts
+    "He stole those Tarts."
+
+Here attention is awakened; and our whole souls are intent upon the
+first appearance of the Hero. Some readers may perhaps be offended at
+his making his _entre_ in so disadvantageous a character as that of a
+_thief_. To this I plead precedent.
+
+The Hero of the Iliad, as I observed in a former paper, is made to
+lament very pathetically,--that "life is not like all other possessions,
+to be acquired by theft."--A reflection, in my opinion, evidently
+shewing, that, if he _did_ refrain from the practice of this ingenious
+art, it was not from want of an inclination that way. We may remember
+too, that in _Virgil's_ poem, almost the first light in which the _Pious
+AEneas_ appears to us, is a _deer-stealer_; nor is it much excuse for
+him, that the deer were wandering without keepers; for however he might,
+from this circumstance, have been unable to ascertain whose property
+they were; he might, I think, have been pretty well assured that they
+were not _his_.
+
+Having thus acquitted our Hero of misconduct, by the example of his
+betters, I proceed to what I think the Master-Stroke of the Poet.
+
+    "The Knave of Hearts
+    "He stole those Tarts,
+  "And----took them----quite away!!"
+
+Here, whoever has an ear for harmony, and a heart for feeling, must be
+touched! There is a desponding melancholy in the run of the last line!
+an air of tender regret in the addition of "_quite away!_" a something
+so expressive of irrecoverable loss! so forcibly intimating the "_Ah
+nunquam reditura!_" "They never can return!" in short, such an union of
+sound and sense, as we rarely, if ever meet with in any author, ancient
+or modern. Our feelings are all alive--but the Poet, wisely dreading
+that our sympathy with the injured Queen might alienate our affections
+from his Hero, contrives immediately to awaken our fears for him,
+by telling us, that
+
+    "The King of Hearts
+    "Call'd for those Tarts,"--
+
+We are all conscious of the fault of our Hero, and all tremble with him,
+for the punishment which the enraged Monarch may inflict;
+
+  "And beat the Knave--full sore!"
+
+The fatal blow is struck! We cannot but rejoice that guilt is justly
+punished, though we sympathize with the guilty object of punishment.
+Here _Scriblerus_, who, by the bye, is very fond of making unnecessary
+alterations, proposes reading "_Score_" instead of "_sore_," meaning
+thereby to particularize, that the beating bestowed by this Monarch,
+consisted of _twenty_ stripes. But this proceeds from his ignorance of
+the genius of our language, which does not admit of such an expression
+as "_full score_," but would require the insertion of the particle
+"_a_," which cannot be, on account of the metre. And this is another
+great artifice of the Poet: by leaving the quantity of beating
+indeterminate, he gives every reader the liberty to administer it, in
+exact proportion to the sum of indignation which he may have conceived
+against his Hero; that by thus amply satisfying their resentment, they
+may be the more easily reconciled to him afterwards.
+
+    "The King of Hearts
+    "Call'd for those Tarts,
+  "And beat the Knave full sore!"
+
+Here ends the second part, or _middle_ of the poem; in which we see the
+character, and exploits of the Hero, pourtrayed with the hand of a
+master.
+
+Nothing now remains to be examined, but the third part, or _End_. In the
+_End_, it is a rule pretty well established, that the Work should draw
+towards a conclusion, which our Author manages thus.
+
+    "The Knave of Hearts
+    "Brought back those Tarts."
+
+Here every thing is at length settled; the theft is compensated; the
+tarts restored to their right owner; and _Poetical Justice_, in every
+respect, strictly, and impartially administered.
+
+We may observe, that there is nothing in which our Poet has better
+succeeded, than in keeping up an unremitted attention in his readers to
+the main instruments, the machinery of his poem, viz. The _Tarts_;
+insomuch, that the aforementioned _Scriblerus_ has sagely observed, that
+"he can't tell, but he doesn't know, but the tarts may be reckoned the
+heroes of the Poem." _Scriblerus_, though a man of learning, and
+frequently right in his opinion, has here certainly hazarded a rash
+conjecture. His arguments are overthrown entirely by his great opponent,
+_Hiccius_, who concludes, by triumphantly asking, "Had the tarts been
+eaten, how could the Poet have compensated for the loss of his Heroes?"
+
+We are now come to the _denouement_, the setting all to rights: and our
+Poet, in the management of his _moral_, is certainly superior to his
+great ancient predecessors. The moral of their fables, if any they have,
+is so interwoven with the main body of their work, that in endeavouring
+to unravel it, we should tear the whole. _Our Author_ has very properly
+preserved his whole and entire for the _end_ of his poem, where he
+completes his _main design_, the _Reformation_ of his Hero, thus,
+
+  "And vow'd he'd steal no more."
+
+Having in the course of his work, shewn the bad effects arising from
+theft, he evidently means this last moral reflection, to operate with
+his readers as a gentle and polite dissuasive from stealing.
+
+    "The Knave of Hearts
+    "Brought back those Tarts,
+  "And vow'd he'd steal no more!"
+
+Thus have I industriously gone through the several parts of this
+wonderful Work; and clearly proved it, in every one of these parts, and
+in all of them together, to be a _due and proper Epic Poem_; and to have
+as good a right to that title, from its adherence to prescribed rules,
+as any of the celebrated master-pieces of antiquity. And here I cannot
+help again lamenting, that, by not knowing the name of the Author, I am
+unable to twine our laurels together; and to transmit to posterity the
+mingled praises of Genius, and Judgment; of the Poet, and his
+commentator.
+
+
+Having some space left in this paper, I will now, with the permission of
+my readers of the _great world_, address myself more particularly to my
+fellow-citizens.
+
+To them, the essay which I have here presented, will, I flatter myself,
+be peculiarly serviceable at this time; and I would earnestly recommend
+an attentive perusal of it, to all of them whose muses are engaged in
+compositions of the Epic kind.--I am very much afraid that I may run
+into the error, which I have myself pointed out, of becoming too
+_local_,--but where it is evidently intended for the good of my fellow
+citizens, it may, I hope, be now and then pardonable. At the present
+juncture, as many have applied for my assistance, I cannot find in my
+heart to refuse it them. Were I to attempt fully explaining, why, at the
+_present juncture_, I fear it would be vain. Would it not seem
+incredible to the Ladies, were I to tell them, that the period
+approaches, when upwards of a hundred _Epic Poems_ will be exposed to
+public view, most of them nearly of equal length, and many of them
+nearly of equal merit, with the one which I have here taken into
+consideration; illustrated moreover with elegant etchings, designed
+either as _hieroglyphical_ explanations of the subject, or as _practical
+puns_ on the name of the author?--And yet in truth so it is,--and on
+this subject I wish to give a word of advice to my countrymen.
+
+Many of them have applied to me by letter, to assist them with designs
+for prefixing to their poems; and this I should very willingly have
+done, had those gentlemen been kind enough to subscribe their real names
+to their requests: whereas, all that I have received have been signed,
+_Tom Long_, _Philosophus_, _Philalethes_, and such like. I have
+therefore been prevented from affording them the assistance I wished;
+and cannot help wondering, that the gentlemen did not consider, that it
+was impossible for me to provide _typical references_ for feigned names;
+as, for ought I know, the person who signs himself _Tom Long_ may not be
+four feet high; _Philosophus_ may be possessed of a considerable share
+of folly; and _Philalethes_ may be as arrant a liar as any in the
+kingdom.
+
+It may not however be useless to offer some general reflections for all
+who may require them. It is not improbable, that, as the subject of
+their poems is the _Restoration_, many of my fellow-citizens may choose
+to adorn their _title-pages_ with the representation of His Majesty,
+Charles the Second, escaping the vigilance of his pursuers in the _Royal
+Oak_. There are some particularities generally observable in this
+picture, which I shall point out to them, lest they fall into similar
+errors. Though I am as far as any other Briton can be, from wishing to
+"curtail" his Majesty's Wig "of its fair proportion;" yet I have
+sometimes been apt to think it rather improper, to make the Wig, as is
+usually done, of larger dimensions than the tree in which it and his
+Majesty are concealed. It is a rule in Logic, and I believe may hold
+good in most other Sciences, that "_omne majus continet in se minus_,"
+that "every thing larger can hold any thing that is less;" but I own,
+I never heard the contrary advanced or defended with any plausible
+arguments, viz. "that every little thing can hold one larger."
+I therefore humbly propose, that there should be at least an edge of
+foliage round the outskirts of the said wig; and that its curls should
+not exceed in number the leaves of the tree. There is also another
+practice almost equally prevalent, of which I am sceptic enough to doubt
+the propriety. I own, I cannot think it by any means conducive to the
+more effectual concealment of his Majesty, that there should be three
+Regal Crowns stuck on three different branches of the tree. Horace says
+indeed,
+
+  --------Pictoribus atque Poetis,
+  Quidlibet audendi semper fuit aequa potestas.
+
+  Painters and Poets our indulgence claim,
+  _Their daring equal, and their art the same._--FRAN.
+
+And this may be reckoned a very allowable _poetical licence_; inasmuch
+as it lets the spectator into the secret, _who is in the tree_. But it
+is apt to make him at the same time throw the accusation of negligence
+and want of penetration on the three dragoons, who are usually depicted
+on the foreground, cantering along very composedly, with serene
+countenances, erect persons, and drawn swords, very little longer than
+themselves.
+
+
+       *       *       *       *       *
+           *       *       *       *
+
+PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY
+
+  [Transcriber's Note:
+  Many of the listed titles are or will be available from Project
+  Gutenberg. Where possible, the e-text number is given in brackets.]
+
+
+*First Year (1946-1947)*
+
+Numbers 1-6 out of print.
+
+   [Titles:
+   1. Richard Blackmore's _Essay upon Wit_ (1716), and Addison's
+      _Freeholder_ No. 45 (1716). [13484]
+   2. Anon., _Essay on Wit_ (1748), together with Characters by
+      Flecknoe, and Joseph Warton's _Adventurer_ Nos. 127 and 133.
+      [14973]
+   3. Anon., _Letter to A. H. Esq.; concerning the Stage_ (1698), and
+      Richard Willis' _Occasional Paper_ No. IX (1698). [14047]
+   4. Samuel Cobb's _Of Poetry_ and _Discourse on Criticism_ (1707).
+      [14528]
+   5. Samuel Wesley's _Epistle to a Friend Concerning Poetry_ (1700)
+      and _Essay on Heroic Poetry_ (1693). [16506]
+   6. Anon., _Representation of the Impiety and Immorality of the Stage_
+      (1704) and anon., _Some Thoughts Concerning the Stage_ (1704).
+      [15656] ]
+
+
+*Second Year (1947-1948)*
+
+ 7. John Gay's _The Present State of Wit_ (1711); and a section on Wit
+    from _The English Theophrastus_ (1702). [#14800]
+
+ 8. Rapin's _De Carmine Pastorali_, translated by Creech (1684).
+    [#14495]
+
+ 9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736).
+    [#14899]
+
+10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit,
+    etc._ (1744). [#16233]
+
+11. Thomas Purney's _Discourse on the Pastoral_ (1717). [#15313]
+
+12. Essays on the Stage, selected, with an Introduction by Joseph
+    Wood Krutch. [#16335]
+
+
+*Third Year (1948-1949)*
+
+13. Sir John Falstaff (pseud.), _The Theatre_ (1720). [#15999]
+
+14. Edward Moore's _The Gamester_ (1753). [#16267]
+
+15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_
+    (1712); and Arthur Mainwaring's _The British Academy_ (1712).
+    [In preparation]
+
+16. Nevil Payne's _Fatal Jealousy_ (1673). [#16916]
+
+17. Nicholas Rowe's _Some Account of the Life of Mr. William
+    Shakespeare_ (1709). [#16275]
+
+18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719);
+    and Aaron Hill's Preface to _The Creation_ (1720). [#15870]
+
+
+*Fourth Year (1949-1950)*
+
+19. Susanna Centlivre's _The Busie Body_ (1709). [#16740]
+
+20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734).
+    [#16346]
+
+21. _Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela_
+    (1754).
+
+22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two
+    _Rambler_ papers (1750). [#13350]
+
+23. John Dryden's _His Majesties Declaration Defended_ (1681). [#15074]
+
+24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which
+    from Settled Principles is Rendered the Grounds for Choosing and
+    Rejecting Epigrams_, translated by J. V. Cunningham.
+
+
+*Fifth Year (1950-1951)*
+
+25. Thomas Baker's _The Fine Lady's Airs_ (1709). [#14467]
+
+26. Charles Macklin's _The Man of the World_ (1792). [#14463]
+
+27. Out of print.
+
+    [Frances Reynolds' _An Enquiry Concerning the Principles of Taste,
+    and of the Origin of Our Ideas of Beauty, etc._ (1785). [#13485] ]
+
+28. John Evelyn's _An Apologie for the Royal Party_ (1659); and
+    _A Panegyric to Charles the Second_ (1661). [#17833]
+
+29. Daniel Defoe's _A Vindication of the Press_ (1718). [#14084]
+
+30. Essays on Taste from John Gilbert Cooper's _Letters Concerning
+    Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_
+    (1770). [#13464]
+
+
+*Sixth Year (1951-1952)*
+
+31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751);
+    and _The Eton College Manuscript_. [#15409]
+
+32. Prefaces to Fiction; Georges de Scudery's Preface to _Ibrahim_
+    (1674), etc. [#14525]
+
+33. Henry Gally's _A Critical Essay_ on Characteristic-Writings (1725).
+    [#16299]
+
+34. Thomas Tyers' A Biographical Sketch of Dr. Samuel Johnson (1785).
+
+35. James Roswell, Andrew Erskine, and George Dempster. _Critical
+    Strictures on the New Tragedy of Elvira, Written by Mr. David
+    Malloch_ (1763). [#15857]
+
+36. Joseph Harris's _The City Bride_ (1696). [In preparation]
+
+
+*Seventh Year (1952-1953)*
+
+37. Thomas Morrison's _A Pindarick Ode on Painting_ (1767). [In
+    preparation]
+
+38. John Phillips' _A Satyr Against Hypocrites_ (1655).
+
+39. Thomas Warton's _A History of English Poetry_.
+
+40. Edward Bysshe's _The Art of English Poetry_ (1708).
+
+41. Bernard Mandeville's "A Letter to Dion" (1732).
+
+42. Prefaces to Four Seventeenth-Century Romances.
+
+
+*Eighth Year (1953-1954)*
+
+43. John Baillie's _An Essay on the Sublime_ (1747).
+
+44. Mathias Casimire Sarbiewski's _The Odes of Casimire_, Translated
+    by G. Hils (1646).
+
+45. John Robert Scott's _Dissertation on the Progress of the Fine Arts._
+
+46. Selections from Seventeenth Century Songbooks.
+
+47. Contemporaries of the _Tatler_ and _Spectator_.
+
+48. Samuel Richardson's Introduction to _Pamela_.
+
+
+*Ninth Year (1954-1955)*
+
+49. Two St. Cecilia's Day Sermons (1696-1697).
+
+50. Hervey Aston's _A Sermon Before the Sons of the Clergy_ (1745).
+
+51. Lewis Maidwell's _An Essay upon the Necessity and Excellency of
+    Education_ (1705).
+
+52. Pappity Stampoy's _A Collection of Scotch Proverbs_ (1663). [#7018]
+
+53. Urian Oakes' _The Soveriegn Efficacy of Divine Providence_ (1682).
+
+54. Mary Davys' _Familiar Letters Betwixt a Gentleman and a Lady_
+    (1725).
+
+
+*Tenth Year (1955-1956)*
+
+55. Samuel Say's _An Essay on the Harmony, Variety, and Power of
+    Numbers_ (1745).
+
+56. _Theologia Ruris, sive Schola & Scala Naturae_ (1686).
+
+57. Henry Fielding's _Shamela_ (1741).
+
+58. Eighteenth Century Book Illustrations.
+
+59. Samuel Johnson's _Notes to Shakespeare_. Vol. I, Comedies, Part I.
+    [#7780]
+
+60. Samuel Johnson's _Notes to Shakespeare_. Vol. I, Comedies, Part II.
+    [#7780]
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+Errors corrected by transcriber:
+
+  the _Spectator's_ critiques of Shakespeare
+    [not underlined in original]
+  Artfulness and Embellishments of the _Romans_
+    [text reads "Embel/llishments" at line break]
+  the first Person that ever found out the Philosopher's Stone
+    [text reads "that that"]
+  But if, continues my Bookseller
+    [text reads "conti/tinues" at line break]
+  _denouement_
+    _accent unchanged (grave on second "e")_
+  every thing larger can hold any thing that is less
+    [text reads "every think"]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Parodies of Ballad Criticism
+(1711-1787), by William Wagstaffe and Gregory Griffin AKA George Canning
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PARODIES OF BALLAD CRITICISM ***
+
+***** This file should be named 22081.txt or 22081.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/2/0/8/22081/
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/22081.zip b/22081.zip
new file mode 100644
index 0000000..6c59ab6
--- /dev/null
+++ b/22081.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..de79f9a
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #22081 (https://www.gutenberg.org/ebooks/22081)