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diff --git a/22081.txt b/22081.txt new file mode 100644 index 0000000..751b2b1 --- /dev/null +++ b/22081.txt @@ -0,0 +1,2105 @@ +The Project Gutenberg EBook of Parodies of Ballad Criticism (1711-1787), by +William Wagstaffe and Gregory Griffin AKA George Canning + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Parodies of Ballad Criticism (1711-1787) + A Comment Upon the History of Tom Thumb, 1711, by Wm. + Wagstaffe; The Knave of Hearts, 1787, by Gregory Griffin + AKA George Canning + +Author: William Wagstaffe + Gregory Griffin AKA George Canning + +Release Date: July 16, 2007 [EBook #22081] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK PARODIES OF BALLAD CRITICISM *** + + + + +Produced by Louise Hope, David Starner and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + [In the "Tom Thumb" article, Latin "-que" was abbreviated with a + notation similar to "-q;". It has been "unpacked" for this e-text as + [que] in brackets. + + The original texts printed all names in Italic type; italicized + passages put names in Roman type. To avoid ambiguity, these have been + marked with *asterisks*. All verse citations were printed in italics.] + + + + + THE AUGUSTAN REPRINT SOCIETY + + + _Parodies of Ballad Criticism_ + + (1711-1787) + + William Wagstaffe, +_A Comment Upon the History of Tom Thumb_, 1711 + + George Canning, + _The Knave of Hearts_, 1787 + + + Selected, with an Introduction, by + William K. Wimsatt, Jr. + + + Publication Number 63 + + Los Angeles + William Andrews Clark Memorial Library + University of California + 1957 + + + * * * * * + + GENERAL EDITORS + + RICHARD C. BOYS, University of Michigan + RALPH COHEN, University of California, Los Angeles + VINTON A. DEARING, University of California, Los Angeles + LAWRENCE CLARK POWELL, Clark Memorial Library + + ASSISTANT EDITOR + + W. EARL BRITTON, University of Michigan + + ADVISORY EDITORS + + EMMETT L. AVERY, State College of Washington + BENJAMIN BOYCE, Duke University + LOUIS BREDVOLD, University of Michigan + JOHN BUTT, King's College, University of Durham + JAMES L. CLIFFORD, Columbia University + ARTHUR FRIEDMAN, University of Chicago + LOUIS A. LANDA, Princeton University + SAMUEL H. MONK, University of Minnesota + ERNEST C. MOSSNER, University of Texas + JAMES SUTHERLAND, University College, London + H. T. SWEDENBERG, JR., University of California, Los Angeles + + CORRESPONDING SECRETARY + + EDNA C. DAVIS, Clark Memorial Library + + + * * * * * + +The Augustan Reprint Society regrets to announce the death +of one of its founders and editors, Edward Niles Hooker. +The editors hope, in the near future, to issue a volume +in his memory. + + + * * * * * + +INTRODUCTION + + +Joseph Addison's enthusiasm for ballad poetry (_Spectators_ 70, 74, 85) +was not a sheer novelty. He had a ringing English precedent in Sidney, +whom he quotes. And he may have had one in Jonson; at least he thought +he had. He cited Dryden and Dorset as collectors and readers of ballads; +and he might have cited others. He found comfort in the fact that +Moliere's Misanthrope was on his side. The modern or broadside version +of _Chevy Chase_, the one which Addison quoted, had been printed, with a +Latin translation, in the third volume of Dryden's _Miscellany_ (1702) +and had been appreciated along with _The Nut-Brown Maid_ in an essay _Of +the Old English Poets and Poetry_ in _The Muses Mercury_ for June, 1707. +The feelings expressed in Addison's essays on the ballads were part of +the general patriotic archaism which at that time was moving in rapport +with cyclic theories of the robust and the effete, as in Temple's +essays, and was complicating the issue of the classical ancients versus +the moderns. Again, these feelings were in harmony with the new +Longinianism of boldness and bigness, cultivated in one way by Dennis +and in another by Addison himself in later _Spectators_. The tribute to +the old writers in Rowe's Prologue to _Jane Shore_ (1713) is of course +not simply the result of Addison's influence.[1] + + Those venerable ancient Song-Enditers + Soar'd many a Pitch above our modern Writers. + +It is true also that Addison exhibits, at least in the first of the two +essays on _Chevy Chase_, a degree of the normal Augustan condescension +to the archaic--the vision which informs the earlier couplet poem on the +English poets. Both in his quotation from Sidney ("... being so evil +apparelled in the Dust and Cobweb of that uncivil Age, what would it +work trimmed in the gorgeous Eloquence of _Pindar_?") and in his own +apology for the "Simplicity of the Stile" there is sufficient +prescription for all those improvements that either a Ramsay or a Percy +were soon actually to undertake. And some of the Virgilian passages in +_Chevy Chase_ which Addison picked out for admiration were not what +Sidney had known but the literary invention of the more modern broadside +writer. + +Nevertheless, the two _Spectators_ on _Chevy Chase_ and the sequel on +the _Children in the Wood_ were startling enough. The general +announcement was ample, unabashed, soaring--unmistakable evidence of a +new polite taste for the universally valid utterances of the primitive +heart. The accompanying measurement according to the epic rules and +models was not a qualification of the taste, but only a somewhat awkward +theoretical dimension and justification. + + It is impossible that any thing should be universally tasted and + approved by a Multitude, tho' they are only the Rabble of a Nation, + which hath not in it some peculiar Aptness to please and gratify the + Mind of Man.... an ordinary Song or Ballad that is the Delight of + the common People, cannot fail to please all such Readers as are not + unqualified for the Entertainment by their Affectation or Ignorance. + +Professor Clarence D. Thorpe is surely correct in his view of Addison as +a "grandfather" of such that would come in romantic aesthetics for the +next hundred years.[2] Not that Addison invents anything; but he catches +every current whisper and swells it to the journalistic audibility. +Here, if we take Addison at his word, are the key ideas for Wordsworth's +Preface on the language of rustic life, for Tolstoy's ruthless reduction +of taste to the peasant norm. Addison went on to urge what was perfectly +just, that the old popular ballads ought to be read and liked; at the +same time he pushed his praise to a rather wild extreme, and he made +some comic comparisons between _Chevy Chase_ and Virgil and Homer. + +We know now that he was on the right track; he was riding the wave of +the future. It will be sufficient here merely to allude to that well +established topic of English literary history, the rise of the ballad +during the eighteenth century--in _A Collection of Old Ballads_ +(1723-1725), in Ramsay's _Evergreen_ and _Tea-Table_, in Percy's +_Reliques_, and in all the opinions, the critiques, the imitations, the +modern ballads, and the forgeries of that era--in _Henry and Emma_, +_Colin and Lucy_, and _Hardyknute_, in Gay, Shenstone, and Gray, in +Chatterton's Rowley. All these in a sense testified to the influence of +Addison's essays. Addison was often enough given honorable mention and +quoted. + +On the other hand, neo-classic stalwart good sense and the canons of +decorum did not collapse easily, and the cultivation of the ballads had, +as we have suggested, a certain aspect of silliness. It is well known +that Addison's essays elicited the immediate objections of Dennis. The +Spectator's "Design is to see how far he can lead his Reader by the +Nose." He wants "to put Impotence and Imbecility upon us for +Simplicity." Later Johnson in his _Life of Addison_ quoted Dennis and +added his own opinion of _Chevy Chase_: "The story cannot possibly be +told in a manner that shall make less impression on the mind." + +It was fairly easy to parody the ballads themselves, or at least the +ballad imitations, as Johnson would demonstrate _ex tempore_. "I put my +hat upon my head And walked into the Strand, And there I met another man +Whose hat was in his hand." And it was just as easy to parody ballad +criticism. The present volume is an anthology of two of the more +deserving mock-criticisms which Addison's effort either wholly or in +part inspired. + +An anonymous satirical writer who was later identified, on somewhat +uncertain authority, as the Tory Dr. William Wagstaffe was very prompt +in responding. His _Comment Upon the History of Tom Thumb_ appeared in +1711 perhaps within a week or two of the third guilty _Spectator_ (June +7) and went into a second edition, "Corrected," by August 18. An +advertisement in the _Post Man_ of that day referred to yet a third +"sham" edition, "full of errors."[3] The writer alludes to the author of +the _Spectators_ covertly ("we have had an _enterprising Genius_ of +late") and quotes all three of the ballad essays repeatedly. The choice +of _Tom Thumb_ as the _corpus vile_ was perhaps suggested by Swift's +momentary "handling" of it in _A Tale of a Tub_.[4] The satirical method +is broad and easy and scarcely requires comment. This is the attack +which was supposed by Addison's editor Henry Morley (_Spectator_, 1883, +I, 318) to have caused Addison to "flinch" a little in his revision of +the ballad essays. It is scarcely apparent that he did so. The last +paragraph of the third essay, on the _Children in the Wood_, is a retort +to some other and even prompter unfriendly critics--"little conceited +Wits of the Age," with their "little Images of Ridicule." + +But Addison is not the only target of "Wagstaffe's" _Comment_. "Sir +B------ B--------" and his "Arthurs" are another, and "Dr. B--tly" +another. One of the most eloquent moments in the _Comment_ occurs near +the end in a paragraph on what the author conceives to be the follies of +the historical method. The use of the slight vernacular poem to parody +the Bentleyan kind of classical scholarship was to be tried by Addison +himself in _Spectator_ 470 (August 29, 1712) and had a French +counterpart in the _Chef d'oeuvre d'un inconnu_, 1714. A later example +was executed by Defoe's son-in-law Henry Baker in No. XIX of his +_Universal Spectator_, February 15, 1729.[5] And that year too provided +the large-scale demonstration of the _Dunciad Variorum_. The very +"matter" of Tom Thumb reappeared under the same light in Fielding's +_Tragedy of Tragedies or the Life and Death of Tom Thumb the Great with +the Annotations of H. Scriblerus Secundus_, 1731. Addison's criticism of +the ballads was scarcely a legitimate object for this kind of attack, +but Augustan satire and parody were free and hospitable genres, always +ready to entertain more than one kind of "bard and blockhead side by +side."[6] + +No less a person than George Canning (as a schoolboy) was the author of +the second of the two parodies reproduced in the present volume. A group +of precocious Eton lads, Canning, J. Hookham Frere, John Smith, and +Robert (Bobus) Smith, during the years 1786-1787 produced forty octavo +numbers of a weekly paper called _The Microcosm_. They succeeded in +exciting some interest among the literati,[7] were coming out in a +"Second Edition" as early as the Christmas vacation of 1786,[8] and in +the end sold their copyright for fifty pounds to their publisher, +Charles Knight of Windsor.[9] Canning wrote Nos. XI and XII (February +12, 1787), a critique of the "Epic Poem" concerning "The Reformation of +the Knave of Hearts."[10] This essay in two parts, running for nearly as +many pages as Wagstaffe's archetypal pamphlet, is a much more systematic +and theoretically ambitious effort than any predecessor. _The Knave of +Hearts_ is praised for its _beginning_ (_in medias res_), its _middle_ +(all "bustle and business"), and its _end_ (full of _Poetical Justice_ +and superior _Moral_). The earlier writers had directly labored the +resemblance of the ballads to passages in Homer and Virgil. That method +is now hardly invoked at all. Criticism according to the epic rules of +Aristotle had been well enough illustrated by Addison on _Paradise Lost_ +(see especially _Spectator_ 267) if not by Addison on ballads. The +decline of simple respect for the "Practice and Authority" of the +ancient models during the neo-classic era, the general advance of +something like reasoning in criticism, finds one of its quainter +testimonials in the Eton schoolboy's cleverness. He would show by +definition and strict deduction that _The Knave of Hearts_ is a "_due +and proper Epic Poem_," having as "good right to that title, from its +adherence to prescribed rules, as any of the celebrated master-pieces of +antiquity." The post-Ramblerian date of the performance and a further if +incidental aim of the satire--a facetious removal from the Augustan +coffeehouse conversation--can be here and there felt in a heavy roll of +the periods, a doubling and redoubling of the abstractions.[11] + +The essay, nevertheless, shows sufficient continuity with the earlier +tradition of parody ballad criticism--for it begins by alluding to the +_Spectator's_ critiques of Shakespeare, Milton, and _Chevy Chase_, and +near the end of the first number slides into a remark that "one of the +_Scribleri_, a descendant of the famous _Martinus_, has expressed his +suspicions of the text being corrupted." A page or two of irony +concerning the "plain and simple" opening of the poem seems to hark back +to something more subtle in the Augustans than the Wagstaffian derision, +no doubt to Pope's victory over Philips in a _Guardian_ on pastorals. +"There is no task more difficult to a Poet, than that of _Rejection_. +Ovid, among the ancients, and _Dryden_, among the moderns, were perhaps +the most remarkable for the want of it."[12] + +The interest of these little pieces is historical[13] in a fairly strict +sense. Their value is indirect, half accidental, a glancing revelation +of ideas concerning simplicity, feeling, genius, the primitive, the +historical which run steadily beneath all the ripples during the century +that moves from "classic" to "romantic." Not all of Addison's parodists +taken together muster as much fun, as such whimsical charm, as Addison +himself in a single paragraph such as the one on "accidental readings" +which opens the _Spectator_ on the _Children in the Wood_. But this +passage, as it happens, requires only a slightly sophistical application +to be taken as a cue to a useful attitude in our present reading. +"I once met with a Page of _Mr. Baxter_ under a Christmas Pye.... +I might likewise mention a Paper-Kite, from which I have received great +Improvement." + + William K. Wimsatt, Jr. + Yale University + + + NOTES TO THE INTRODUCTION + + [Footnote 1: The chief authorities for the history which I am + summarizing are W. L. Phelps, _The Beginnings of the English + Romantic Movement_, Boston, 1893, Chapter VII; E. K. Broadus, + "Addison's Influence on the Development of Interest in Folk-Poetry + in the Eighteenth Century," _Modern Philology_, VIII (July, 1910), + 123-134; S. B. Hustvedt, _Ballad Criticism in Scandinavia and + Great Britain During the Eighteenth Century_, New York, 1916.] + + [Footnote 2: "Addison's Contribution to Criticism," in R. F. Jones + _et al._, _The Seventeenth Century_ (Stanford, 1951), p. 329.] + + [Footnote 3: Edward B. Reed, "Two Notes on Addison," _Modern + Philology_, VI (October, 1908), 187. The attribution of _A Comment + Upon Tom Thumb_ and other satirical pieces to the Dr. William + Wagstaffe who died in 1725 as Physician to St. Bartholomew's + Hospital depends entirely upon the fact that a collection of such + pieces was published, with an anonymous memoir, in 1726 under the + title _Miscellaneous Works of Dr. William Wagstaffe_. Charles + Dilke, _Papers of a Critic_ (London, 1875), I, 369-382. argues + that not Wagstaffe but Swift was the author of some of the pieces + in the volume. The case for Wagstaffe is put by Nicholas Moore in + a letter to _The Athenaeum_, June 10, 1882 and in his article on + Wagstaffe in the _DNB_. Paul V. Thompson, "Swift and the Wagstaffe + Papers," _Notes and Queries_, 175 (1938), 79, supports the notion + of Wagstaffe as an understrapper of Swift. The negative part of + Dilke's thesis is perhaps the more plausible. _A Comment Upon Tom + Thumb_, as Dilke himself confesses (_Papers_, p. 377), scarcely + sounds very much like Swift.] + + [Footnote 4: Text, p. 6. The nursery rhyme _Tom Thumb, His Life + and Death_, 1630, and the augmented _History of Tom Thumb_, + c. 1670, are printed with introductory remarks by W. C. Hazlitt, + _Remains of the Early Popular Poetry of England_, II (London, + 1866), 166-250.] + + [Footnote 5: Cf. George R. Potter, "Henry Baker, F.R.S. + (1698-1774)," _Modern Philology_, XXIX (1932), 305. Nathan Drake, + _The Gleaner_, I (London, 1811), 220 seems mistaken in his remark + that Baker's Scriblerian commentary (upon the nursery rhyme "Once + I was a Batchelor, and lived by myself") was the model for later + mock-ballad-criticisms.] + + [Footnote 6: For another early instance of our genre and a very + pure one, see an anonymous Cambridge correspondent's critique of + the burlesque broadside ballad of "Moor of Moore-Hall and the + Dragon of Wantley," in Nathaniel Mist's _Weekly Journal_ (second + series), September 2, 1721, reproduced by Roger P. McCutcheon, + "Another Burlesque of Addison's Ballad Criticism," _Studies in + Philology_, XXXIII (October, 1926), 451-456.] + + [Footnote 7: _Diary & Letters of Madame d'Arblay_ (London, + 1904-1905), III, 121-122, 295: November 28, 1786; July 29, 1787; + William Roberts, _Memoirs of the Life and Correspondence of Mrs. + Hannah More_ (London, 1834), II, 46, letter from W. W. Pepys, + December 31, 1786.] + + [Footnote 8: Advertisement inserted before No. I in a collected + volume dated 1787 (Yale 217. 304g).] + + [Footnote 9: The source of the anecdote seems to be William + Jordan, _National Portrait Gallery_ (London, 1831), II, 3, quoting + a communication from Charles Knight the publisher, son of Charles + Knight of Windsor. + + The present reprint of Nos. XI and XII of _The Microcosm_ is from + the "Second" octavo collected edition, Windsor, 1788. _The + Microcosm_ had reappeared at least seven times by 1835.] + + [Footnote 10: Iona and Peter Opie, _The Oxford Dictionary of + Nursery Rhymes_ (Oxford, 1951), are unable to find an earlier + printed source for this rhyme than the _European Magazine_, I + (April, 1782), 252.] + + [Footnote 11: No. XXXVI of _The Microcosm_ is a letter from Capel + Lofft defending the "Middle Style" of Addison in contrast to the + more modern Johnsonian eloquence. Robert Bell, _The Life of the + Rt. Hon. George Canning_ (London, 1846), pp. 48-54, in a helpful + account of _The Microcosm_, stresses its general fidelity to + _Spectator_ style and themes.] + + [Footnote 12: Canning's critique closes with an appendix of three + and a half pages alluding to the Eton Shrovetide custom of writing + Latin verses, known as the "Bacchus." See H. C. Maxwell Lyte, + _A History of Eton College_ (London, 1911), pp. 146-147.] + + [Footnote 13: As late as the turn of the century the trick was + still in a manner feasible. The anonymous author of _Literary + Leisure, or the Recreations of Solomon Saunter, Esq._ (1799-1800) + divides two numbers, VIII and XV, between other affairs and a + Shandyesque argument about the nursery charm for the hiccup "Peter + Piper picked a peck of pickled pepper." This author was most + likely not Byron's assailant Hewson Clarke (born 1787, author of + _The Saunterer in 1804_), as asserted in the _Catalogue_ of the + Hope Collection (Oxford, 1865), p. 128. + + A historical interest may be not only retrospective but + contemporary. The reader of the present volume will appreciate + "How to Criticize a Poem (In the Manner of Certain Contemporary + Poets)", a critique of the mnemonic rhyme "Thirty days hath + September," in the _New Republic_, December 6, 1943.] + + + * * * * * + * * * * + + A + + COMMENT + + upon the + + HISTORY + + of + + Tom Thumb. + + + ----Juvat immemorata ferentem + Ingenuis oculis[que] legi manibus[que] teneri._ + Hor. + + + _LONDON_, + + Printed for _J. Morphew_ near _Stationers-Hall_. + 1711. Price 3 _d._ + + + + + A + COMMENT + + upon the + HISTORY + + of + _TOM THUMB_. + +It is a surprising thing that in an Age so Polite as this, in which we +have such a Number of Poets, Criticks and Commentators, some of the best +things that are extant in our Language shou'd pass unobserv'd amidst a +Croud of inferiour Productions, and lie so long buried as it were, among +those that profess such a Readiness to give Life to every thing that is +valuable. Indeed we have had an Enterprising Genius of late, that has +thought fit to disclose the Beauties of some Pieces to the World, that +might have been otherwise indiscernable, and believ'd to have been +trifling and insipid, for no other Reason but their unpolish'd +Homeliness of Dress. And if we were to apply our selves, instead of the +Classicks, to the Study of Ballads and other ingenious Composures of +that Nature, in such Periods of our Lives, when we are arriv'd to a +Maturity of Judgment, it is impossible to say what Improvement might be +made to Wit in general, and the Art of Poetry in particular: And +certainly our Passions are describ'd in them so naturally, in such +lively, tho' simple, Colours, that how far they may fall short of the +Artfulness and Embellishments of the _Romans_ in their Way of Writing, +_yet cannot fail to please all such Readers as are not unqualify'd for +the Entertainment by their Affectation or Ignorance_. + +It was my good Fortune some time ago to have the Library of a School-Boy +committed to my Charge, where, among other undiscover'd valuable +Authors, I pitch'd upon _Tom Thumb_ and _Tom Hickathrift_, Authors +indeed more proper to adorn the Shelves of _Bodley_ or the _Vatican_, +than to be confin'd to the Retirement and Obscurity of a private Study. +I have perus'd the first of these with an infinite Pleasure, and a more +than ordinary Application, and have made some Observations on it, which +may not, I hope, prove unacceptable to the Publick; and however it may +have been ridicul'd, and look'd upon as an Entertainment only for +Children, and those of younger Years, may be found perhaps a Performance +not unworthy the Perusal of the Judicious, and the Model superiour to +either of those incomparable Poems of _Chevy Chase_, or _The Children in +the Wood_. The Design was undoubtedly to recommend Virtue, and to shew +that however any one may labour under the Disadvantages of Stature or +Deformity, or the Meanness of Parentage, yet if his Mind and Actions are +above the ordinary Level, those very Disadvantages that seem to depress +him, shall add a Lustre to his Character. + +There are Variety of Incidents, dispers'd thro' the whole Series of this +Historical Poem, that give an agreeable Delight and Surprise, _and are +such as *Virgil* himself wou'd have touch'd upon, had the like Story +been told by that Divine Poet_, viz. his falling into the Pudding-Bowl +and others; which shew the Courage and Constancy, the Intrepidity and +Greatness of Soul of this little Hero, amidst the greatest Dangers that +cou'd possibly befall him, and which are the unavoidable Attendants of +human Life. + + Si fractus illabatur orbis, + Impavidum ferient ruinae. + +The Author of this was unquestionably a Person of an Universal Genius, +and if we consider that the Age he wrote in, must be an Age of the most +profound Ignorance, as appears from the second Stanza of the first +_Canto_, he was a Miracle of a Man. + +I have consulted Monsieur _Le Clerk_, and my Friend Dr. _B--ly_ +concerning the Chronology of this Author, who both assure me, tho' +Neither can settle the Matter exactly, that he is the most ancient of +our Poets, and 'tis very probable he was a _Druid_, who, as _Julius +Caesar_ mentions in his _Commentaries_, us'd to deliver their Precepts in +Poetry and Metre. The Author of _The Tale of a Tub_, believes he was a +_Pythagorean_ Philosopher, and held the _Metempsichosis_; and Others +that he had read _Ovid's Metamorphosis_, and was the first Person that +ever found out the Philosopher's Stone. A certain Antiquary of my +Acquaintance, who is willing to forget every thing he shou'd remember, +tells me, He can scarcely believe him to be Genuine, but if he is, he +must have liv'd some time before the _Barons_ Wars; which he proves, as +he does the Establishment of Religion in this Nation, upon the Credit of +an old Monument. + +There is another Matter which deserves to be clear'd, whether this is a +Fiction, or whether there was really such a Person as _Tom Thumb_. As to +this, my Friends tell me, 'Twas Matter of Fact, and that 'twas an +unpardonable Omission in a certain Author never once to mention him in +his _Arthur_'s, when nothing is more certain than that he was the +greatest Favourite of that Prince, and a Person who had perform'd some +very eminent Services for his Country. And indeed I can't excuse his +taking no Notice of our Poet who has afforded him such Helps, and to +whom he is so much oblig'd for the Model of those Productions: Besides +it had been but a Debt of Gratitude, as Sir _R---- B----_ was a Member +of the Faculty, to have made honourable mention of him who has spoke so +honourably of the Profession, on the Account of the Sickness of his +Hero. + +I have an old Edition of this Author by me, the Title of which is more +Sonorous and Heroical, than those of later Date, which for the better +Information of the Reader, it may not be improper to insert in this +Place. _*Tom Thumb* his Life and Death, wherein is declar'd his many +marvellous Acts of Manhood, full of Wonder and strange Merriment_: Then +he adds, _which little Knight liv'd in King *Arthur*'s Time in the Court +of *Great Britain*_. Indeed there are so many spurious Editions of this +Piece upon one Account or other, that I wou'd advise my Readers to be +very cautious in their Choice, and it would be very wisely done, if they +wou'd consult the curious _AElianus_ concerning this Matter, who has the +choicest Collection of any Man in _England_, and understands the most +correct Editions of Books of this Nature. + +I have took a great deal of Pains to set these Matters of Importance in +as clear a Light as we Criticks generally do, and shall begin with the +first _Canto_, which treats of our Hero's Birth and Parentage, and +Education, with some other Circumstances which you'll find are carry'd +on in a manner not very inelegant, _and cannot fail to please those who +are not Judges of Language, or those who notwithstanding they are Judges +of Language, have a genuine and unprejudic'd Tast of Nature_. + + In _Arthur's_ Court _Tom Thumb_ did live; + A Man of mickle Might, + The best of all the Table round, + And eke a doubty Knight, + In Stature but an Inch in Height, + Or quarter of a Span; + Then think you not this worthy Knight + Was prov'd a valiant Man. + +This Beginning is agreeable to the best of the Greek and Latin Poets; +_Homer_ and _Virgil_ give an Idea of the whole Poem in a few of the +first Lines, and here our Author draws the Character of his Hero, and +shews what you may expect from a Person so well qualify'd for the +greatest Undertakings. + +In the Description of him, which is very fine, he insinuates, that tho' +perhaps his Person may appear despicable and little, yet you'll find him +an Hero of the most consummate Bravery and Conduct, and is almost the +same Account _Statius_ gives of _Tydeus_. + + --------Totos infusa per artus, + Major in exiguo regnabat corpore virtus. + +If any suppose the Notion of such an Hero improbable, they'll find the +Character _Virgil_ gives _Camilla_ to be as far stretch'd: + + Illa vel Intactae segetis per summa volaret + Gramina, nec teneras cursu laesisset Aristas: + Vel mare per medium, fluctu suspensa tumenti + Ferret Iter: celeres nec tingeret aequore plantas. + +But to proceed, + + His Father was a Plowman plain, + His Mother milk'd the Cow, + And yet a Way to get a Son + This Couple knew not how, + Until such time the good old Man + To learned _Merlin_ goes, + And there to him in deep Distress + In secret Manner shows, + How in his Heart he wish'd to have, + A Child in time to come, + To be his Heir, tho' it might be + No bigger than his Thumb. + Of which old _Merlin_ was foretold, + That he his Wish should have, + And so a Son of Stature small + The Charmer to him gave. + +There is nothing more common throughout the Poets of the finest Taste, +than to give an Account of the Pedigree of their Hero. So _Virgil_, + + ----AEneas quem Dardanio Anchisae + Alma Venus Phrygii genuit Simoentis ad undas. + +And the Manner of the Countryman's going to consult _Merlin_, is like +that of _AEneas_'s approaching the Oracle of _Delphos_. + + ----Egressi veneramur Apollinis Urbem. + +And how naturally and poetically does he describe the Modesty of the +Man, who wou'd be content, if _Merlin_ wou'd grant him his Request, with +a Son no bigger than his Thumb. + +The Two next Stanza's carry on the Idea with a great deal of Probability +and Consistence; and to convince the World that he was born to be +something more than Man, he produces a Miracle to bring him into it. + + Begot, and born in half an Hour, + To fit his Father's Will. + +The following Stanza continues the Miracle, and brings the _Fairy Queen_ +and her Subjects, who gives him his Name, and makes him a Present of his +Apparel. + + Whereas she cloath'd him fine and brave, + In Garments richly fair, + The which did serve him many Years + In seemly sort to wear. + +So _Virgil_ of Queen _Dido_'s Present to _Ascanius_: + + Hoc Juvenem egregium praestanti munere donat. + +And again, + + --------Quem candida Dido + Esse sui dederat Monumentum & pignus Amoris. + +The Description of his Dress is very agreeable, and is not unlike what I +have met with somewhere of a Giant going a Fishing, with an Account of +his Implements equal to his Proportion. + + His Hat made of an Oaken Leaf, + His Shirt a Spider's Web, + Both light and soft for these his Limbs + That were so smally bred. + His Hose and Doublet Thistle Down, + Together weav'd full fine; + His Stockings of an Apple green, + Made of the outward Rind; + His Garters were two little Hairs + Pluck'd from his Mothers Eye; + His Shooes made of a Mouse's Skin, + And Tann'd most curiously. + +The next Stanza's relate his Diversions, bearing some Analogy to those +of _Ascanius_ and other Lads in _Virgil_: + + Thus like a valiant Gallant He + Adventures forth to go, + With other Children in the Street, + His pretty Tricks to show. + + Una Acies Juvenum ducit quam Parvus Ovantem + Nomen Avi referens Priamus. + +There is a Piece of Revenge our little Hero took upon a Play-fellow, +which proves, to what an height Mechanical and Experimental Philosophy +was arriv'd to in that Age, and may be worth while to be considered by +the _Royal Society_. + + Of whom to be reveng'd, he took + In Mirth and pleasant Game, + Black Pots and Glasses, which he hung + Upon a bright Sun-Beam. + +The third Line is a Demonstration of the Antiquity of Drinking out of +Black-Pots, which still prevails in most Counties of this Nation, among +the Justices of Peace at their Petty and Quarter Sessions. + +The last four Lines of this Canto, and the beginning of the next, +contain the miraculous Adventure of the Pudding-Bowl: And, by the by, +we may observe, That it was the Custom of the _Christians_ at that time, +to make Hog-Puddings instead of Minc'd-Pies at _Christmas_; a laudable +Custom very probably brought up to distinguish 'em more particularly +from the _Jews_. + + Whereas about a _Christmas_ time, + His Father an Hog had kill'd, + And _Tom_ to see the Pudding made, + Fear that it should be spill'd; + He sat, the Candle for to Light, + Upon the Pudding-Bowl: + Of which there is unto this Day + A pretty Pastime told: + For _Tom_ fell in---- + +Perhaps some may think it below our Hero to stoop to such a mean +Employment as the Poet has here enjoyn'd him, of holding the Candle, and +that it looks too much like a _Citizen_, or a _Cot_, as the Women call +it: But if we reflect on the Obedience due to Parents, as our Author +undoubtedly did, and the Necessities those People labour'd under, we +cannot but admire at his ready Compliance with what could by no Means be +agreeable to the Heroical Bent of his Inclinations, and perceive what a +tender Regard he had for the Wellfare of his Family, when he took the +strictest Care imaginable for the Preservation of the Hog-Pudding. And +what can be more remarkable? What can raise the Sentiments of Pity and +Compassion to an higher Pitch, than to see an Hero fall into such an +unforeseen Disaster in the honourable Execution of his Office? _This +certainly is conformable to the way of Thinking among the Ancient Poets, +and what a good-natur'd Reader cannot but be affected with._ + +The following Part of this Canto is the Relation of our Hero's being put +into a Pudding, and convey'd away in a Tinker's Budget; which is +design'd by our Author to prove, if it is understood literally, That the +greatest Men are subject to Misfortunes. But it is thought by Dr. +_B--tly_ to be all Mythology, and to contain the Doctrine of the +Transmutation of Metals, and is design'd to shew, that all Matter is the +same, tho' very differently Modified. He tells me, he intends to publish +a distinct Treatise of this Canto; and I don't question, but he'll +manage the Dispute with the same Learning, Conduct, and good Manners, +he has done others, and as Dr. _Salmon_ uses in his Corrections of Dr. +_Sydenham_ and the _Dispensatory_. + +The next Canto is the Story of _Tom Thumb_'s being Swallow'd by a Cow, +and his Deliverance out of her, which is treated of at large by +_Giordano Bruno_ in his _Spaccio de la Bestia trionfante_; which Book, +tho' very scarce, yet a _certain Gentleman_, who has it in his +Possession, has been so obliging as to let every Body know where to meet +with it. After this, you find him carried off by a Raven, and swallow'd +by a Giant; and 'tis almost the same Story as that of _Ganimede_, and +the Eagle in _Ovid_. + + Now by a Raven of great Strength, + Away poor _Tom_ was born. + + Nec mora: percusso mendacibus aere pennis + Abripit Iliaden. + +A certain great _Critick_ and _Schoolmaster_ who has publish'd such +Notes upon _Horace_ as were never seen before, is of Opinion, and has +very good Authority for what he says, that 'twas rather an Owl than a +Raven; for, as he observes with a wonderful deal of Penetration and +Sagacity, our Hero's Shoes were made of a Mouse's Skin which might +induce the Owl to run away with him. The Giant, he owns, looks very +probable, because we find 'em swallowing People very fast in almost all +Romances. + +This Canto concludes with our Hero's Arrival at Court; after he had +spent a considerable Part of his Youth in Labours and Fatigues, had been +inur'd to nothing else but Hardships and Adventures, we see him receive +the Recompence of his Merit, and become the Favourite of his Prince: And +here we may perceive all the Fineness of the Gentleman, mixt with all +the Resolution and Courage of the Warriour; We may behold him as ready +to oblige the Ladies with a Dance, as he was to draw his Sword in their +Defence. + + Amongst the Deeds of Courtship done, + His Highness did command, + That he shou'd dance a Galliard brave + Upon the Queen's Left Hand. + The which he did---- + +This shews he had all the Accomplishments of _Achilles_ who was +undoubtedly one of the best Dancers in the Age he liv'd, according to +the Character _Homer_ gives him so frequently of the Agility of his +Feet. I have consulted a Master of the Profession of Dancing, who is +excellently vers'd in the Chronology of all Dances, he tells me that +this _Galliard_ came into Vogue about the latter End of the Reign of +_Uter Pendragon_, and continu'd during that of King _Arthur_, which is +Demonstration to me that our Poet liv'd about that Age. + +It is asserted very positively in the later Editions of this Poem, that +the four following Lines are a Relation of the King and _Tom Thumb_'s +going together an Hunting, but I have took indefatigable Pains to +consult all the _Manuscripts_ in _Europe_ concerning this Matter, and I +find it an _Interpolation_. I have also an _Arabick Copy_ by me, which I +got a _Friend_ to translate, being unacquainted with the Language, and +it is plain by the Translation that 'tis there also _interpolated_. + + Now after that the King wou'd not + Abroad for Pleasure go, + But still _Tom Thumb_ must go with him + Plac'd on his Saddle Bow. + + ----Ipse Uno graditur comitatus Achate. + +There is scarcely any Scene more moving than this that follows, and is +_such an one as wou'd have shined in *Homer* or *Virgil*_. When he was +favour'd with his Prince's Ear, and might have ask'd the most profitable +and important Posts in the Government, and been indemnified if guilty of +a _Peculatus_; He only used his Interest to relieve the Necessities of +his Parents, when another _Person_ wou'd have scarcely own'd 'em for his +_Relations_. This discovers such a Generosity of Soul, such an Humility +in the greatest Prosperity, such a tender Affection for his Parents, as +is hardly to be met with, but in our Author. + + And being near his Highness Heart + He crav'd a wealthy Boon, + A noble Gift, the which the King + Commanded to be done; + To relieve his Father's Wants, + And Mother being old. + +The rest of this Canto relates the Visit to his Father, in which there +is something very soft and tender, something _that may move the Mind of +the most polite Reader, with the inward Meltings of Humanity and +Compassion_. + +The Next Canto of the Tilts and Tournaments, is much like the Fifth Book +of _Virgil_, and tho' we can't suppose our Poet ever saw that Author, +yet we may believe he was directed to almost the same Passages, _by the +same kind of Poetical Genius, and the same Copyings after Nature_. + + Now he with Tilts and Tournaments, + Was entertained so, + That all the rest of _Arthur_'s Knights + Did him much Pleasure show; + And good Sir _Lancelot_ of _Lake_, + Sir _Tristram_, and Sir _Guy_; + But none like to _Tom Thumb_ + For Acts of Chivalry. + + Longeque ante omnia Corpora Nisus + Emicat---- + +And agen, + + Post Elymus subit, & nunc tertia palma Diores. + + In Honour of which noble Day, + And for his Lady's Sake, + A Challenge in King _Arthur_'s Court, + _Tom Thumb_ did bravely make. + + Talis prima Dares caput altum in praelia tollit, + Ostendit[que] humeros latos, alterna[que] Iactat + Brachia portendens, & verberat Ictibus auras, + Quaeritur huic alius:---- + + 'Gainst whom those noble Knights did run, + Sir _Chion_ and the rest, + But, still _Tom Thumb_ with all his Might + Did bear away the best. + + Et primum ante omnes victorem appellat Acesten. + +At the same time our Poet shews a laudable Partiality for his Hero, he +represents Sir _Lancelot_ after a manner not unbecoming so bold and +brave a Knight. + + At last Sir _Lancelot_ of _Lake_, + In manly sort came in, + And with this stout and hardy Knight + A Battle to begin. + + Huic contra AEneas, speculatus in agmine longo + Obvius ire parat---- + + Which made the Courtiers all aghast. + + Obstupuere animi---- + +This Canto concludes with the Presents made by the King to the Champion +according to the Custom of the _Greeks_ and _Romans_ in such Cases; only +his tumbling thro' the Queen's Ring is observable, and may serve to give +some Light into the Original of that ingenious Exercise so much +practis'd by the Moderns, of tumbling thro' an Hoop. + +The last Canto treats of the Champion's Sickness and Death, and whoever +considers the Beauty, Regularity and majestic Simplicity of the +Relation, cannot but be surpris'd at the Advances that may be made in +Poetry by the Strength of an uncultivated Genius, and may see how far +Nature can proceed without the Ornamental Helps and Assistances of Art. +The Poet don't attribute his Sickness to a Debauch, to the Irregularity +or Intemperance of his Life, but to an Exercise becoming an Hero; and +tho' he dies quietly in his Bed, he may be said in some measure to die +in the Bed of Honour. And to shew the great Affection the King had for +him, he sends for his Physicians, and orders all the Care imaginable to +be taken for the Conservation of his Life. + + He being slender and tall, + This cunning Doctor took + A fine perspective Glass, with which, + He did in Secret look. + +It is a Wonder that the learned World shou'd differ so in their Opinions +concerning the Invention and Antiquity of Optic Glasses, and that any +one should contend for _Metius_ of _Alcmaer_, or, as Dr. _Plot_ does, +for _Fryar Bacon_, when, if this Author had been consulted, Matters +might have been so easily adjusted. Some great Men indeed wou'd prove +from hence, our Knight was the Inventor of 'em, that his Valet might the +more commodiously see to dress him; but if we consider there were no +Beau's in that Age, or reflect more maturely on the Epithet here given +to the Doctor, we may readily conclude, that the Honour of this +Invention belongs more particularly to that ingenious Profession. + +How lovely is the Account of the Departure of his Soul from his Body: + + And so with Peace and Quietness + He left the World below. + + Placida[que] demum ibi morte quievit. + + And up into the Fairy Land + His Soul did fleeting go. + + ----At AEthereas repetit mens ignea sedes. + + Whereas the Fairy Queen receiv'd + With happy Mourning Cheer + The Body of this valiant Knight, + Whom she esteem'd so dear; + For with her dancing Nymphs in Green + She fetch'd him from his Bed, + With Musick and with Melody, + As soon as Life was fled. + + ----Et fotum gremio Dea tollit in Altos + Idaliae lucos---- + +So one of our Modern Poets; + + Thither the Fairys and their Train resort, + And leave their Revels, and their midnight Sport. + +We find in all the most celebrated Poets some Goddess that takes upon +her to be the peculiar Guardian of the Hero, which has been carry'd on +very elegantly in this Author. + +But agen; + + For whom King _Arthur_ and his Knights, + Full forty Days did mourn, + And in Remembrance of his name, + Who was so strangely born, + He built a Tomb of Marble grey, + And Year by Year did come, + To celebrate the Mournful Day, + And Burial of _Tom Thumb_, + Whose Fame lives here in _England_ still, + Among the Country sort, + Of whom their Wives and Children small, + Tell Tales of pleasant Sport. + +So _Ovid_; + + ----Luctus monumenta manebunt + Semper Adoni mei, repetita[que] mortis Imago + Annua plangoris peragit simulamina Nostri. + +Nor is this Conclusion unlike one of the best Latin Poems this Age has +produc'd. + + Tu Taffi AEternum vives, tua munera Cambri + Nunc etiam Celebrant, quoties[que] revolvitur Annus + Te memorant, Patrium Gens tota tuetur Honorem, + Et cingunt viridi redolentia tempora Porro. + +And now, tho' I am very well satisfied with this Performance, yet, +according to the usual Modesty of us Authors, I am oblig'd to tell the +World, _it will be a great Satisfaction to me, knowing my own +Insufficiency_, if I have given but some Hints of the Beauties of this +Poem, which are capable of being improv'd by those of greater Learning +and Abilities. And I am glad to find by a Letter I have receiv'd from +one of the _Literati_ in _Holland_, That the learned _Huffius_, a great +Man of our Nation, is about the Translation of this Piece into _Latin_ +Verse, which he assures me will be done with a great deal of Judgment, +in case he has enough of that Language to furnish out the Undertaking. +I am very well Appris'd, That there has been publish'd Two Poems lately, +Intituled, The Second and Third Parts of this Author; which treat of our +little Hero's rising from the Dead in the Days of King _Edgar_: But I am +inform'd by my Friend the _Schoolmaster_, and others, That they were +compos'd by an Enthusiast in the last Century, and have been since +Printed for the Establishment of the Doctrine of Monsieur _Marion_ and +his Followers, and the Resurrection of Dr. _Ems_. + +I hope no Body will be offended at my asserting Things so positively, +since 'tis the Priviledge of us _Commentators_, who understand the +meaning of an Author Seventeen Hundred Years after he has wrote, much +better than ever he cou'd be suppos'd to do himself. And certainly, +a Critick ought not only to know what his Authors Thoughts were when he +was Writing such and such Passages, but how those Thoughts came into his +Head, where he was when he wrote, or what he was doing of; whether he +wrote in a Garden, a Garret, or a Coach; upon a Lady, or a Milkmaid; +whether at that Time he was scratching his Elbow, drinking a Bottle, +or playing at Questions and Commands. These are material and important +Circumstances so well known to the _True Commentator_, that were +_Virgil_ and _Horace_ to revisit the World at this time, they'd be +wonderfully surpris'd to see the minutest of their Perfections +discover'd by the Assistances of _Modern Criticism_. Nor have the +Classicks only reap'd Benefit from Inquiries of this Nature, but +Divinity it self seems to be render'd more intelligible. I know a +Divine, who understands what St. _Paul_ meant by _Higher Powers_, much +better than that Apostle cou'd pretend to do; and another, That can +unfold all the Mysteries of the _Revelations_ without Spectacles. + +I know there are some People that cast an Odium on me, and others, for +pointing out the Beauties of such Authors, as have, they say, been +hitherto unknown, and argue, That 'tis a sort of Heresie in Wit, and is +like the fruitless Endeavours of proving the Apostolical Constitutions +_Genuine_, that have been indisputably _Spurious_ for so many Ages: But +let these Gentlemen consider, whether they pass not the same Judgment on +an Author, as a Woman does on a Man, by the gayety of his Dress, or the +gaudy Equipage of his Epithets. And however they may call me +_second-sighted_, for discerning what they are Blind to, I must tell +them this Poem has not been altogether so obscure, but that the most +refin'd _Writers_ of this Age have been delighted with the reading it. +Mr. _Tho. D'Urfey_, I am told, is an Admirer, and Mr. _John Dunton_ has +been heard to say, more than once, he had rather be the Author of it +than all his Works. + +How often, _says my Author_, have I seen the Tears trickle down the Face +of the Polite _Woodwardius_ upon reading some of the most pathetical +Encounters of _Tom Thumb_! How soft, how musically sorrowful was his +Voice! How good Natur'd, how gentle, how unaffected was the Ceremoniale +of his Gesture, and how unfit for a Profession so Merciless and +Inhumane! + +I was persuaded by a Friend to write some Copies of Verses and place 'em +in the Frontispiece of this Poem, in Commendation of My self and my +_Comment_, suppos'd to be compos'd by _AG. FT. LM. RW._ and so forth. +_To their very worthy and honour'd Friend_ C. D. upon his admirable and +useful _Comment_ on the History of _Tom Thumb_; but my Bookseller told +me the Trick was so common, 'twou'd not answer. Then I propos'd a +Dedication to my Lord _such an One_, or Sir _Thomas such an One_; but he +told me the Stock to be rais'd on Dedications was so small now a Days, +and the Discount to my Lord's Gentleman, _&c._ so high, that 'twou'd not +be worth while; besides, says he, it is the Opinion of some Patrons, +that a Dinner now and then, with, _Sir, I shall expect to see you +sometimes_, is a suitable Reward for a publick Compliment in Print. But +if, continues my Bookseller, you have a Mind it shou'd turn to +Advantage, write Treason or Heresy, get censur'd by the Parliament or +Convocation, and condemn'd to be burnt by the Hands of the common +Hangman, and you can't fail having a Multitude of Readers, by the same +Reason, _A notorious Rogue has such a Number of Followers to the +Gallows_. + + +_FINIS._ + + + * * * * * + * * * * + + [Illustration] + + + THE MICROCOSM. + + by + + Gregory Griffin. + + + + + No. XI. of the + + MICROCOSM. + + MONDAY, _February_ 12, 1787. + + Res gestae regumque, ducumque, et tristia bella, + _Quo scribi possint numero, monstravit Homerus_.--HOR. + By Homer taught, the modern poet sings, + _In Epic strains, of heroes, wars, and Kings_.--FRANCIS. + + +There are certain forms and etiquettes in life, which, though the +neglect of them does not amount to the commission of a crime, or the +violation of a duty, are yet so established by example, and sanctioned +by custom, as to pass into Statutes, equally acknowledged by society, +and almost equally binding to individuals, with the laws of the land, +or the precepts of morality. A man guilty of breaking these, though he +cannot be transported for a felon, or indicted for treasonable +practices, is yet, in the High Court of Custom, branded as a flagrant +offender against decorum, as notorious for an unprecedented infringement +on propriety. + +There is no race of men on whom these laws are more severe than Authors; +and no species of Authors more subject to them, than Periodical +Essayists. _Homer_ having prescribed the form, or to use a more modern +phrase, _set the fashion_ of _Epic Poems_, whoever presumes to deviate +from his plan, must not hope to participate his dignity: And whatever +method, _The Spectator_, _The Guardian_, and others, who first adopted +this species of writing, have pursued in their undertaking, is set down +as a rule for the conduct of their followers; which, whoever is bold +enough to transgress, is accused of a deviation from the original +design, and a breach of established regulation. + +It has hitherto been customary for all Periodical Writers, to take some +opportunity, in the course of their labours, to display their Critical +abilities, either by making observations on some popular Author, and +work of known character, or by bringing forth the performances of hidden +merit, and throwing light on genius in obscurity. To the critiques of +_The Spectator_, _Shakespear_, and more particularly, _Milton_, are +indebted, for no inconsiderable share of the reputation, which they now +so universally enjoy; and by his means were the ruder graces, and more +simple beauties of _Chevy Chace_ held up to public view, and recommended +to general admiration. + +I should probably be accused of swerving from the imitation of so great +an example, were not I to take occasion to shew that I too am not +entirely destitute of abilities of this kind; but that by possessing a +decent share of critical discernment, and critical jargon, I am capable +of becoming a very tolerable commentator. For the proof of which, +I shall rather prefer calling the attention of my readers to an object +as yet untreated of by any of my immediate predecessors, than venture to +throw in my observations on any work which has before passed the ordeal +of frequent examination. And this I shall do for two reasons; partly, +because were I to choose a field, how fertile soever, of which many +others had before me been reaping the fruits, mine would be at best but +the gleanings of criticism; and partly, from a more interested view, +from a selfish desire of accumulated praise; since, by making a work, +as yet almost wholly unknown, the subject of my consideration, I shall +acquire the reputation of taste, as well as judgement;--of judiciousness +in selection, as well as justness in observation;--of propriety in +choosing the object, as well as skill in using the language, of +commentary. + +The _Epic Poem_ on which I shall ground my present critique, has for its +chief characteristics, brevity and simplicity. The Author,--whose name I +lament that I am, in some degree, prevented from consecrating to +immortal fame, by not knowing what it is--the Author, I say, has not +branched his poem into excressences of episode, or prolixities of +digression; it is neither variegated with diversity of unmeaning +similitudes, nor glaring with the varnish of unnatural metaphor. The +whole is plain and uniform; so much so indeed, that I should hardly be +surprised, if some morose readers were to conjecture, that the poet had +been thus simple rather from necessity than choice; that he had been +restrained not so much by chastity of judgement, as sterility of +imagination. + +Nay, some there may be perhaps, who will dispute his claim to the title +of an _Epic Poet_; and will endeavour to degrade him even to the rank of +a _ballad-monger_. But I, as his Commentator, will contend for the +dignity of my Author; and will plainly demonstrate his Poem to be an +_Epic Poem_, agreeable to the example of all Poets, and the consent of +all Critics heretofore. + +First, it is universally agreed, that an _Epic Poem_ should have three +component parts, _a beginning_, _a middle_, and _an end_;--secondly, +it is allowed, that it should have one _grand action_, or _main design_, +to the forwarding of which, all the parts of it should directly or +indirectly tend; and that this design should be in some measure +consonant with, and conducive to, the purposes of _Morality_;--and +thirdly, it is indisputably settled, that it should have _a Hero_. +I trust that in none of these points the poem before us will be found +deficient. There are other inferior properties, which I shall consider +in due order. + +Not to keep my readers longer in suspense, the subject of the poem is +"_The Reformation of the Knave of Hearts_." It is not improbable, that +some may object to me that a _Knave_ is an unworthy Hero for an Epic +Poem; that a Hero ought to be all that is great and good. The objection +is frivolous. The greatest work of this kind that the World has ever +produced, has "_The Devil_" for its hero; and supported as my author is +by so great a precedent, I contend, that his Hero is a very decent Hero; +and especially as he has the advantage of _Milton_'s, by reforming at +the end, is evidently entitled to a competent share of celebrity. + +I shall now proceed in the more immediate examination of the poem in its +different parts. The _beginning_, say the Critics, ought to be plain and +simple; neither embellished with the flowers of poetry, nor turgid with +pomposity of diction. In this how exactly does our Author conform to the +established opinion! he begins thus, + + "The Queen of Hearts + "She made some Tarts"-- + +Can any thing be more clear! more natural! more agreeable to the true +spirit of simplicity! Here are no tropes,--no figurative +expressions,--not even so much as an invocation to the Muse. He does not +detain his readers by any needless circumlocution; by unnecessarily +informing them, what he _is_ going to sing; or still more unnecessarily +enumerating what he _is not_ going to sing: but according to the precept +of Horace, + + ----in medias res, + Non secus ac notas, auditorem rapit,---- + +That is, he at once introduces us, and sets us on the most easy and +familiar footing imaginable, with her Majesty of Hearts, and interests +us deeply in her domestic concerns. But to proceed, + + "The Queen of Hearts + "She made some Tarts, + "All on a Summer's Day." + +Here indeed the prospect brightens, and we are led to expect some +liveliness of imagery, some warmth of poetical colouring;--but here is +no such thing.--There is no task more difficult to a Poet, than that of +_Rejection_. _Ovid_, among the ancients, and _Dryden_, among the +moderns, were perhaps the most remarkable for the want of it. The latter +from the haste in which he generally produced his compositions, seldom +paid much attention to the "_limae labor_," "the labour of correction," +and seldom therefore rejected the assistance of any idea that presented +itself. _Ovid_, not content with catching the leading features of any +scene or character, indulged himself in a thousand minutiae of +description, a thousand puerile prettinesses, which were in themselves +uninteresting, and took off greatly from the effect of the whole; as the +numberless suckers, and straggling branches of a fruit tree, if +permitted to shoot out unrestrained, while they are themselves barren +and useless, diminish considerably the vigour of the parent stock. +_Ovid_ had more genius, but less judgement than _Virgil_; _Dryden_ more +imagination, but less correctness than _Pope_; had they not been +deficient in these points, the former would certainly have equalled, the +latter infinitely outshone the merits of his countryman.--_Our Author_ +was undoubtedly possessed of that power which they wanted; and was +cautious not to indulge too far the sallies of a lively imagination. +Omitting therefore any mention of--sultry Sirius,--silvan +shade,--sequestered glade,--verdant hills,--purling rills,--mossy +mountains,--gurgling fountains,--&c. &c.--he simply tells us that it was +"_All on a Summers Day_." For my own part, I confess, that I find myself +rather flattered than disappointed; and consider the Poet as rather +paying a compliment to the abilities of his readers, than baulking their +expectations. It is certainly a great pleasure to see a picture well +painted; but it is a much greater to paint it well oneself. This +therefore I look upon as a stroke of excellent management in the Poet. +Here every reader is at liberty to gratify his own taste; to design for +himself just what sort of "_Summer's Day_" he likes best; to choose his +own scenery; dispose his lights and shades as he pleases; to solace +himself with a rivulet or a horse-pond,--a shower, or a sun-beam,--a +grove, or a kitchen garden,--according to his fancy. How much more +considerate this, than if the Poet had, from an affected accuracy of +description, thrown us into an unmannerly perspiration by the heat of +the atmosphere; forced us into a landscape of his own planning, with +perhaps a paltry good-for-nothing zephyr or two, and a limited quantity +of wood and water.--All this _Ovid_ would undoubtedly have done. Nay, +to use the expression of a learned brother-commentator, "_quovis pignore +decertem_" "I would lay any wager," that he would have gone so far as to +tell us what the tarts were made of; and perhaps wandered into an +episode on the art of preserving cherries. But _our Poet_, above such +considerations, leaves every reader to choose his own ingredients, and +sweeten them to his own liking; wisely foreseeing, no doubt, that the +more palatable each had rendered them to his own taste, the more he +would be affected at their approaching loss. + + "All on a Summer's Day." + +I cannot leave this line without remarking, that one of the _Scribleri_, +a descendant of the famous _Martinus_, has expressed his suspicions of +the text being corrupted here, and proposes, instead of "_All on_" +reading "_Alone_," alledging, in favour of this alteration, the effect +of Solitude in raising the passions. But _Hiccius Doctius_, a High Dutch +commentator, one nevertheless well versed in British literature, in a +note of his usual length and learning, has confuted the arguments of +_Scriblerus_. In support of the present reading, he quotes a passage +from a poem written about the same period with our author's, by the +celebrated _Johannes Pastor_[*], intituled "_An Elegiac Epistle to the +Turnkey of Newgate_," wherein the gentleman declares, that rather indeed +in compliance with an old custom, than to gratify any particular will of +his own, he is going + + --------"All hanged for to be + "Upon that fatal Tyburn tree."---- + + [Footnote *: More commonly known, I believe, by the appellation of + "_Jack Shepherd_."] + +Now as nothing throws greater light on an author, than the concurrence +of a contemporary writer, I am inclined to be of _Hiccius's_ opinion, +and to consider the "_All_" as an elegant expletive, or, as he more +aptly phrases it "_elegans expletivum_." The passage therefore must +stand thus, + + "The Queen of Hearts + "She made some Tarts, + "All on a Summer's Day." + +And thus ends the first part, or _beginning_; which is simple and +unembellished; opens the subject in a natural and easy manner; excites, +but does not too far gratify our curiosity: for a reader of accurate +observation may easily discover, that the _Hero_ of the Poem has not, +as yet, made his appearance. + + +I could not continue my examination at present through the whole of this +Poem, without far exceeding the limits of a single paper. I have +therefore divided it into two; but shall not delay the publication of +the second to another week,--as that, besides breaking the connection of +criticism, would materially injure the _unities_ of the Poem. + + + + + No. XII. + + of the + + MICROCOSM. + + MONDAY, _February 12, 1787_. + + --------Servetur ad imum, + Qualis ab incepto processerit, et sibi constet. + + HORACE. + + From his first Entrance to the closing Scene, + Let him one equal Character maintain. + + FRANCIS. + + +Having thus gone through the first part, or _beginning_ of the Poem, +we may naturally enough proceed to the consideration of the second. + +The second part, or _middle_, is the proper place for bustle and +business; for incident and adventure. + + "The Knave of Hearts + "He stole those Tarts." + +Here attention is awakened; and our whole souls are intent upon the +first appearance of the Hero. Some readers may perhaps be offended at +his making his _entre_ in so disadvantageous a character as that of a +_thief_. To this I plead precedent. + +The Hero of the Iliad, as I observed in a former paper, is made to +lament very pathetically,--that "life is not like all other possessions, +to be acquired by theft."--A reflection, in my opinion, evidently +shewing, that, if he _did_ refrain from the practice of this ingenious +art, it was not from want of an inclination that way. We may remember +too, that in _Virgil's_ poem, almost the first light in which the _Pious +AEneas_ appears to us, is a _deer-stealer_; nor is it much excuse for +him, that the deer were wandering without keepers; for however he might, +from this circumstance, have been unable to ascertain whose property +they were; he might, I think, have been pretty well assured that they +were not _his_. + +Having thus acquitted our Hero of misconduct, by the example of his +betters, I proceed to what I think the Master-Stroke of the Poet. + + "The Knave of Hearts + "He stole those Tarts, + "And----took them----quite away!!" + +Here, whoever has an ear for harmony, and a heart for feeling, must be +touched! There is a desponding melancholy in the run of the last line! +an air of tender regret in the addition of "_quite away!_" a something +so expressive of irrecoverable loss! so forcibly intimating the "_Ah +nunquam reditura!_" "They never can return!" in short, such an union of +sound and sense, as we rarely, if ever meet with in any author, ancient +or modern. Our feelings are all alive--but the Poet, wisely dreading +that our sympathy with the injured Queen might alienate our affections +from his Hero, contrives immediately to awaken our fears for him, +by telling us, that + + "The King of Hearts + "Call'd for those Tarts,"-- + +We are all conscious of the fault of our Hero, and all tremble with him, +for the punishment which the enraged Monarch may inflict; + + "And beat the Knave--full sore!" + +The fatal blow is struck! We cannot but rejoice that guilt is justly +punished, though we sympathize with the guilty object of punishment. +Here _Scriblerus_, who, by the bye, is very fond of making unnecessary +alterations, proposes reading "_Score_" instead of "_sore_," meaning +thereby to particularize, that the beating bestowed by this Monarch, +consisted of _twenty_ stripes. But this proceeds from his ignorance of +the genius of our language, which does not admit of such an expression +as "_full score_," but would require the insertion of the particle +"_a_," which cannot be, on account of the metre. And this is another +great artifice of the Poet: by leaving the quantity of beating +indeterminate, he gives every reader the liberty to administer it, in +exact proportion to the sum of indignation which he may have conceived +against his Hero; that by thus amply satisfying their resentment, they +may be the more easily reconciled to him afterwards. + + "The King of Hearts + "Call'd for those Tarts, + "And beat the Knave full sore!" + +Here ends the second part, or _middle_ of the poem; in which we see the +character, and exploits of the Hero, pourtrayed with the hand of a +master. + +Nothing now remains to be examined, but the third part, or _End_. In the +_End_, it is a rule pretty well established, that the Work should draw +towards a conclusion, which our Author manages thus. + + "The Knave of Hearts + "Brought back those Tarts." + +Here every thing is at length settled; the theft is compensated; the +tarts restored to their right owner; and _Poetical Justice_, in every +respect, strictly, and impartially administered. + +We may observe, that there is nothing in which our Poet has better +succeeded, than in keeping up an unremitted attention in his readers to +the main instruments, the machinery of his poem, viz. The _Tarts_; +insomuch, that the aforementioned _Scriblerus_ has sagely observed, that +"he can't tell, but he doesn't know, but the tarts may be reckoned the +heroes of the Poem." _Scriblerus_, though a man of learning, and +frequently right in his opinion, has here certainly hazarded a rash +conjecture. His arguments are overthrown entirely by his great opponent, +_Hiccius_, who concludes, by triumphantly asking, "Had the tarts been +eaten, how could the Poet have compensated for the loss of his Heroes?" + +We are now come to the _denouement_, the setting all to rights: and our +Poet, in the management of his _moral_, is certainly superior to his +great ancient predecessors. The moral of their fables, if any they have, +is so interwoven with the main body of their work, that in endeavouring +to unravel it, we should tear the whole. _Our Author_ has very properly +preserved his whole and entire for the _end_ of his poem, where he +completes his _main design_, the _Reformation_ of his Hero, thus, + + "And vow'd he'd steal no more." + +Having in the course of his work, shewn the bad effects arising from +theft, he evidently means this last moral reflection, to operate with +his readers as a gentle and polite dissuasive from stealing. + + "The Knave of Hearts + "Brought back those Tarts, + "And vow'd he'd steal no more!" + +Thus have I industriously gone through the several parts of this +wonderful Work; and clearly proved it, in every one of these parts, and +in all of them together, to be a _due and proper Epic Poem_; and to have +as good a right to that title, from its adherence to prescribed rules, +as any of the celebrated master-pieces of antiquity. And here I cannot +help again lamenting, that, by not knowing the name of the Author, I am +unable to twine our laurels together; and to transmit to posterity the +mingled praises of Genius, and Judgment; of the Poet, and his +commentator. + + +Having some space left in this paper, I will now, with the permission of +my readers of the _great world_, address myself more particularly to my +fellow-citizens. + +To them, the essay which I have here presented, will, I flatter myself, +be peculiarly serviceable at this time; and I would earnestly recommend +an attentive perusal of it, to all of them whose muses are engaged in +compositions of the Epic kind.--I am very much afraid that I may run +into the error, which I have myself pointed out, of becoming too +_local_,--but where it is evidently intended for the good of my fellow +citizens, it may, I hope, be now and then pardonable. At the present +juncture, as many have applied for my assistance, I cannot find in my +heart to refuse it them. Were I to attempt fully explaining, why, at the +_present juncture_, I fear it would be vain. Would it not seem +incredible to the Ladies, were I to tell them, that the period +approaches, when upwards of a hundred _Epic Poems_ will be exposed to +public view, most of them nearly of equal length, and many of them +nearly of equal merit, with the one which I have here taken into +consideration; illustrated moreover with elegant etchings, designed +either as _hieroglyphical_ explanations of the subject, or as _practical +puns_ on the name of the author?--And yet in truth so it is,--and on +this subject I wish to give a word of advice to my countrymen. + +Many of them have applied to me by letter, to assist them with designs +for prefixing to their poems; and this I should very willingly have +done, had those gentlemen been kind enough to subscribe their real names +to their requests: whereas, all that I have received have been signed, +_Tom Long_, _Philosophus_, _Philalethes_, and such like. I have +therefore been prevented from affording them the assistance I wished; +and cannot help wondering, that the gentlemen did not consider, that it +was impossible for me to provide _typical references_ for feigned names; +as, for ought I know, the person who signs himself _Tom Long_ may not be +four feet high; _Philosophus_ may be possessed of a considerable share +of folly; and _Philalethes_ may be as arrant a liar as any in the +kingdom. + +It may not however be useless to offer some general reflections for all +who may require them. It is not improbable, that, as the subject of +their poems is the _Restoration_, many of my fellow-citizens may choose +to adorn their _title-pages_ with the representation of His Majesty, +Charles the Second, escaping the vigilance of his pursuers in the _Royal +Oak_. There are some particularities generally observable in this +picture, which I shall point out to them, lest they fall into similar +errors. Though I am as far as any other Briton can be, from wishing to +"curtail" his Majesty's Wig "of its fair proportion;" yet I have +sometimes been apt to think it rather improper, to make the Wig, as is +usually done, of larger dimensions than the tree in which it and his +Majesty are concealed. It is a rule in Logic, and I believe may hold +good in most other Sciences, that "_omne majus continet in se minus_," +that "every thing larger can hold any thing that is less;" but I own, +I never heard the contrary advanced or defended with any plausible +arguments, viz. "that every little thing can hold one larger." +I therefore humbly propose, that there should be at least an edge of +foliage round the outskirts of the said wig; and that its curls should +not exceed in number the leaves of the tree. There is also another +practice almost equally prevalent, of which I am sceptic enough to doubt +the propriety. I own, I cannot think it by any means conducive to the +more effectual concealment of his Majesty, that there should be three +Regal Crowns stuck on three different branches of the tree. Horace says +indeed, + + --------Pictoribus atque Poetis, + Quidlibet audendi semper fuit aequa potestas. + + Painters and Poets our indulgence claim, + _Their daring equal, and their art the same._--FRAN. + +And this may be reckoned a very allowable _poetical licence_; inasmuch +as it lets the spectator into the secret, _who is in the tree_. But it +is apt to make him at the same time throw the accusation of negligence +and want of penetration on the three dragoons, who are usually depicted +on the foreground, cantering along very composedly, with serene +countenances, erect persons, and drawn swords, very little longer than +themselves. + + + * * * * * + * * * * + +PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY + + [Transcriber's Note: + Many of the listed titles are or will be available from Project + Gutenberg. Where possible, the e-text number is given in brackets.] + + +*First Year (1946-1947)* + +Numbers 1-6 out of print. + + [Titles: + 1. Richard Blackmore's _Essay upon Wit_ (1716), and Addison's + _Freeholder_ No. 45 (1716). [13484] + 2. Anon., _Essay on Wit_ (1748), together with Characters by + Flecknoe, and Joseph Warton's _Adventurer_ Nos. 127 and 133. + [14973] + 3. Anon., _Letter to A. H. Esq.; concerning the Stage_ (1698), and + Richard Willis' _Occasional Paper_ No. IX (1698). [14047] + 4. Samuel Cobb's _Of Poetry_ and _Discourse on Criticism_ (1707). + [14528] + 5. Samuel Wesley's _Epistle to a Friend Concerning Poetry_ (1700) + and _Essay on Heroic Poetry_ (1693). [16506] + 6. Anon., _Representation of the Impiety and Immorality of the Stage_ + (1704) and anon., _Some Thoughts Concerning the Stage_ (1704). + [15656] ] + + +*Second Year (1947-1948)* + + 7. John Gay's _The Present State of Wit_ (1711); and a section on Wit + from _The English Theophrastus_ (1702). [#14800] + + 8. Rapin's _De Carmine Pastorali_, translated by Creech (1684). + [#14495] + + 9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736). + [#14899] + +10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit, + etc._ (1744). [#16233] + +11. Thomas Purney's _Discourse on the Pastoral_ (1717). [#15313] + +12. Essays on the Stage, selected, with an Introduction by Joseph + Wood Krutch. [#16335] + + +*Third Year (1948-1949)* + +13. Sir John Falstaff (pseud.), _The Theatre_ (1720). [#15999] + +14. Edward Moore's _The Gamester_ (1753). [#16267] + +15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_ + (1712); and Arthur Mainwaring's _The British Academy_ (1712). + [In preparation] + +16. Nevil Payne's _Fatal Jealousy_ (1673). [#16916] + +17. Nicholas Rowe's _Some Account of the Life of Mr. William + Shakespeare_ (1709). [#16275] + +18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719); + and Aaron Hill's Preface to _The Creation_ (1720). [#15870] + + +*Fourth Year (1949-1950)* + +19. Susanna Centlivre's _The Busie Body_ (1709). [#16740] + +20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734). + [#16346] + +21. _Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela_ + (1754). + +22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two + _Rambler_ papers (1750). [#13350] + +23. John Dryden's _His Majesties Declaration Defended_ (1681). [#15074] + +24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which + from Settled Principles is Rendered the Grounds for Choosing and + Rejecting Epigrams_, translated by J. V. Cunningham. + + +*Fifth Year (1950-1951)* + +25. Thomas Baker's _The Fine Lady's Airs_ (1709). [#14467] + +26. Charles Macklin's _The Man of the World_ (1792). [#14463] + +27. Out of print. + + [Frances Reynolds' _An Enquiry Concerning the Principles of Taste, + and of the Origin of Our Ideas of Beauty, etc._ (1785). [#13485] ] + +28. John Evelyn's _An Apologie for the Royal Party_ (1659); and + _A Panegyric to Charles the Second_ (1661). [#17833] + +29. Daniel Defoe's _A Vindication of the Press_ (1718). [#14084] + +30. Essays on Taste from John Gilbert Cooper's _Letters Concerning + Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_ + (1770). [#13464] + + +*Sixth Year (1951-1952)* + +31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751); + and _The Eton College Manuscript_. [#15409] + +32. Prefaces to Fiction; Georges de Scudery's Preface to _Ibrahim_ + (1674), etc. [#14525] + +33. Henry Gally's _A Critical Essay_ on Characteristic-Writings (1725). + [#16299] + +34. Thomas Tyers' A Biographical Sketch of Dr. Samuel Johnson (1785). + +35. James Roswell, Andrew Erskine, and George Dempster. _Critical + Strictures on the New Tragedy of Elvira, Written by Mr. David + Malloch_ (1763). [#15857] + +36. Joseph Harris's _The City Bride_ (1696). [In preparation] + + +*Seventh Year (1952-1953)* + +37. Thomas Morrison's _A Pindarick Ode on Painting_ (1767). [In + preparation] + +38. John Phillips' _A Satyr Against Hypocrites_ (1655). + +39. Thomas Warton's _A History of English Poetry_. + +40. Edward Bysshe's _The Art of English Poetry_ (1708). + +41. Bernard Mandeville's "A Letter to Dion" (1732). + +42. Prefaces to Four Seventeenth-Century Romances. + + +*Eighth Year (1953-1954)* + +43. John Baillie's _An Essay on the Sublime_ (1747). + +44. Mathias Casimire Sarbiewski's _The Odes of Casimire_, Translated + by G. Hils (1646). + +45. John Robert Scott's _Dissertation on the Progress of the Fine Arts._ + +46. Selections from Seventeenth Century Songbooks. + +47. Contemporaries of the _Tatler_ and _Spectator_. + +48. Samuel Richardson's Introduction to _Pamela_. + + +*Ninth Year (1954-1955)* + +49. Two St. Cecilia's Day Sermons (1696-1697). + +50. Hervey Aston's _A Sermon Before the Sons of the Clergy_ (1745). + +51. Lewis Maidwell's _An Essay upon the Necessity and Excellency of + Education_ (1705). + +52. Pappity Stampoy's _A Collection of Scotch Proverbs_ (1663). [#7018] + +53. Urian Oakes' _The Soveriegn Efficacy of Divine Providence_ (1682). + +54. Mary Davys' _Familiar Letters Betwixt a Gentleman and a Lady_ + (1725). + + +*Tenth Year (1955-1956)* + +55. Samuel Say's _An Essay on the Harmony, Variety, and Power of + Numbers_ (1745). + +56. _Theologia Ruris, sive Schola & Scala Naturae_ (1686). + +57. Henry Fielding's _Shamela_ (1741). + +58. Eighteenth Century Book Illustrations. + +59. Samuel Johnson's _Notes to Shakespeare_. Vol. I, Comedies, Part I. + [#7780] + +60. Samuel Johnson's _Notes to Shakespeare_. Vol. I, Comedies, Part II. + [#7780] + + + * * * * * + * * * * + * * * * * + +Errors corrected by transcriber: + + the _Spectator's_ critiques of Shakespeare + [not underlined in original] + Artfulness and Embellishments of the _Romans_ + [text reads "Embel/llishments" at line break] + the first Person that ever found out the Philosopher's Stone + [text reads "that that"] + But if, continues my Bookseller + [text reads "conti/tinues" at line break] + _denouement_ + _accent unchanged (grave on second "e")_ + every thing larger can hold any thing that is less + [text reads "every think"] + + + + + + + +End of the Project Gutenberg EBook of Parodies of Ballad Criticism +(1711-1787), by William Wagstaffe and Gregory Griffin AKA George Canning + +*** END OF THIS PROJECT GUTENBERG EBOOK PARODIES OF BALLAD CRITICISM *** + +***** This file should be named 22081.txt or 22081.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/2/0/8/22081/ + +Produced by Louise Hope, David Starner and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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