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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: 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> </p> + +<p class = "s133 ital">Parodies of Ballad Criticism<br> +(1711-1787)</p> + +<p> </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> </p> + +<p>Selected, with an Introduction, by</p> + +<p class = "larger">William K. Wimsatt, Jr.</p> + +<p> </p> + +<p class = "smaller">Publication Number 63</p> + +<p> </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> <br> </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—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—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—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—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 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—"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——— B————" and his +"Arthurs" are another, and "Dr. B—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 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. 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 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 <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 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—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.<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—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 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 once met with a Page of <i>Mr. Baxter</i> under +a Christmas Pye.... I 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. L. Phelps, <i>The Beginnings of the English Romantic +Movement</i>, Boston, 1893, Chapter VII; E. 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. 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. 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. 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 & 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. 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. 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"> </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>——Juvat immemorata ferentem</p> +<p>Ingenuis oculisq<sup>ue</sup> legi manibusq<sup>ue</sup> teneri. + <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. Price 3 <i>d.</i></p> + +</td> +</tr> +</table> + +<!-- png 15 --> + +<p> <br> </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 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 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 <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—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 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—— +B——</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’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’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>————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’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’d to have,</p> +<p>A Child in time to come,</p> +<p>To be his Heir, tho’ 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>——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>——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 it.</p> + +<div class = "poem"> +<p>Begot, and born in half an Hour,</p> +<p>To fit his Father’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’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>————Quem candida Dido</p> +<p>Esse sui dederat Monumentum & 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’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’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’d from his Mothers Eye;</p> +<p>His Shooes made of a Mouse’s Skin,</p> +<p class = "inset1"> +And Tann’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’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’d,</p> +<p>And <em>Tom</em> to see the Pudding made,</p> +<p class = "inset1"> +Fear that it should be spill’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——</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—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’d dance a Galliard brave</p> +<p class = "inset1"> +Upon the Queen’s Left Hand.</p> +<p>The which he did——</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 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 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’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>——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’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’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>’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——</p> +</div> + +<p>And agen,</p> + +<div class = "poem latin"> +<p>Post Elymus subit, & 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’s Sake,</p> +<p>A Challenge in King <em>Arthur</em>’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, & verberat Ictibus auras,</p> +<p>Quæritur huic alius:——</p> +</div> + +<div class = "poem"> +<p>’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——</p> +</div> + +<p>Which made the Courtiers all aghast.</p> + +<div class = "poem latin"> +<p>Obstupuere animi——</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>——At Æthereas repetit mens ignea sedes.</p> +</div> + +<div class = "poem"> +<p>Whereas the Fairy Queen receiv’d</p> +<p class = "inset1"> +With happy Mourning Cheer</p> +<p>The Body of this valiant Knight,</p> +<p class = "inset1"> +Whom she esteem’d so dear;</p> +<p>For with her dancing Nymphs in Green</p> +<p class = "inset1"> +She fetch’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>——Et fotum gremio Dea tollit in Altos</p> +<p>Idaliæ lucos——</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>——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 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 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 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 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 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. 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>&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 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 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"> </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> </p> + +<hr class = "mid"> +<hr> +<hr class = "mid"> + +<p> </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.—<span class += "smallcaps">Hor.</span></p> +<p>By Homer taught, the modern poet sings,</p> +<p>In Epic strains, of heroes, wars, and Kings.—<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 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 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.</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,—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—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.</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 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>;—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>;—and thirdly, it is indisputably settled, that +it should have <i>a Hero</i>. 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.</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 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"> +“The Queen of Hearts</p> +<p class = "inset1"> +“She made some Tarts”—</p> +</div> + +<p>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 <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>——————in medias res,</p> +<p>Non secus ac notas, auditorem rapit,——</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"> +“The Queen of Hearts</p> +<p class = "inset1"> +“She made some Tarts, </p> +<p>“All on a Summer’s Day.”</p> +</div> + +<p>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 <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.—<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—sultry Sirius,—silvan shade,—sequestered +glade,—verdant hills,—purling rills,—mossy +mountains,—gurgling fountains,—&c. &c.—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 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,—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 <i>Ovid</i> would undoubtedly have done. Nay, to +use the expression of a learned brother-commentator, "<i>quovis pignore +decertem</i>" "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 <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>“All on a Summer’s Day.”</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>————“All hanged for to be</p> +<p>“Upon that fatal Tyburn tree.”——</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 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"> +“The Queen of Hearts</p> +<p class = "inset1"> +“She made some Tarts,</p> +<p>“All on a Summer’s Day.”</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 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 +<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>————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>“The Knave of Hearts</p> +<p>“He stole those Tarts.”</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,—that "life is not like all other +possessions, to be acquired by theft."—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 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 proceed to what I think the Master-Stroke of the +Poet.</p> + +<div class = "poem"> +<p class = "inset1"> +“The Knave of Hearts</p> +<p class = "inset1"> +“He stole those Tarts,</p> +<p>“And——took them——quite +away!!”</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—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"> +“The King of Hearts</p> +<p class = "inset1"> +“Call’d for those Tarts,”—</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>“And beat the Knave—full sore!”</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"> +“The King of Hearts</p> +<p class = "inset1"> +“Call’d for those Tarts,</p> +<p>“And beat the Knave full sore!”</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"> +“The Knave of Hearts</p> +<p class = "inset1"> +“Brought back those Tarts.”</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>“And vow’d he’d steal no more.”</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"> +“The Knave of Hearts</p> +<p class = "inset1"> +“Brought back those Tarts,</p> +<p>“And vow’d he’d steal no more!”</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 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 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 <i>local</i>,—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 <i>present juncture</i>, +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 <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?—And yet in truth so it is,—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 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 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 +<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>————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.—<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> <a href = "http://www.gutenberg.org/etext/14800">7.</a> +John Gay's <i>The Present State of Wit</i> (1711); and a section on Wit +from <i>The English Theophrastus</i> (1702).</p> + +<p> <a href = "http://www.gutenberg.org/etext/14495">8.</a> +Rapin's <i>De Carmine Pastorali</i>, translated by Creech (1684).</p> + +<p> <a href = "http://www.gutenberg.org/etext/14899">9.</a> +T. Hanmer's (?) <i>Some Remarks on the Tragedy of Hamlet</i> (1736).</p> + +<p><a href = "http://www.gutenberg.org/etext/16233">10.</a> +Corbyn Morris' <i>Essay towards Fixing the True Standards of Wit, +etc.</i> (1744).</p> + +<p><a href = "http://www.gutenberg.org/etext/15313">11.</a> +Thomas Purney's <i>Discourse on the Pastoral</i> (1717).</p> + +<p><a href = "http://www.gutenberg.org/etext/16335">12.</a> +Essays on the Stage, selected, with an Introduction by Joseph Wood +Krutch.</p> + + +<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. 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. 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 Panegyric to Charles the Second</i> (1661).</p> + +<p> +<a href = "http://www.gutenberg.org/etext/14084">29.</a> +Daniel Defoe's <i>A Vindication of the Press</i> (1718).</p> + +<p> +<a href = "http://www.gutenberg.org/etext/13464">30.</a> +Essays on Taste from John Gilbert Cooper's <i>Letters Concerning +Taste</i>, 3rd edition (1757), & John Armstrong's +<i>Miscellanies</i> (1770).</p> + + +<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. 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 & Scala Naturae</i> +(1686).</p> + +<p>57. Henry Fielding's <i>Shamela</i> (1741).</p> + +<p>58. Eighteenth Century Book Illustrations.</p> + +<p><a href = "http://www.gutenberg.org/etext/7780">59.</a> +Samuel Johnson's <i>Notes to Shakespeare</i>. Vol. I, Comedies, +Part I.</p> + +<p><a href = "http://www.gutenberg.org/etext/7780">60.</a> +Samuel Johnson's <i>Notes to Shakespeare</i>. Vol. I, Comedies, +Part II.</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. 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