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+The Project Gutenberg eBook, An Essay on Satire, Particularly on the
+Dunciad, by Walter Harte
+
+
+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: An Essay on Satire, Particularly on the Dunciad
+
+
+Author: Walter Harte
+
+
+
+Release Date: June 25, 2009  [eBook #29237]
+Most recently updated: November 29, 2011
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK AN ESSAY ON SATIRE, PARTICULARLY
+ON THE DUNCIAD***
+
+
+E-text prepared by Chris Curnow, Stephanie Eason, Joseph Cooper, and the
+Project Gutenberg Online Distributed Proofreading Team
+(http://www.pgdp.net)
+
+
+
+Transcriber's note:
+
+      Text in italics is enclosed between underscores (_italics_).
+
+
+
+
+
+The Augustan Reprint Society
+
+WALTER HARTE
+
+AN ESSAY ON SATIRE,
+
+Particularly on the DUNCIAD.
+
+(1730)
+
+Introduction by
+
+THOMAS B. GILMORE
+
+
+
+
+
+
+
+Publication Number 132
+William Andrews Clark Memorial Library
+University of California, Los Angeles
+1968
+
+       *       *       *       *       *
+
+
+  GENERAL EDITORS
+
+  George Robert Guffey, _University of California, Los Angeles_
+  Maximillian E. Novak, _University of California, Los Angeles_
+  Robert Vosper, _William Andrews Clark Memorial Library_
+
+
+  ADVISORY EDITORS
+
+  Richard C. Boys, _University of Michigan_
+  James L. Clifford, _Columbia University_
+  Ralph Cohen, _University of Virginia_
+  Vinton A. Dearing, _University of California, Los Angeles_
+  Arthur Friedman, _University of Chicago_
+  Louis A. Landa, _Princeton University_
+  Earl Miner, _University of California, Los Angeles_
+  Samuel H. Monk, _University of Minnesota_
+  Everett T. Moore, _University of California, Los Angeles_
+  Lawrence Clark Powell, _William Andrews Clark Memorial Library_
+  James Sutherland, _University College, London_
+  H. T. Swedenberg, Jr., _University of California, Los Angeles_
+
+
+  CORRESPONDING SECRETARY
+
+  Edna C. Davis, _William Andrews Clark Memorial Library_
+
+
+       *       *       *       *       *
+
+
+
+INTRODUCTION
+
+
+Since the first publication of Walter Harte's _An Essay on Satire,
+Particularly on the Dunciad_,[1] it has reappeared more than once: the
+unsold sheets of the first edition were included in _A Collection of
+Pieces in Verse and Prose, Which Have Been Publish'd on Occasion of
+the Dunciad_ (1732), and the _Essay_ is also found in at least three
+late eighteenth- or early nineteenth-century collections of poetry.[2]
+For several reasons, however, it makes sense to reprint the _Essay_
+again. The three collections are scarce and have forbiddingly small
+type; I know of no other twentieth-century reprinting; and, perhaps
+most important, Aubrey Williams claims that "the critical value for
+the _Dunciad_ of Harte's poem has not been fully appreciated."[3] Its
+value can best be substantiated, or disputed, if it is rescued from
+its typographical limbo in the collections and reprinted from its more
+attractive first edition.
+
+Probably the immediate reason for the _Essay_ was Harte's admiration
+for Pope, which arose in part from personal gratitude. On 9 February
+1727, Harte wrote an unidentified correspondent that "Mr. Pope was
+pleased to correct every page" of his forthcoming _Poems on Several
+Occasions_ "with his own hand." Furthermore, Harte may have learned
+that Pope had petitioned Lady Sarah Cowper, in 1728, to use her
+influence to obtain him a fellowship in Exeter College, Oxford.[4]
+
+But however appealing the _Essay_ may be as an installment on Harte's
+debt to Pope, there must obviously be better reasons for reprinting
+it. Harte himself doubtless had additional reasons for writing it. To
+understand them and the poem, we must also understand, at least in
+broad outline, the two traditional ways of evaluating satire which
+Harte and others of his age had inherited. One of them was distinctly
+at odds with Harte's aims; to the other he gave his support and made
+his own contribution.
+
+One tradition stressed the "lowness" of satire, in itself and compared
+with other genres. This tradition, moreover, had at least two sources:
+the practice of Elizabethan satirists and the critical custom of
+assigning satire to a middle or low position in the hierarchy of
+genres.
+
+From the time of _Piers Plowman_, it was characteristic of English
+satirists "to taxe the common abuses and vice of the people in rough
+and bitter speaches."[5] This native character was reenforced by the
+Elizabethan assumption that there should be similarities between
+satire and its supposed etymological forebears--the satyrs, legendary
+half men, half goats of ancient Greece. Believing that the Roman
+satirists Persius and Juvenal had imitated the uncouth manners and
+vituperative diction of the satyrs, Elizabethan satirists likewise
+strove to be as rough, harsh, and licentious as possible.[6] Despite
+the objections to the satire-satyr etymology stated by Isaac
+Casaubon,[7] scurrilous satire, especially as a political weapon, was
+a recognizable subspecies in England at least to 1700. The anonymous
+author, for instance, of _A Satyr Against Common-Wealths_ (1684)
+contended in his preface that it is "_as disagreeable to see a Satyr
+Cloath'd in soft and effeminate Language, as to see a Woman scold and
+vent her self in_ Billingsgate _Rhetorick in a gentile and
+advantageous Garb_." But as Harte certainly realized, _The Dunciad_
+differed greatly from unvarnished abuse, and thus required different
+standards of critical judgment.
+
+Harte also rejected the critical habit of giving satire a relatively
+low rank in the scale of literary genres. This habit can be traced to
+Horace, who belittled the literary status of his own satires,[8] and
+it was prominent in the Renaissance. The place of satire in a
+hierarchical list of Julius Caesar Scaliger is perhaps typical: "'And
+the most noble, of course, are hymns and paeans. In the second place
+are songs and odes and scolia, which are concerned with the praises of
+brave men. In the third place the epic, in which there are heroes and
+other lesser personages. Tragedy together with comedy follows this
+order; nevertheless comedy will hold the fourth place apart by itself.
+After these, satires, then exodia, lusus, nuptial songs, elegies,
+monodia, songs, epigrams.'"[9] Similar rankings of satire frequently
+recurred in the neo-classical period,[10] as did the Renaissance
+supposition that each genre has a style and subject matter appropriate
+to it. This supposition discouraged any "mixing" of the genres: in
+Richard Blackmore's words, "all comick Manners, witty Conceits and
+Ridicule" should be barred from heroic poetry.[11] The influence of
+the genres theories even after Pope's death may be shown by the fact
+that Pope, for the very reason that he had failed to work in the major
+genres, was often ranked below such epic or tragic poets as Spenser,
+Shakespeare, and Milton.[12]
+
+One senses the foregoing critical assumptions about satire behind much
+of the early comment on _The Dunciad_. Most of the critics, to be
+sure, were anything but impartial; in many instances they were
+smarting from Pope's satire and sought any critical weapons available
+for retaliation. But it will not do to dismiss these men or their
+responses to _The Dunciad_ as inconsequential; they had the weight of
+numbers on their side and, more important, the authority of
+long-established attitudes toward satire.
+
+Although it is frequently impossible to determine exactly which
+critics Harte was answering in his _Essay_, brief illustration of two
+prominent types of attack can indicate what he had to vindicate _The
+Dunciad_ against. One of those types resembled Blackmore's objection
+to a mixing of genres. If satire should be barred from heroic poetry,
+the reverse, for some critics, was also true, and Pope should not have
+used epic allusions and devices in _The Dunciad_. Edward Ward, for
+one, thought the poem an incongruous mixture "against all rule."[13]
+Pope's violation of "rule" seemed almost a desecration of epic to
+Thomas Cooke; of the mock-heroic games in Book II of _The Dunciad_, he
+complained that "to imitate _Virgil_ is not to have Games, and those
+beastly and unnatural, because _Virgil_ has noble and reasonable
+Games, but to preserve a Purity of Manners, Propriety of Conduct
+founded on Nature, a Beauty and Exactness of Stile, and continued
+Harmony of Verse concording with the Sense."[14]
+
+The other kind of attack accused Pope of wasting his talents in _The
+Dunciad_, but palliated blame by reminding him of his demonstrated
+ability in more worthy poetical pursuits. This was one of Ward's
+resources; perhaps disingenuously, he professed amazement that a poet
+with Pope's "_sublime Genius_," born for "an Epick Muse," "sacred
+Hymns," and "heav'nly Anthems," would lower himself to mock at
+"_trifling Foibles_" or "the Starvlings of _Apollo's_ Train."[15] More
+concerned with Pope's potentialities than with his recent ignominy,
+George Lyttelton nevertheless made essentially the same point: Pope
+could never become the English Virgil if he "let meaner Satire ...
+stain the Glory" of his "nobler Lays."[16] And Aaron Hill wrote an
+allegorical poem to show Pope the error of _The Dunciad_ and to
+suggest means of escape from entombment "in his _own_ PROFUND."[17] In
+such censure we perhaps glimpse an opinion attributable to the still
+influential genres theories: a poet of "_sublime Genius_" should work
+in a more sublime poetic genre than satire.
+
+In opposing this low view of satire, Harte drew upon ideas more
+congenial to his purposes and far more congenial to _The Dunciad_.
+Originating with the Renaissance commentaries on the formal verse
+satire of the Romans, their lineage was just as venerable as that of
+the low view. These critical concepts were probably just as
+influential too, for they continued to be reiterated by commentaries
+down to and beyond Pope's time.
+
+Whatever their quarrels, the Renaissance commentaries were virtually
+united in regarding satire as exalted moral instruction and satirists
+as ethical philosophers. Casaubon's choice for this sort of praise was
+Persius; Heinsius and Stapylton likened their respective choices,
+Horace and Juvenal, to Socrates and Plato; and Rigault considered all
+three satirists to be philosophers, distinguished only by the
+different styles which their different periods required. The satirist
+might disguise himself as a jester, but only to make his moral wisdom
+more easily digestible; peeling away his mask, "we find in him all the
+Gods together," "_Maxims or Sentences, that like the lawes of nature,
+are held sacred by all Nations_."[18]
+
+Dryden's _Discourse Concerning the Original and Progress of Satire_
+drew heavily and eclectically upon these commentaries, investing their
+judgments with a new popularity and authority. Although Dryden
+condemned Persius for obscurity and other defects, he agreed with
+Casaubon that Persius excels as a moral philosopher and that "moral
+doctrine" is more important to satire than wit or urbanity. Dryden
+knew, moreover, that the satirist's inculcation of "moral doctrine"
+meant a dual purpose, a pattern of blame and praise--not only "the
+scourging of vice" but also "exhortation to virtue"--long recognized
+as a definitive characteristic of formal verse satire.[19] But if
+Dryden insisted on the moral dignity of satire, he laid equal stress
+on the dignity attainable through verse and numbers. After
+complimenting Boileau's _Lutrin_ for its successful imitation of
+Virgil, its blend of "the majesty of the heroic" with the "venom" of
+satire, Dryden speaks of "the beautiful turns of words and thoughts,
+which are as requisite in this [satire], as in heroic poetry itself,
+of which the satire is undoubtedly a species"; and earlier in the
+_Discourse_ he had called heroic poetry "certainly the greatest work
+of human nature."[20]
+
+It is clear that Harte's _Essay_ belongs in the tradition of criticism
+established by the commentaries on classical satire and continued by
+Dryden. Like these predecessors, Harte believes that satire is moral
+philosophy, teaching "the noblest Ethicks to reform mankind" (p. 6).
+Like them again, he believes that to fulfill this purpose satire must
+not only lash vice but recommend virtue, at least by implication:
+
+  Blaspheming _Capaneus_ obliquely shows
+  T'adore those Gods _Aeneas_ fears and knows, (p. 10)[21]
+
+But perhaps Harte's overriding concern was to do for satire (with _The
+Dunciad_ as his focus) what Dryden's _Discourse_ had done: to reassert
+its dignity and majesty.
+
+Although Harte is quite careful to distinguish satire from epic
+poetry, the total effect of his _Essay_ is to blur this distinction
+and to raise _The Dunciad_ very nearly to the level of genuine epic.
+The term "_Epic Satire_" (p. 6) certainly seems to refer to the
+wedding of two disparate genres in _The Dunciad_, lifting it above
+satire that is merely "rugged" or "mischievously gay" (p. 8). (The
+epithet is also, perhaps, a thrust at Edward Ward, who had pinned it
+on _The Dunciad_ with a sneer.)[22] Harte's claim that
+
+  _Books and the Man_ demands as much, or more,
+  Than _He who wander'd to the Latian shore_ (p. 9)
+
+has a similar effect. The greatest epic poets and satirists have
+always transcended rules to follow "Nature's light"; Pope,
+over-topping them all, has "still corrected Nature as she stray'd"
+(pp. 19, 21). But perhaps Harte's most successful attempt to elevate
+_The Dunciad_ comes in section two of his poem. Unlike Dryden, in
+whose _Discourse_ the account of the "progress" of satire is confined
+almost exclusively to a few Roman writers, Harte begins his account of
+its progress with Homer and brings it down to Pope. Deriving the
+ancestry of _The Dunciad_ from Homer, the greatest epic poet,
+obviously enhances Pope's satire. Perhaps less obviously, by extending
+Dryden's account to the present, Harte makes _The Dunciad_ not only a
+chronological _terminus ad quem_ but, far more important, the fruit of
+centuries of slowly accumulating mastery and wisdom.
+
+The strategies mentioned thus far constitute one series of answers to
+critics who charged Pope with debasing true epic. But Harte also
+addressed himself to such critics more directly. Although Aubrey
+Williams (p. 54) has clearly demonstrated Harte's awareness that the
+world of _The Dunciad_ does in one sense sully epic beauties, at the
+same time, I think, Harte knew that the epic poems to which _The
+Dunciad_ continually alludes remain fixed, unsullied polestars;
+otherwise the reader of the poem would lack a way of measuring the
+meanness of its characters and principles. The "charms of _Parody_" in
+_The Dunciad_ provide a contrast between its dark, fallen world and
+the undimmed luster of epic realms (p. 10). By using the ambiguous
+word _parody_, which in the eighteenth century could mean either
+ridicule or straight imitation,[23] Harte skillfully suggests the
+complex purpose of Pope's epic backdrop. The dunces, not Pope,
+ridicule the epic world by their words and deeds; but in turn, this
+world ridicules them simply by being "imitated" and incorporated in
+_The Dunciad_. And its incorporation is by no means equivalent to the
+pollution of epic. That, Harte hints, is the achievement of scribblers
+like Blackmore (p. 12). It is they who inadvertently write mock-epics,
+parodies which degrade their great models; Pope, nominally writing
+mock-epic, actually approaches epic achievement.
+
+Harte's reply to those who believed Pope had wasted his talent in
+attacking "the Refuse of the Town" centers in the stanza beginning on
+p. 24 but can be found elsewhere as well. Literary "Refuse," he
+realized, could not safely be ignored, for he at least came close to
+understanding that it was "the metaphor by which bigger
+deteriorations," social and moral, "are revealed" (Williams, p. 14).
+
+  ... Rules, and Truth, and Order, Dunces strike;
+  Of Arts, and Virtues, enemies alike. (p. 24)
+
+Ultimately, then, Harte seemed aware that the dunces pose a colossal
+threat, a threat which warrants Pope's numerous echoes of _Paradise
+Lost_. Harte's _Essay_, in fact, contains several echoes of the same
+poem. Though, like most of Pope's, these Miltonic echoes are given a
+comic turn which indicates a wide gap between the real satanic host
+and its London auxiliary, there is little doubt that Harte grasped the
+underlying seriousness of his mentor's analogies and his own.
+
+       *       *       *       *       *
+
+A few words remain to be said about Boileau's _Discourse of Satires
+Arraigning Persons by Name_, which so far as I know appeared with all
+early printings of Harte's _Essay_.
+
+The _Discourse_ was first published in 1668, with the separately
+printed edition of Boileau's ninth satire; in the same year it was
+included in a collected edition of the satires. It was occasioned,
+evidently, by a critic's complaint that the modern satirist, departing
+from ancient practice, "offers insults to individuals."[24]
+
+The only English translation of the _Discourse_ that I have discovered
+before 1730 appears in volume two (1711) of a three-volume translation
+of Boileau's works. This, however, is not the same translation as the
+one accompanying Harte's _Essay_; it is noticeably less fluent and
+lacks (as does the French) the subtitle "arraigning persons by name."
+
+The 1730 translation is faithful to the original, and the subtitle
+calls attention to the aptness of the _Discourse_ as a defense of
+Pope's satiric practice.[25] It is so apt, indeed, that one could
+almost suspect Pope himself of making the translation and submitting
+it to Harte or his publisher. Pope had already invoked Boileau's name
+and precedent in the letter from "William Cleland"; nothing could be
+more logical than for Pope to turn the esteemed Boileau's
+self-justification to his own ends.
+
+Cornell College
+
+
+
+NOTES TO THE INTRODUCTION
+
+[1] Robert W. Rogers, _The Major Satires of Alexander Pope_, Illinois
+Studies in Language and Literature, XL (Urbana, 1955), p. 140, dates
+the Essay January 7-14, 1731, N. S., on the evidence of _The
+Grub-Street Journal_; No. 484 of _The London Evening-Post_ (Saturday,
+January 9, to Tuesday, January 12, 1731) advertises its publication
+for the following day.
+
+[2] Rogers, p. 141. Thomas Park, _Supplement to the British Poets_
+(London, 1809), VIII, 21-36; Alexander Chalmers, _The Works of the
+English Poets_ (London, 1810), XVI, 348-352; Robert Anderson, _A
+Complete Edition of the Poets of Great Britain_ (London, 1794), IX,
+825-982 [_sic_].
+
+[3] _Pope's "Dunciad": A Study of Its Meaning_ (Baton Rouge, 1955), p.
+54n.
+
+[4] _The Correspondence of Alexander Pope_, ed. George Sherburn
+(Oxford, 1956), II, 430 n., 497.
+
+[5] George Puttenham, _The Arte of English Poesie_ (1589), in
+_Elizabethan Critical Essays_, ed. G. Gregory Smith (Oxford, 1904),
+II, 27.
+
+[6] Alvin Kernan, _The Cankered Muse: Satire of the English
+Renaissance_, Yale Studies in English, CXLII (New Haven, 1959), pp.
+55, 58, 62; Oscar James Campbell, _Comicall Satyre and Shakespeare's
+"Troilus and Cressida"_ (San Marino, 1959), pp. 24-25, 27, 29-30.
+
+[7] _De Satyrica Graecorum Poesi, & Romanorum Satira Libri Duo_
+(Paris, 1605).
+
+[8] J. F. D'Alton, _Roman Literary Theory and Criticism: A Study in
+Tendencies_ (London, New York, and Toronto, 1931), pp. 356, 414 and
+n.; George Converse Fiske, _Lucilius and Horace: A Study in the
+Classical Theory of Imitation_, University of Wisconsin Studies in
+Language and Literature, No. 7 (Madison, 1920), p. 443.
+
+[9] Bernard Weinberg, _A History of Literary Criticism in the Italian
+Renaissance_ (Chicago, 1961), II, 745. For similar appraisals of
+satire, see also I, 148-149; II, 759, 807; and Puttenham, pp. 26-28.
+
+[10] E.g., John Dennis, "The Grounds of Criticism in Poetry" (1704),
+in _The Critical Works_, ed. Edward Niles Hooker (Baltimore,
+1939-1943), I, 338; Joseph Trapp, _Lectures on Poetry Read in the
+Schools of Natural Philsophy at Oxford_ (London, 1742), p. 153.
+
+[11] _Essays upon Several Subjects_ (London, 1716-1717), I, 76.
+
+[12] Paul F. Leedy, "Genres Criticism and the Significance of Warton's
+Essay on Pope," _JEGP_, XLV (1946), 141.
+
+[13] _Durgen. Or, A Plain Satyr upon a Pompous Satyrist_ (London,
+1729), p. 48.
+
+[14] "The Battel of the Poets," in _Tales, Epistles, Odes, Fables,
+etc._ (London, 1729), p. 138n. Though the poem was first published in
+1725, it was revised to attack _The Dunciad_; Cooke claims ("The
+Preface," p. 107) that not more than eighty lines in the two versions
+are the same.
+
+[15] _Durgen_, pp. [i], 19, 40-41.
+
+[16] _An Epistle to Mr. Pope, from a Young Gentleman at Rome_ (London,
+1730), pp. 6-7.
+
+[17] _The Progress of Wit_ (London, 1730), p. 31. Two months after
+Harte's Essay appeared Hill's _Advice to the Poets_, which complements
+the earlier allegory by urging Pope to shun "_vulgar Genii_" and
+emulate "Thy own _Ulysses_" (pp. 18-19).
+
+[18] Daniel Heinsius, "De Satyra Horatiana Liber," in _Q. Horati
+Flacci Opera_ (1612), pp. 137-138; Sir Robert Stapylton, "The Life and
+Character of Juvenal," in _Mores Hominum. The Manners of Men,
+Described in Sixteen Satyrs, by Juvenal_ (London, 1660), p. [v];
+Nicolas Rigault, "De Satira Juvenalis Dissertatio" (1615), in _Decii
+Junii Juvenalis Satirarum Libri Quinque_ (Paris, 1754), p. xxv; and
+André Dacier, _An Essay upon Satyr_ (London, 1695), p. 273.
+
+[19] _Essays of John Dryden_, ed. W. P. Ker (Oxford, 1900), II, 75,
+104-105; Howard D. Weinbrot, "The Pattern of Formal Verse Satire in
+the Restoration and the Eighteenth Century," _PMLA_, LXXX (1965),
+394-401; Causaubon, _De Satyrica Graecorum Poesi, & Romanorum Satira
+Libri Duo_, pp. 291-292; Heinsius, pp. 137-138.
+
+[20] _Essays_, II, 43, 107-108.
+
+[21] See Weinbrot, p. 399.
+
+[22] _Durgen_, p. 3.
+
+[23] Howard D. Weinbrot, "Parody as Imitation in the 18th Century,"
+_AN&Q_, II (1964), 131-134.
+
+[24] Boileau, _Oeuvres Complètes_, ed. Françoise Escal (Éditions
+Gallimard, 1966), p. 924.
+
+[25] Numerous protests against Pope's use of names made such a defense
+desirable. See, for example, Ward (p. 9) and "A Letter to a Noble
+Lord: Occasion'd by the Late Publication of the Dunciad Variorum," in
+_Pope Alexander's Supremacy and Infallibility Examin'd_ (London,
+1729), p. 12. Boileau's _Discourse_ is a particularly apposite reply
+to the latter, which had contrasted Pope's satiric practice with that
+of Horace, Juvenal, and Boileau.
+
+
+
+
+BIBLIOGRAPHICAL NOTE
+
+The text of this edition is reproduced from a copy in the University
+of Illinois Library.
+
+
+
+
+  AN
+  ESSAY,
+  ON
+  SATIRE,
+
+  Particularly on the DUNCIAD.
+
+  (Price One Shilling.)
+
+
+
+
+Speedily will be Published,
+
+The Works of VIRGIL Translated into Blank Verse by _J. Trapp_, D. D.
+in Three Volumes in 12º with Cuts.
+
+
+
+
+  AN
+  ESSAY
+  ON
+  SATIRE,
+
+  Particularly on the
+  DUNCIAD.
+
+  BY
+  Mr. _WALTER HARTE_
+
+  of St. _Mary-Hall_, Oxon.
+
+  To which is added, A
+  DISCOURSE _on_ SATIRES,
+  _Arraigning Persons by Name_.
+
+  By Monsieur BOILEAU.
+
+  _LONDON:_
+
+  Printed for LAWTON GILLIVER at _Homer's_ Head
+  against St. _Dunstan's_ Church, in _Fleetstreet_,
+  MDCCXXX.
+
+
+
+
+THE CONTENTS.
+
+
+I. _The Origine and Use of_ Satire. _The Excellency of_ Epic Satire
+_above others, as adding Example to Precept, and animating by_ Fable
+_and sensible Images. Epic Satire compar'd with Epic Poem, and wherein
+they differ: Of their_ Extent, Action, Unities, Episodes, _and the
+Nature of their_ Morals. _Of_ Parody: _Of the_ Style, Figures, _and_
+Wit _proper to this Sort of Poem, and the superior Talents requisite
+to Excel in it._
+
+II. _The_ Characters _of the several Authors of Satire. 1. The
+Ancients;_ Homer, Simonides, Archilochus, Aristophanes, Menippus,
+Ennius, Lucilius, Varro, Horace, Persius, Petronius, Juvenal, Lucian,
+_the Emperor_ Julian. _2. The Moderns;_ Tassone, Coccaius, Rabelais,
+Regnier, Boileau, Dryden, Garth, Pope.
+
+III. _From the Practice of all the best Writers and Men in every Age
+and Nation, the_ Moral Justice _of_ Satire _in General, and of this
+Sort in Particular, is Vindicated. The_ Necessity _of it shewn in_
+this Age _more especially, and why bad Writers are at present the_
+most proper Objects of Satire. _The_ True Causes _of bad Writers._
+Characters _of several Sorts of them now abounding; Envious Critics,
+Furious Pedants, Secret Libellers, Obscene Poetesses, Advocates for
+Corruption, Scoffers at Religion, Writers for Deism, Deistical and_
+Arrian-_Clergymen._
+
+_Application of the Whole Discourse to the_ DUNCIAD _concluding with
+an Address to the Author of it._
+
+
+
+
+  AN
+  ESSAY
+  ON
+  SATIRE.
+
+
+  T' Exalt the Soul, or make the Heart sincere,
+  To arm our Lives with honesty severe,
+  To shake the wretch beyond the reach of Law,
+  Deter the young, and touch the bold with awe,
+  To raise the fal'n, to hear the sufferer's cries,
+  And sanctify the virtues of the wise,
+  Old Satire rose from Probity of mind,
+  The noblest Ethicks to reform mankind.
+
+    As _Cynthia's_ Orb excels the gems of night:
+  So _Epic Satire_ shines distinctly bright.
+  Here Genius lives, and strength in every part,
+  And lights and shades, and fancy fix'd by art.
+  A second beauty in its nature lies,
+  It gives not _Things_, but _Beings_ to our eyes,
+  _Life_, _Substance_, _Spirit_ animate the whole;
+  _Fiction_ and _Fable_ are the Sense and Soul.
+  The _common Dulness_ of mankind, array'd
+  In pomp, here lives and breathes, a _wond'rous Maid_:
+  The Poet decks her with each unknown Grace,
+  Clears her dull brain, and brightens her dark face:
+  See! Father _Chaos_ o'er his First-born nods,
+  And Mother _Night_, in Majesty of Gods!
+  See _Querno's Throne_, by hands Pontific rise,
+  And a _Fool's Pandæmonium_ strike our Eyes!
+  Ev'n what on C----l the Publick bounteous pours,
+  Is sublimated here to _Golden show'rs_.
+
+    A _Dunciad_ or a _Lutrin_ is compleat,
+  And _one_ in action; ludicrously great.
+  Each wheel rolls round in due degrees of force;
+  E'en _Episodes_ are _needful_, or _of course_:
+  _Of course_, when things are virtually begun
+  E'er the first ends, the Father and the Son:
+  Or else so _needful_, and exactly grac'd,
+  That nothing is _ill-suited_, or _ill-plac'd_.
+
+    True Epic's a vast World, and this a small;
+  One has its _proper_ beauties, and one _all_.
+  Like _Cynthia_, one in _thirty days_ appears,
+  Like _Saturn_ one, rolls round in _thirty years_.
+  _There_ opens a wide Tract, a length of Floods,
+  A height of Mountains, and a waste of Woods:
+  _Here_ but one Spot; nor Leaf, nor Green depart
+  From Rules, e'en Nature seems the Child of Art.
+  As _Unities_ in Epick works appear,
+  So must they shine in full distinction here.
+  Ev'n the warm _Iliad_ moves with slower pow'rs:
+  That forty days demands, This forty hours.
+
+    Each other Satire humbler arts has known,
+  Content with meaner Beauties, tho' its own:
+  Enough for that, if rugged in its course
+  The Verse but rolls with Vehemence and Force;
+  Or nicely pointed in th' _Horatian_ way
+  Wounds keen, like _Syrens_ mischievously gay.
+  Here, All has _Wit_, yet must that Wit be _strong_,
+  Beyond the Turns of _Epigram_, or _Song_.
+  The _Thought_ must rise exactly from the vice,
+  _Sudden_, yet _finish'd_, _clear_, and yet _concise_.
+  _One Harmony_ must _first_ with _last_ unite;
+  As all true Paintings have their _Place_ and _Light_.
+  _Transitions_ must be _quick_, and yet _design'd_,
+  Not made to fill, but just retain the mind:
+  And _Similies_, like meteors of the night,
+  Just give one flash of momentary Light.
+
+    As thinking makes the Soul, low things exprest
+  In high-rais'd terms, define a _Dunciad_ best.
+  _Books and the Man_ demands as much, or more,
+  Than _He_ who _wander'd to the Latian Shore_:
+  For here (eternal Grief to _Duns_'s soul,
+  And _B_----'s thin Ghost!) the _Part_ contains the _Whole_:
+  Since in Mock-Epic none succeeds, but he
+  Who tastes the Whole of Epic Poesy.
+
+    The _Moral_ must be clear and understood;
+  But finer still, if negatively good:
+  Blaspheming _Capaneus_ obliquely shows
+  T' adore those Gods _Æneas_ fears and knows.
+  A _Fool's_ the _Heroe_; but the _Poet's_ end
+  Is, to be _candid_, _modest_, and a _Friend_.
+
+    Let _Classic Learning_ sanctify each Part,
+  Not only show your Reading, but your Art.
+
+    The charms of _Parody_, like those of Wit,
+  If well _contrasted_, never fail to hit;
+  One half in light, and one in darkness drest,
+  (For contraries oppos'd still shine the best.)
+  When a cold Page half breaks the Writer's heart,
+  By this it warms, and brightens into Art.
+  When Rhet'ric glitters with too pompous pride,
+  By this, like _Circe_, 'tis un-deify'd.
+  So _Berecynthia_, while her off-spring vye
+  In homage to the Mother of the sky,
+  (Deck'd in rich robes, of trees, and plants, and flow'rs,
+  And crown'd illustrious with an hundred tow'rs)
+  O'er all _Parnassus_ casts her eyes at once,
+  And sees an hundred Sons--_and each a Dunce_.
+
+    The _Language_ next: from hence new pleasure springs;
+  For _Styles_ are dignify'd, as well as _Things_.
+  Tho' Sense subsists, distinct from phrase or sound,
+  Yet _Gravity_ conveys a surer wound.
+  The chymic secret which your pains wou'd find,
+  Breaks out, unsought for, in _Cervantes'_ mind;
+  And _Quixot_'s wildness, like that King's of old,
+  Turns all he touches, into _Pomp_ and _Gold_.
+  Yet in this Pomp discretion must be had;
+  Tho' _grave_, not _stiff_; tho' _whimsical_, not _mad_:
+  In Works like these if _Fustian_ might appear,
+  Mock-Epics, _Blackmore_, would not cost thee dear.
+
+    We grant, that _Butler_ ravishes the Heart,
+  As _Shakespear_ soar'd beyond the reach of Art;
+  (For Nature form'd those Poets without Rules,
+  To fill the world with _imitating Fools_.)
+  What _Burlesque_ could, was by that Genius done;
+  Yet faults it has, impossible to shun:
+  Th' unchanging strain for want of grandeur cloys,
+  And gives too oft the horse-laugh mirth of Boys:
+  The short-legg'd verse, and double-gingling Sound,
+  So quick surprize us, that our heads run round:
+  Yet in this Work peculiar Life presides,
+  And _Wit_, for all the world to glean besides.
+
+    Here pause, my Muse, too daring and too young!
+  Nor rashly aim at Precepts yet unsung.
+  Can Man the Master of the _Dunciad_ teach?
+  And these new Bays what other hopes to reach?
+  'Twere better judg'd, to study and explain
+  Each ancient Grace he copies not in vain;
+  To trace thee, Satire, to thy utmost Spring,
+  Thy Form, thy Changes, and thy Authors sing.
+
+    All Nations with this Liberty dispense,
+  And bid us shock the Man that shocks Good Sense.
+  Great _Homer_ first the Mimic Sketch design'd
+  What grasp'd not _Homer's_ comprehensive mind?
+  By him who _Virtue_ prais'd, was _Folly_ curst,
+  And who _Achilles_ sung, drew _Dunce the First_.[26]
+
+    Next him _Simonides_, with lighter Air,
+  In Beasts, and Apes, and Vermin, paints the _Fair_:
+  The good _Scriblerus_ in like forms displays
+  The reptile Rhimesters of these later days.
+
+    More fierce, _Archilochus_! thy vengeful flame;
+  Fools read and _dy'd_: for Blockheads then had _Shame_.
+
+  The Comic-Satirist[27] attack'd his Age,
+  And found low Arts, and Pride, among the Sage:
+  See learned _Athens_ stand attentive by,
+  And _Stoicks_ learn their Foibles from the Eye.
+
+    _Latium's fifth Homer_[28] held the _Greeks_ in view;
+  Solid, tho' rough, yet incorrect as new.
+  _Lucilius_, warm'd with more than mortal flame
+  Rose next[29], and held a torch to ev'ry shame.
+  See stern _Menippus_, cynical, unclean;
+  And _Grecian Cento_'s, mannerly obscene.
+  Add the last efforts of _Pacuvius'_ rage,
+  And the chaste decency of _Varro_'s page.[30]
+
+    See _Horace_ next, in each reflection nice,
+  Learn'd, but not vain, the Foe of Fools nor Vice.
+  Each page instructs, each Sentiment prevails,
+  All shines alike, he rallies, but ne'er rails:
+  With courtly ease conceals a Master's art,
+  And least-expected steals upon the heart.
+  Yet _Cassius_[31] felt the fury of his rage,
+  (_Cassius_, the _We----d_ of a former age)
+  And sad _Alpinus_, ignorantly read,
+  Who murder'd _Memnon_, tho' for ages dead.
+
+    Then _Persius_ came: whose line tho' roughly wrought,
+  His Sense o'erpaid the stricture of his thought.
+  Here in clear light the _Stoic_-doctrine shines,
+  Truth all subdues, or Patience all resigns.
+  A Mind supreme![32] impartial, yet severe:
+  Pure in each Act, in each Recess sincere!
+  Yet _rich ill_ Poets urg'd the _Stoic_'s Frown,
+  And bade him strike at _Dulness_ and a _Crown_[33].
+
+    The Vice and Luxury _Petronius_ drew,
+  In _Nero_ meet: th' imperial point of view:
+  The Roman _Wilmot_, that could Vice chastize,
+  Pleas'd the mad King he serv'd, to satirize.
+
+    The next[34] in Satire felt a nobler rage,
+  What honest Heart could bear _Domitian_'s age?
+  See his strong Sense, and Numbers masculine!
+  His Soul is kindled, and he kindles mine:
+  Scornful of Vice, and fearless of Offence,
+  He flows a Torrent of impetuous Sense.
+
+    Lo! Savage Tyrants Who blasphem'd their God
+  Turn Suppliants now, and gaze at _Julian_'s Rod.[35]
+
+    _Lucian_, severe, but in a gay disguise,
+  Attacks old Faith, or sports in learned Lyes;[36]
+  Sets Heroes and Philosophers at odds;
+  And scourges Mortals, and dethrones the Gods.
+
+    Then all was Night--But _Satire_ rose once more
+  Where _Medici_ and _Leo_ Arts restore.
+  _Tassonè_ shone fantastic, but sublime:
+  And He, who form'd the _Macaronique_-Rhime:
+
+    Then _Westward_ too by slow degrees confest,
+  Where boundless _Rabelais_ made the World his Jest;
+  _Marot_ had Nature, _Regnier_ Force and Flame,
+  But swallow'd all in _Boileau_'s matchless Fame!
+  Extensive Soul! who rang'd all learning o'er,
+  Present and past--and yet found room for more.
+  Full of new Sense, exact in every Page,
+  Unbounded, and yet sober in thy Rage.
+  Strange Fate! _Thy solid_ Sterling _of two lines,_
+  _Drawn to our_ Tinsel, _thro' whole Pages shines!_[37]
+
+    In _Albion_ then, with equal lustre bright,
+  Great _Dryden_ rose, and steer'd by Nature's light.
+  Two glimmering Orbs he just observ'd from far,
+  The Ocean wide, and dubious either Star,
+  _Donne_ teem'd with Wit, but all was maim'd and bruis'd,
+  The periods endless, and the sense confus'd:
+  _Oldham_ rush'd on, impetuous, and sublime,
+  But lame in Language, Harmony, and Rhyme;
+  These (with new graces) vig'rous nature join'd
+  In one, and center'd 'em in _Dryden_'s mind.
+  How full thy verse? Thy meaning how severe?
+  How dark thy theme? yet made exactly clear.
+  Not mortal is thy accent, nor thy rage,
+  Yet mercy softens, or contracts each Page.
+  Dread Bard! instruct us to revere thy rules,
+  And hate like thee, all Rebels, and all Fools.
+
+    His Spirit ceas'd not (in strict truth) to be;
+  For dying _Dryden_ breath'd, O _Garth!_ on thee,
+  Bade thee to keep alive his genuine Rage,
+  Half-sunk in want, oppression and old age;
+  Then, when thy pious hands repos'd his head,[38]
+  When vain young Lords and ev'n the Flamen fled.
+  For well thou knew'st his merit and his art,
+  His upright mind, clear head, and friendly heart.
+  Ev'n _Pope_ himself (who sees no Virtue bleed
+  But bears th' affliction) envies thee the deed.
+
+    O _Pope_! Instructor of my studious days,
+  Who fix'd my steps in virtue's early ways:
+  On whom our labours, and our hopes depend,
+  Thou more than Patron, and ev'n more than Friend!
+  Above all Flattery, all Thirst of Gain,
+  And Mortal but in Sickness, and in Pain!
+  Thou taught'st old Satire nobler fruits to bear,
+  And check'd her Licence with a moral Care:
+  Thou gav'st the Thought new beauties not its own,
+  And touch'd the Verse with Graces yet unknown.
+  Each lawless branch thy level eye survey'd.
+  And still corrected Nature as she stray'd:
+  Warm'd _Boileau_'s Sense with _Britain_'s genuine Fire,
+  And added Softness to _Tassonè_'s Lyre.
+
+    Yet mark the hideous nonsense of the age,
+  And thou thy self the subject of its rage.
+  So in old times, round godlike _Scæva_ ran
+  _Rome_'s dastard Sons, a _Million_, and a _Man_.
+
+    Th' exalted merits of the Wise and Good
+  Are seen, far off, and rarely understood.
+  The world's a father to a Dunce unknown,
+  And much he thrives, for Dulness! he's thy own.
+  No hackney brethren e'er condemn him _twice_;
+  He fears no enemies, but dust and mice.
+
+    If _Pope_ but writes, the Devil _Legion_ raves,
+  And meagre Critics mutter in their caves:
+  (Such Critics of necessity consume
+  All Wit, as Hangmen ravish'd Maids at _Rome_.)
+  Names he a Scribler? all the world's in arms,
+  _Augusta_, _Granta_, _Rhedecyna_ swarms:
+  The guilty reader fancies what he fears,
+  And every _Midas_ trembles for his ears.
+
+    See all such malice, obloquy, and spite
+  Expire e're morn, the mushroom of a night!
+  Transient as vapours glimm'ring thro' the glades,
+  Half-form'd and idle, as the dreams of maids,
+  Vain as the sick man's vow, or young man's sigh,
+  Third-nights of Bards, or _H_----'s sophistry.
+
+    These ever hate the Poet's sacred line:
+  These hate whate'er is glorious, or divine.
+  From one Eternal Fountain _Beauty_ springs,
+  The Energy of _Wit_, and _Truth of Things_,
+  That Source is GOD: From _him_ they downwards tend,
+  Flow round--yet in their native center end.
+  Hence Rules, and Truth, and Order, Dunces strike;
+  Of Arts, and Virtues, enemies alike.
+
+    Some urge, that Poets of supreme renown
+  Judge ill to scourge the Refuse of the Town.
+  How'ere their Casuists hope to turn the scale,
+  These men must smart, or scandal will prevail.
+  By these, the weaker Sex still suffer most:
+  And such are prais'd who rose at Honour's cost:
+  The Learn'd they wound, the Virtuous, and the Fair,
+  No fault they cancel, no reproach they spare:
+  The random Shaft, impetuous in the dark,
+  Sings on unseen, and quivers in the mark.
+  'Tis Justice, and not Anger, makes us write,
+  Such sons of darkness must be drag'd to light:
+  Long-suff'ring nature must not always hold;
+  In virtue's cause 'tis gen'rous to be bold.
+  To scourge the bad, th' unwary to reclaim,
+  And make light flash upon the face of shame.
+
+    Others have urg'd (but weigh it, and you'll find
+  'Tis light as feathers blown before the wind)
+  That Poverty, the Curse of Providence,
+  Attones for a dull Writer's want of Sense:
+  Alas! his Dulness 'twas that made him poor;
+  Not _vice versa_: We infer no more.
+  Of Vice and Folly Poverty's the curse,
+  Heav'n may be rigid, but the Man was worse,
+  By good made bad, by favours more disgrac'd,
+  So dire th' effects of ignorance misplac'd!
+  Of idle Youth, unwatch'd by Parents eyes!
+  Of Zeal for pence, and Dedication Lies!
+  Of conscience model'd by a Great man's looks!
+  And arguings in religion--from No books!
+
+    No light the darkness of that mind invades,
+  Where _Chaos_ rules, enshrin'd in genuine Shades;
+  Where, in the Dungeon of the Soul inclos'd,
+  True Dulness nods, reclining and repos'd.
+  Sense, Grace, or Harmony, ne'er enter there,
+  Nor human Faith, nor Piety sincere;
+  A mid-night of the Spirits, Soul, and Head,
+  (Suspended all) as Thought it self lay dead.
+  Yet oft a mimic gleam of transient light
+  Breaks thro' this gloom, and then they think they write;
+  From Streets to Streets th' unnumber'd Pamphlets fly,
+  Then tremble _Warner_, _Brown_, and _Billingsly_.[39]
+
+    O thou most gentle Deity appear,
+  Thou who still hear'st, and yet art prone to hear:
+  Whose eye ne'er closes, and whose brains ne'er rest,
+  (Thy own dear Dulness bawling at thy breast)
+  Attend, O _Patience_, on thy arm reclin'd,
+  And see Wit's endless enemies behind!
+
+    And ye, _Our Muses_, with a _hundred tongues_,
+  And Thou, O _Henley!_ blest with _brazen lungs_;
+  Fanatic _Withers!_ fam'd for rhimes and sighs,
+  And _Jacob Behmen!_ most obscurely wise;
+  From darkness palpable, on dusky wings
+  Ascend! and shroud him who your Off-spring sings.
+
+    The first with _Egypt_'s darkness in his head
+  Thinks Wit the devil, and curses books unread.
+  For twice ten winters has he blunder'd on,
+  Thro' heavy comments, yet ne'er lost nor won:
+  Much may be done in twenty winters more,
+  And let him then learn _English_ at threescore.
+  No sacred _Maro_ glitters on his shelf,
+  He wants the mighty _Stagyrite_ himself.
+  See vast _Coimbria_'s comments[40] pil'd on high,
+  In heaps _Soncinas_,[41] _Sotus_, _Sanchez_ lie:
+  For idle hours, _Sa_'s[42] idler casuistry.
+
+    Yet worse is he, who in one language read,
+  Has one eternal jingling in his head,
+  At night, at morn, in bed, and on the stairs ...
+  Talks flights to grooms, and makes lewd songs at pray'rs
+  His Pride, a Pun: a Guinea his Reward,
+  His Critick _G-ld-n_, _Jemmy M-re_ his Bard.
+
+    What artful Hand the Wretch's Form can hit,
+  Begot by _Satan_ on a _M----ly_'s Wit:
+  In Parties furious at the great Man's nod,
+  And hating none for nothing, but his God:
+  Foe to the Learn'd, the Virtuous, and the Sage,
+  A Pimp in Youth, an Atheist in old Age:
+  Now plung'd in Bawdry and substantial Lyes,
+  Now dab'ling in ungodly Theories;
+  But so, as Swallows skim the pleasing flood,
+  Grows giddy, but ne'er drinks to do him good:
+  Alike resolv'd to flatter, or to cheat,
+  Nay worship Onions, if they cry, _come eat_:
+  A foe to Faith, in Revelation blind,
+  And impious much, as Dunces are by kind.
+
+    Next see the Master-piece of Flatt'ry rise,
+  Th' anointed Son of Dulness and of Lies:
+  Whose softest Whisper fills a Patron's Ear,
+  Who smiles unpleas'd, and mourns without a tear.[43]
+  Persuasive, tho' a woful Blockhead he:
+  Truth dies before his shadowy Sophistry.
+  For well he knows[44] the Vices of the Town,
+  The Schemes of State, and Int'rest of the Gown;
+  Immoral Afternoons, indecent Nights,
+  Enflaming Wines, and second Appetites.
+
+    But most the Theatres with dulness groan,
+  Embrio's half-form'd, a Progeny unknown:
+  Fine things for nothing, transports out of season,
+  Effects un-caus'd, and murders without reason.
+  Here Worlds run round, and Years are taught to stay,
+  Each Scene an Elegy, each Act a Play.[45]
+  Can the same Pow'r such various Passions move?
+  Rejoice, or weep, 'tis ev'ry thing for _Love_.
+  The self-same Cause produces Heav'n and Hell:
+  Things contrary as Buckets in a Well;
+  One up, one down, one empty, and one full:
+  Half high, half low, half witty, and half dull.
+  So on the borders of an ancient Wood,
+  Or where some Poplar trembles o'er the Flood,
+  _Arachnè_ travels on her filmy thread,
+  Now high, now low, or on her feet or head.
+
+    Yet these love Verse, as Croaking comforts Frogs,[46]
+  And Mire and Ordure are the Heav'n of Hogs.
+  As well might Nothing bind Immensity,
+  Or passive Matter Immaterials see,
+  As these shou'd write by reason, rhime, and rule,
+  Or we turn Wit, whom nature doom'd a Fool.
+  If _Dryden_ err'd, 'twas human frailty once,
+  But blund'ring is the Essence of a Dunce.
+
+    Some write for Glory, but the Phantom fades;
+  Some write as Party, or as Spleen invades;
+  A third, because his Father was well read,
+  And Murd'rer-like, calls Blushes from the dead.
+  Yet all for Morals and for Arts contend----
+  They want'em both, who never prais'd a Friend.
+  More ill, than dull; For pure stupidity
+  Was ne'er a crime in honest _Banks_, or me.
+
+    See next a Croud in damasks, silks, and crapes,
+  Equivocal in dress, half-belles, half-trapes:
+  A length of night-gown rich _Phantasia_ trails,
+  _Olinda_ wears one shift, and pares no nails:
+  Some in _C----l_'s Cabinet each act display,
+  When nature in a transport dies away:
+  Some more refin'd transcribe their Opera-loves
+  On Iv'ry Tablets, or in clean white Gloves:
+  Some of Platonic, some of carnal Taste,
+  Hoop'd, or un-hoop'd, ungarter'd, or unlac'd.
+  Thus thick in Air the wing'd Creation play,
+  When vernal _Phoebus_ rouls the Light away,
+  A motley race, half Insects and half Fowls,
+  Loose-tail'd and dirty, May-flies, Bats, and Owls.
+
+    Gods, that this native nonsense was our worst!
+  With Crimes more deep, O _Albion!_ art thou curst.
+  No Judgment open Prophanation fears,
+  For who dreads God, that can preserve his Ears?
+  Oh save me Providence, from Vice refin'd,
+  That worst of ills, a _Speculative Mind_![47]
+  Not that I blame divine Philosophy,
+  (Yet much we risque, for Pride and Learning lye.)
+  Heav'n's paths are found by Nature more than Art,
+  The Schoolman's Head misleads the Layman's Heart.
+
+    What unrepented Deeds has _Albion_ done?
+  Yet spare us Heav'n! return, and spare thy own.
+  Religion vanishes to _Types_, and _Shade_,
+  By Wits, by fools, by her own Sons betray'd!
+  Sure 'twas enough to give the Dev'l his due,
+  Must such Men mingle with the _Priesthood_ too?
+  So stood _Onias_ at th' Almighty's Throne,
+  Profanely cinctur'd in a Harlot's Zone.
+
+    Some _Rome_, and some the _Reformation_ blame;
+  'Tis hard to say from whence such License came;
+  From fierce Enthusiasts, or Socinians sad?
+  _C----ns_ the soft, or _Bourignon_ the mad?
+  From wayward Nature, or lewd Poet's Rhimes?
+  From praying, canting, or king-killing times?
+  From all the dregs which _Gallia_ cou'd pour forth,
+  (Those Sons of Schism) landed in the _North_?--
+  From whence it came, they and the D----l best know,
+  Yet thus much, _Pope_, each Atheist is thy Foe.
+
+    O Decency, forgive these friendly Rhimes,
+  For raking in the dunghill of their crimes.
+  To name each Monster wou'd make Printing dear,
+  Or tire _Ned Ward_, who writes six Books a-year.
+  Such vicious Nonsense, Impudence, and Spite,
+  Wou'd make a Hermit, or a Father write.
+  Tho' _Julian_ rul'd the World, and held no more
+  Than deist _Gildon_ taught, or _Toland_ swore,
+  Good _Greg'ry_[48] prov'd him execrably bad,
+  And scourg'd his Soul, with drunken Reason mad.
+  Much longer, _Pope_ restrain'd his awful hand,
+  Wept o'er poor _Niniveh_, and her dull band,
+  'Till Fools like Weeds rose up, and choak'd the Land.
+  Long, long he slumber'd e'er th' avenging hour;
+  For dubious Mercy half o'er-rul'd his pow'r:
+  'Till the wing'd bolt, red-hissing from above
+  Pierc'd Millions thro'----For such the Wrath of _Jove_.
+  _Hell_, _Chaos_, _Darkness_, tremble at the sound,
+  And prostrate Fools bestrow the vast Profound:
+  No _Charon_ wafts 'em from the farther Shore,
+  Silent they sleep, alas! to rise no more.
+
+    Oh POPE, and Sacred _Criticism!_ forgive
+  A Youth, who dares approach your Shrine, and live!
+  Far has he wander'd in an unknown Night,
+  No Guide to lead him, but his own dim Light.
+  For him more fit, in vulgar Paths to tread,
+  To shew th' Unlearned what they never read,
+  Youth to improve, or rising Genius tend,
+  To Science much, to Virtue more, a Friend.
+
+
+
+Footnotes:
+
+[26] Margites.
+
+[27] Aristophanes.
+
+[28] Ennius.
+
+[29] ----clarumq; facem præferre pudori, _Juv. S._ 1.
+
+[30] _See_ Varro_'s Character in_ Cicero_'s Academics._
+
+[31] _Epode_ 6.
+
+[32] _Alludes to this Couplet in his second Satire_,
+
+      Compositum jus fasq; animi, sanctiq; recessus,
+      Mentis, & incoctum generoso pectus honesto.
+
+[33] _See his first Satire of_ Nero_'s Verses,_ &c.
+
+[34] Juvenal.
+
+[35] _The_ Cæsars _of the Emperor_ Julian.
+
+[36] Lucian_'s True History._
+
+[37] Roscommon, _Revers'd._
+
+[38] _Dr_. Garth _took care of Mr._ Dryden_'s Funeral, which
+some Noblemen, who undertook it, had neglected._
+
+[39] Three Booksellers.
+
+[40] Coimbria_'s comments._ Colleg. Conimbricense, _a Society in_ Spain,
+_which publish'd tedious explanations of_ Aristotle.
+
+[41] Soncinas, _a Schoolman._
+
+[42] Sa (Eman. de) _See_ Paschal_'s Mystery of Jesuitism._
+
+[43]
+  Pompeius, tenui jugulos aperire susurro. Juv. S. 4.
+  Flet, si lacrymas aspexit amici, Nec dolet. S. 3.
+
+[44]
+                  ------Noverat ille
+  Luxuriam Imperii veteris, noctesq; Neronis
+  Jam medias, aliamq; famem.  Juv. S. 4.
+
+[45] Et chaque Acte en fa pièce & una pièce entière. _Boil._
+
+[46]_'When a poor Genius has labour'd much, he judges well not to expect
+the Encomiums of the Publick: for these are not his due. Yet for fear
+his drudgery shou'd have no recompense, God (of his goodness) has
+given him a personal Satisfaction. To envy him in this wou'd be
+injustice beyond barbarity itself: Thus the same Deity (who is equally
+just in all points) has given Frogs the comfort of Croaking, &c.'_
+
+                                    Le Pere Gerasse Sommes Theol. L. 2.
+
+[47] Plato _calls this an Ignorance of a dark and dangerous Nature,
+under appearance of the greatest Wisdom._
+
+[48] Gregory Nazianz: _a Father at the beginning of the Fourth Century.
+He writ two most bitter Satires (or Invectives) against the Emperor_
+Julian.
+
+
+
+
+  A
+  DISCOURSE
+  OF
+  SATIRES
+
+  _Arraigning Persons by Name_.
+  By Monsieur BOILEAU.
+
+
+When first I publish'd my Satires, I was thoroughly prepar'd for that
+Noise and Tumult which the Impression of my Book has rais'd upon
+_Parnassus_. I knew that the Tribe of Poets, and above all, Bad Poets,
+are a People ready to take fire; and that Minds so covetous of Praise
+wou'd not easily digest any Raillery, how gentle soever. I may farther
+say to my advantage, that I have look'd with the Eyes of a Stoick
+upon the Defamatory Libels that have been publish'd against me.
+Whatever Calumnies they have been willing to asperse me with, whatever
+false Reports they have spread of my Person, I can easily forgive
+those little Revenges; and ascribe 'em to the Spleen of a provok'd
+Author, who finds himself attack'd in the most sensible part of a
+Poet, I mean, in his Writings.
+
+But I own I was a little surpriz'd at the whimsical Chagrin of certain
+_Readers_, who instead of diverting themselves with this Quarrel of
+_Parnassus_, of which they might have been indifferent Spectators,
+chose to make themselves Parties, and rather to take pet with Fools,
+than laugh with Men of Sense. 'Twas to comfort these People, that I
+compos'd my ninth Satire; where I think I have shewn clearly enough,
+that without any prejudice either to one's Conscience or the
+Government, one may think bad Verses bad Verses, and have full right
+to be tir'd with reading a silly Book. But since these Gentlemen have
+spoken of the liberty I have taken of _Naming_ them, as an Attempt
+unheard-of, and without Example, and since Examples can't well be put
+into Rhyme; 'tis proper to say one word to inform 'em of a thing of
+which they alone wou'd gladly be ignorant, and to make them know, that
+in comparison of all my brother Satirists, I have been a Poet of great
+Moderation.
+
+To begin with _Lucilius_ the Inventer of Satire; what liberty, or
+rather what license did he not indulge in his Works? They were not
+only Poets and Authors whom he attack'd, they were People of the first
+Quality in _Rome_, and Consular Persons. However _Scipio_ and
+_Lælius_ did not judge that Poet (so determin'd a Laugher as he was)
+unworthy of their Friendship; and probably upon occasion no more
+refus'd him, than they did _Terence_, their advice on his Writings:
+They never thought of espousing the part of _Lupus_ and _Metellus_,
+whom he ridicul'd in his Satires, nor imagin'd they gave up any part
+of their own Character in leaving to his Mercy all the Coxcombs of the
+Nation.
+
+              ----_num_ Lælius, _aut qui_
+  _Duxit ab oppressa meritum Carthagine nomen,_
+  _Ingenio offensi, aut læso doluere_ Metello
+  _Famosisve_ Lupo _co-operto versibus?_
+
+
+In a word, _Lucilius_ spar'd neither the Small nor the Great, and
+often from the Nobles and the Patricians he stoop'd to the Lees of the
+People.
+
+  _Primores populi arripuit populumq; tributim._
+
+
+It may be said that _Lucilius_ liv'd in a Republick where those sort
+of liberties might be permitted. Look then upon _Horace_, who liv'd
+under an Emperor in the beginnings of a Monarchy (the most dangerous
+time in the world to laugh) who is there whom he has not satiriz'd by
+name? _Fabius_ the great Talker, _Tigellius_ the Fantastick,
+_Nasidienus_ the Impertinent, _Nomentanus_ the Debauchee, and whoever
+came at his Quill's end. They may answer that these are fictitious
+Names: an excellent Answer indeed! As if those whom he attack'd were
+no better known; as if we were ignorant that _Fabius_ was a _Roman_
+Knight who compos'd a Treatise of Law, that _Tigellius_ was a Musician
+favour'd by _Augustus_, that _Nasidienus Rufus_ was a famous Coxcomb
+in _Rome_, that _Cassius Nomentanus_ was one of the most noted Rakes
+in _Italy_. Certainly those who talk in this manner, are not
+conversant with ancient Writers, nor extreamly instructed in the
+affairs of the Court of _Agustus_. _Horace_ is not contented with
+calling people by their _Names_; he seems so afraid they should be
+mistaken, that he gives us even their Sir-names; nay tells us the
+Trade they follow'd, or the Employments they exercis'd. Observe for
+Example how he speaks of _Aufidius Luscus_ Prætor of _Fundi_.
+
+  Fundos Aufidio Lusco _Prætore libenter_
+  _Linquimus, insani ridentes præmia scribæ_
+  _Prætextam & latum clavum,_ &c.
+
+
+_We were glad to leave_ (says he) _the Town of_ Fundi _of which one_
+Aufidius Luscus _was Præator, but it was not without laughing heartily
+at the folly of this man, who having been a Clerk, took upon him the
+Airs of a Senator and a Person of Quality._ Could a Man be describ'd
+more precisely? and would not the Circumstances only be sufficient to
+make him known? Will they say that _Aufidius_ was then dead? _Horace_
+speaks of a Voyage made some time since. And how will my Censors
+account for this other passage?
+
+  _Turgidus_ Alpinus _jugulat dum_ Memnona, _dumque_
+  _Diffingit_ Rheni _luteum caput: hæc ego ludo_.
+
+
+_While that Bombast Poet_ Alpinus, _murders_ Memnon _in his Poem, and
+bemires himself in his description of the_ Rhine, _I divert my self in
+these Satires._ 'Tis plain from hence, that _Alpinus_ liv'd in the
+time when _Horace_ writ these Satires: and suppose _Alpinus_ was an
+imaginary Name, cou'd the Author of the Poem of _Memnon_ be taken for
+another? _Horace_, they may say, liv'd under the reign of the most
+Polite of all the Emperors; but do we live under a Reign less polite?
+and would they have a Prince who has so many Qualities in common with
+_Augustus_, either less disgusted than he at bad Books, or more
+rigorous towards those who blame them?
+
+Let us next examine _Persius_, who writ in the time of _Nero_: He not
+only Raillies the Works of the Poets of his days, but attacks the
+Verses of the Emperor himself: For all the World knows, and all the
+Court of _Nero_ well knew, that those four lines,
+
+  _Torva Mimalloneis_, &c.
+
+which _Persius_ so bitterly ridicules in his first Satire, were
+_Nero_'s own Verses; and yet we have no account that _Nero_ (so much a
+Tyrant as he was) caus'd _Persius_ to be punish'd; Enemy as he was to
+Reason, and fond as every one knows of his own Works, he was gallant
+enough to take this Raillery on his Verses, and did not think that the
+Emperor on this occasion should assert the Character of the Poet.
+
+_Juvenal_, who flourish'd under _Trajan_, shews a little more respect
+towards the great Men of his age; and was contented to sprinkle the
+gall of his Satire on those of the precedent reign. But as for the
+_Writers_, he never look'd for them further than his own time. At the
+very beginning of his Work you find him in a very bad humor against
+all his _cotemporary Scriblers_: ask _Juvenal_ what oblig'd him to
+take up his Pen? he was weary of hearing the _Theseide_ of _Codrus_,
+the _Orestes_ of this man, and the _Telephus_ of that, and all the
+Poets (as he elsewhere says) who recited their Verses in the Month of
+_August_,
+
+  _----&_ Augusto _recitantes Mense Poetas._
+
+
+So true it is that the right of blaming bad Authors, is an ancient
+Right, pass'd into a Custom, among all the Satirists, and allow'd in
+all ages.
+
+       *       *       *       *       *
+
+To come from the Ancients to the Moderns. _Regnier_ who is almost the
+only Satirical Poet we have, has in truth been a little more discreet
+than the rest; nevertheless he speaks very freely of _Gallet_ the
+famous Gamester, who paid his Creditors with _Sept_ and _Quatorze_,
+and of the _Sieur de Provins_ who chang'd his long Cloak into a
+Doublet, and of _Cousin_ who run from his house for fear of repairing
+it, and of _Pierre de Puis_, and many others.
+
+What will my Critics say to this? When they are ever so little
+touch'd, they wou'd drive from the Republick of Letters all the
+Satirical Poets, as so many disturbers of the Peace of the Nation. But
+what will they say of _Virgil_; the wise, the discreet _Virgil_? who
+in an Eclog where he has nothing to do with Satire, has made in one
+Line two Poets for ever ridiculous.
+
+  _Qui_ Bavium _non odit, amet tua carmina_ Moevi.
+
+
+Let them not say that _Bavius_ and _Moevius_ in this place are
+_suppos'd names_, since it would be too plainly to give the Lye to the
+learned _Servius_, who positively declares the contrary. In a word,
+what would my Censors do with _Catullus_, _Martial_, and all the Poets
+of Antiquity, who have made no more scruple in this matter than
+_Virgil_? What would they think of _Voiture_ who had the conscience to
+laugh at the expence of the renowned _Neuf Germain_, tho' equally to
+be admir'd for the Antiquity of his Beard, and the Novelty of his
+Poetry? Will they banish from _Parnassus_, him, and all the ancient
+Poets, to establish the reputation of Fools and Coxcombs? If so, I
+shall be very easy in my banishment, and have the pleasure of very
+good company. Without Raillery, wou'd these Gentlemen really be more
+wise than _Scipio_ and _Lelius_, more delicate than _Augustus_, or more
+cruel than _Nero_? But they who are so angry at the Critics, how comes
+it that they are so merciful to bad Authors? I see what it is that
+troubles them; they have no mind to be undeceiv'd. It vexes them to
+have seriously admir'd those Works, which my Satires have expos'd to
+universal Contempt; and to see themselves condemn'd, to forget in
+their old Age, those Verses which they got by heart in their Youth, as
+Master-pieces of Wit. Truly I am sorry for 'em, but where's the help?
+Can they expect, that to comply with their particular Taste, we
+should renounce common Sense? applaud indifferently all the
+Impertinencies which a Coxcomb shall think fit to throw upon paper?
+and instead of condemning bad Poets (as they did in certain Countries)
+to lick out their Writings with their own Tongue, shall Books become
+for the future inviolable Sanctuaries, where all Blockheads shall be
+made free Denizens, not to be touch'd without Profanation? I could say
+much more on this subject; but as I have already treated it in my
+ninth Satire, I shall thither refer the Reader.
+
+_FINIS._
+
+
+
+
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+
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+113. T. R., _An Essay Concerning Critical and Curious Learning_
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+
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+A. Pope_ (1730), and Anonymous, _The Blatant Beast_ (1742).
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+
+1965-1966
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+124. Anonymous, _The Female Wits_ (1704).
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+
+126. _Le Lutrin: an Heroick Poem, Written Originally in French by
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+Transcriber's note:
+
+  The elongated "s" has been modernized.
+  Footnote marker placement has been made consistent.
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+***END OF THE PROJECT GUTENBERG EBOOK AN ESSAY ON SATIRE, PARTICULARLY ON
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+<title>The Project Gutenberg eBook of An Essay on Satire, Particularly on the Dunciad, by Walter Harte</title>
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+<body>
+<h1>The Project Gutenberg eBook, An Essay on Satire, Particularly on the
+Dunciad, by Walter Harte</h1>
+<pre>
+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 <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: An Essay on Satire, Particularly on the Dunciad</p>
+<p>Author: Walter Harte</p>
+<p>Release Date: June 25, 2009  [eBook #29237]<br />
+Most recently updated: November 29, 2011</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK AN ESSAY ON SATIRE, PARTICULARLY ON THE DUNCIAD***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Chris Curnow, Stephanie Eason, Joseph Cooper,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h3><span class="smcap">The Augustan Reprint Society</span></h3>
+<p>&nbsp;</p>
+<h4>WALTER HARTE</h4>
+<h3>AN</h3>
+<h1>ESSAY</h1>
+<h3>ON</h3>
+<h1>SATIRE,</h1>
+<h4>Particularly on the</h4>
+<h1>DUNCIAD.</h1>
+<p>&nbsp;</p>
+<h5>(1730)</h5>
+<p>&nbsp;</p>
+
+<h5><i>Introduction by</i></h5>
+<h4><span class="smcap">Thomas B. Gilmore</span></h4>
+<p>&nbsp;</p>
+
+<h5>PUBLICATION NUMBER 132</h5>
+<h5>WILLIAM ANDREWS CLARK MEMORIAL LIBRARY</h5>
+<h5><span class="smcap">University of California, Los Angeles</span></h5>
+<h5>1968</h5>
+<p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p>&nbsp;</p>
+<table border="0" cellpadding="0" cellspacing="0" summary="editors">
+<tr>
+<td align="center">
+<strong>GENERAL EDITORS</strong><br />
+George Robert Guffey, <i>University of California, Los Angeles</i><br />
+Maximillian E. Novak, <i>University of California, Los Angeles</i><br />
+Robert Vosper, <i>William Andrews Clark Memorial Library</i><br />
+<br />
+<br />
+<strong>ADVISORY EDITORS</strong><br />
+Richard C. Boys, <i>University of Michigan</i><br />
+James L. Clifford, <i>Columbia University</i><br />
+Ralph Cohen, <i>University of Virginia</i><br />
+Vinton A. Dearing, <i>University of California, Los Angeles</i><br />
+Arthur Friedman, <i>University of Chicago</i><br />
+Louis A. Landa, <i>Princeton University</i><br />
+Earl Miner, <i>University of California, Los Angeles</i><br />
+Samuel H. Monk, <i>University of Minnesota</i><br />
+Everett T. Moore, <i>University of California, Los Angeles</i><br />
+Lawrence Clark Powell, <i>William Andrews Clark Memorial Library</i><br />
+James Sutherland, <i>University College, London</i><br />
+H. T. Swedenberg, Jr., <i>University of California, Los Angeles</i><br />
+<br />
+<br />
+CORRESPONDING SECRETARY<br />
+<br />
+Edna C. Davis, <i>William Andrews Clark Memorial Library</i><br /></td></tr></table>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_i" id="Page_i">[Pg i]</a></span></p>
+<h2>INTRODUCTION</h2>
+
+<p>Since the first publication of Walter Harte's <i>An Essay on Satire,
+Particularly on the Dunciad</i>,[<a href="#f1">1</a><a name="f1.1" id="f1.1"></a>] it has reappeared more than once: the
+unsold sheets of the first edition were included in <i>A Collection of
+Pieces in Verse and Prose, Which Have Been Publish'd on Occasion of
+the Dunciad</i> (1732), and the <i>Essay</i> is also found in at least three
+late eighteenth- or early nineteenth-century collections of poetry.[<a href="#f2">2</a><a name="f2.1" id="f2.1"></a>]
+For several reasons, however, it makes sense to reprint the <i>Essay</i>
+again. The three collections are scarce and have forbiddingly small
+type; I know of no other twentieth-century reprinting; and, perhaps
+most important, Aubrey Williams claims that "the critical value for
+the <i>Dunciad</i> of Harte's poem has not been fully appreciated."[<a href="#f3">3</a><a name="f3.1" id="f3.1"></a>] Its
+value can best be substantiated, or disputed, if it is rescued from
+its typographical limbo in the collections and reprinted from its more
+attractive first edition.</p>
+
+<p>Probably the immediate reason for the <i>Essay</i> was Harte's admiration
+for Pope, which arose in part from personal gratitude. On 9 February
+1727, Harte wrote an unidentified correspondent that "Mr. Pope was
+pleased to correct every page" of his forthcoming <i>Poems on Several
+Occasions</i> "with his own hand." Furthermore, Harte may have learned
+that Pope had petitioned Lady Sarah Cowper, in 1728, to use her
+influence to obtain him a fellowship in Exeter College, Oxford.[<a href="#f4">4</a><a name="f4.1" id="f4.1"></a>]</p>
+
+<p>But however appealing the <i>Essay</i> may be as an installment on Harte's
+debt to Pope, there must obviously be better reasons for reprinting
+it. Harte himself doubtless had additional reasons for writing it. To
+understand them and the poem, we must also understand, at least in
+broad outline, the two traditional ways of evaluating satire which
+Harte and others of his age had inherited. One of them was distinctly
+at odds with Harte's aims; to the other he gave his support and made
+his own contribution.</p>
+
+<p><span class='pagenum'><a name="Page_ii" id="Page_ii">[Pg ii]</a></span>One tradition stressed the "lowness" of satire, in itself and compared
+with other genres. This tradition, moreover, had at least two sources:
+the practice of Elizabethan satirists and the critical custom of
+assigning satire to a middle or low position in the hierarchy of
+genres.</p>
+
+<p>From the time of <i>Piers Plowman</i>, it was characteristic of English
+satirists "to taxe the common abuses and vice of the people in rough
+and bitter speaches."[<a href="#f5">5</a><a name="f5.1" id="f5.1"></a>] This native character was reenforced by the
+Elizabethan assumption that there should be similarities between
+satire and its supposed etymological forebears&mdash;the satyrs, legendary
+half men, half goats of ancient Greece. Believing that the Roman
+satirists Persius and Juvenal had imitated the uncouth manners and
+vituperative diction of the satyrs, Elizabethan satirists likewise
+strove to be as rough, harsh, and licentious as possible.[<a href="#f6">6</a><a name="f6.1" id="f6.1"></a>] Despite
+the objections to the satire-satyr etymology stated by Isaac
+Casaubon,[<a href="#f7">7</a><a name="f7.1" id="f7.1"></a>] scurrilous satire, especially as a political weapon, was
+a recognizable subspecies in England at least to 1700. The anonymous
+author, for instance, of <i>A Satyr Against Common-Wealths</i> (1684)
+contended in his preface that it is "<i>as disagreeable to see a Satyr
+Cloath'd in soft and effeminate Language, as to see a Woman scold and
+vent her self in</i> Billingsgate <i>Rhetorick in a gentile and
+advantageous Garb</i>." But as Harte certainly realized, <i>The Dunciad</i>
+differed greatly from unvarnished abuse, and thus required different
+standards of critical judgment.</p>
+
+<p>Harte also rejected the critical habit of giving satire a relatively
+low rank in the scale of literary genres. This habit can be traced to
+Horace, who belittled the literary status of his own satires,[<a href="#f8">8</a><a name="f8.1" id="f8.1"></a>] and
+it was prominent in the Renaissance. The place of satire in a
+hierarchical list of Julius Caesar Scaliger is perhaps typical: "'And
+the most noble, of course, are hymns and paeans. In the second place
+are songs and odes and scolia, which are concerned with the praises of
+brave men. In the third place the epic, in which there are heroes and
+other lesser personages. Tragedy together with comedy follows this
+order; nevertheless comedy will hold the fourth place apart by itself.
+After these, satires, then exodia, lusus, nuptial songs, elegies,
+monodia, songs, epigrams.'"[<a href="#f9">9</a><a name="f9.1" id="f9.1"></a>] Similar rankings of satire frequently
+recurred in the neo-classical<span class='pagenum'><a name="Page_iii" id="Page_iii">[Pg iii]</a></span> period,[<a href="#f10">10</a><a name="f10.1" id="f10.1"></a>] as did the Renaissance supposition that each genre has a style and subject matter appropriate
+to it. This supposition discouraged any "mixing" of the genres: in
+Richard Blackmore's words, "all comick Manners, witty Conceits and
+Ridicule" should be barred from heroic poetry.[<a href="#f11">11</a><a name="f11.1" id="f11.1"></a>] The influence of
+the genres theories even after Pope's death may be shown by the fact
+that Pope, for the very reason that he had failed to work in the major
+genres, was often ranked below such epic or tragic poets as Spenser,
+Shakespeare, and Milton.[<a href="#f12">12</a><a name="f12.1" id="f12.1"></a>]</p>
+
+<p>One senses the foregoing critical assumptions about satire behind much
+of the early comment on <i>The Dunciad</i>. Most of the critics, to be
+sure, were anything but impartial; in many instances they were
+smarting from Pope's satire and sought any critical weapons available
+for retaliation. But it will not do to dismiss these men or their
+responses to <i>The Dunciad</i> as inconsequential; they had the weight of
+numbers on their side and, more important, the authority of
+long-established attitudes toward satire.</p>
+
+<p>Although it is frequently impossible to determine exactly which
+critics Harte was answering in his <i>Essay</i>, brief illustration of two
+prominent types of attack can indicate what he had to vindicate <i>The
+Dunciad</i> against. One of those types resembled Blackmore's objection
+to a mixing of genres. If satire should be barred from heroic poetry,
+the reverse, for some critics, was also true, and Pope should not have
+used epic allusions and devices in <i>The Dunciad</i>. Edward Ward, for
+one, thought the poem an incongruous mixture "against all rule."[<a href="#f13">13</a><a name="f13.1" id="f13.1"></a>]
+Pope's violation of "rule" seemed almost a desecration of epic to
+Thomas Cooke; of the mock-heroic games in Book II of <i>The Dunciad</i>, he
+complained that "to imitate <i>Virgil</i> is not to have Games, and those
+beastly and unnatural, because <i>Virgil</i> has noble and reasonable
+Games, but to preserve a Purity of Manners, Propriety of Conduct
+founded on Nature, a Beauty and Exactness of Stile, and continued
+Harmony of Verse concording with the Sense."[<a href="#f14">14</a><a name="f14.1" id="f14.1"></a>]</p>
+
+<p>The other kind of attack accused Pope of wasting his talents in <i>The
+Dunciad</i>, but palliated blame by reminding him of his demonstrated
+ability in more worthy poetical pursuits. This was one of<span class='pagenum'><a name="Page_iv" id="Page_iv">[Pg iv]</a></span> Ward's
+resources; perhaps disingenuously, he professed amazement that a poet
+with Pope's "<i>sublime Genius</i>," born for "an Epick Muse," "sacred
+Hymns," and "heav'nly Anthems," would lower himself to mock at
+"<i>trifling Foibles</i>" or "the Starvlings of <i>Apollo's</i> Train."[<a href="#f15">15</a><a name="f15.1" id="f15.1"></a>] More
+concerned with Pope's potentialities than with his recent ignominy,
+George Lyttelton nevertheless made essentially the same point: Pope
+could never become the English Virgil if he "let meaner Satire ...
+stain the Glory" of his "nobler Lays."[<a href="#f16">16</a><a name="f16.1" id="f16.1"></a>] And Aaron Hill wrote an
+allegorical poem to show Pope the error of <i>The Dunciad</i> and to
+suggest means of escape from entombment "in his <i>own</i> PROFUND."[<a href="#f17">17</a><a name="f17.1" id="f17.1"></a>] In
+such censure we perhaps glimpse an opinion attributable to the still
+influential genres theories: a poet of "<i>sublime Genius</i>" should work
+in a more sublime poetic genre than satire.</p>
+
+<p>In opposing this low view of satire, Harte drew upon ideas more
+congenial to his purposes and far more congenial to <i>The Dunciad</i>.
+Originating with the Renaissance commentaries on the formal verse
+satire of the Romans, their lineage was just as venerable as that of
+the low view. These critical concepts were probably just as
+influential too, for they continued to be reiterated by commentaries
+down to and beyond Pope's time.</p>
+
+<p>Whatever their quarrels, the Renaissance commentaries were virtually
+united in regarding satire as exalted moral instruction and satirists
+as ethical philosophers. Casaubon's choice for this sort of praise was
+Persius; Heinsius and Stapylton likened their respective choices,
+Horace and Juvenal, to Socrates and Plato; and Rigault considered all
+three satirists to be philosophers, distinguished only by the
+different styles which their different periods required. The satirist
+might disguise himself as a jester, but only to make his moral wisdom
+more easily digestible; peeling away his mask, "we find in him all the
+Gods together," "<i>Maxims or Sentences, that like the lawes of nature,
+are held sacred by all Nations</i>."[<a href="#f18">18</a><a name="f18.1" id="f18.1"></a>]</p>
+
+<p>Dryden's <i>Discourse Concerning the Original and Progress of Satire</i>
+drew heavily and eclectically upon these commentaries, investing their
+judgments with a new popularity and authority. Although Dryden
+condemned Persius for obscurity and other defects,<span class='pagenum'><a name="Page_v" id="Page_v">[Pg v]</a></span> he agreed with
+Casaubon that Persius excels as a moral philosopher and that "moral
+doctrine" is more important to satire than wit or urbanity. Dryden
+knew, moreover, that the satirist's inculcation of "moral doctrine"
+meant a dual purpose, a pattern of blame and praise&mdash;not only "the
+scourging of vice" but also "exhortation to virtue"&mdash;long recognized
+as a definitive characteristic of formal verse satire.[<a href="#f19">19</a><a name="f19.1" id="f19.1"></a>] But if
+Dryden insisted on the moral dignity of satire, he laid equal stress
+on the dignity attainable through verse and numbers. After
+complimenting Boileau's <i>Lutrin</i> for its successful imitation of
+Virgil, its blend of "the majesty of the heroic" with the "venom" of
+satire, Dryden speaks of "the beautiful turns of words and thoughts,
+which are as requisite in this [satire], as in heroic poetry itself,
+of which the satire is undoubtedly a species"; and earlier in the
+<i>Discourse</i> he had called heroic poetry "certainly the greatest work
+of human nature."[<a href="#f20">20</a><a name="f20.1" id="f20.1"></a>]</p>
+
+<p>It is clear that Harte's <i>Essay</i> belongs in the tradition of criticism
+established by the commentaries on classical satire and continued by
+Dryden. Like these predecessors, Harte believes that satire is moral
+philosophy, teaching "the noblest Ethicks to reform mankind" (p. 6).
+Like them again, he believes that to fulfill this purpose satire must
+not only lash vice but recommend virtue, at least by implication:</p>
+
+<p>
+<span style="margin-left: 2em;">Blaspheming <i>Capaneus</i> obliquely shows</span><br />
+<span style="margin-left: 2em;">T'adore those Gods <i>Aeneas</i> fears and knows, (p. <a href="#Page_10">10</a>)[<a href="#f21">21</a><a name="f21.1" id="f21.1"></a>]</span><br />
+</p>
+
+<p>But perhaps Harte's overriding concern was to do for satire (with <i>The
+Dunciad</i> as his focus) what Dryden's <i>Discourse</i> had done: to reassert
+its dignity and majesty.</p>
+
+<p>Although Harte is quite careful to distinguish satire from epic
+poetry, the total effect of his <i>Essay</i> is to blur this distinction
+and to raise <i>The Dunciad</i> very nearly to the level of genuine epic.
+The term "<i>Epic Satire</i>" (p. <a href="#Page_6">6</a>) certainly seems to refer to the
+wedding of two disparate genres in <i>The Dunciad</i>, lifting it above
+satire that is merely "rugged" or "mischievously gay" (p. <a href="#Page_8">8</a>). (The
+epithet is also, perhaps, a thrust at Edward Ward, who had pinned it
+on <i>The Dunciad</i> with a sneer.)[<a href="#f22">22</a><a name="f22.1" id="f22.1"></a>] Harte's claim that</p>
+
+<p><span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg vi]</a></span>
+<span style="margin-left: 2em;"><i>Books and the Man</i> demands as much, or more,</span><br />
+<span style="margin-left: 2em;">Than <i>He who wander'd to the Latian shore</i> (p. <a href="#Page_9">9</a>)</span><br />
+</p>
+
+<p>has a similar effect. The greatest epic poets and satirists have
+always transcended rules to follow "Nature's light"; Pope,
+over-topping them all, has "still corrected Nature as she stray'd"
+(pp. <a href="#Page_19">19</a>, <a href="#Page_21">21</a>). But perhaps Harte's most successful attempt to elevate
+<i>The Dunciad</i> comes in section two of his poem. Unlike Dryden, in
+whose <i>Discourse</i> the account of the "progress" of satire is confined
+almost exclusively to a few Roman writers, Harte begins his account of
+its progress with Homer and brings it down to Pope. Deriving the
+ancestry of <i>The Dunciad</i> from Homer, the greatest epic poet,
+obviously enhances Pope's satire. Perhaps less obviously, by extending
+Dryden's account to the present, Harte makes <i>The Dunciad</i> not only a
+chronological <i>terminus ad quem</i> but, far more important, the fruit of
+centuries of slowly accumulating mastery and wisdom.</p>
+
+<p>The strategies mentioned thus far constitute one series of answers to
+critics who charged Pope with debasing true epic. But Harte also
+addressed himself to such critics more directly. Although Aubrey
+Williams (p. 54) has clearly demonstrated Harte's awareness that the
+world of <i>The Dunciad</i> does in one sense sully epic beauties, at the
+same time, I think, Harte knew that the epic poems to which <i>The
+Dunciad</i> continually alludes remain fixed, unsullied polestars;
+otherwise the reader of the poem would lack a way of measuring the
+meanness of its characters and principles. The "charms of <i>Parody</i>" in
+<i>The Dunciad</i> provide a contrast between its dark, fallen world and
+the undimmed luster of epic realms (p. <a href="#Page_10">10</a>). By using the ambiguous
+word <i>parody</i>, which in the eighteenth century could mean either
+ridicule or straight imitation,[<a href="#f23">23</a><a name="f23.1" id="f23.1"></a>] Harte skillfully suggests the
+complex purpose of Pope's epic backdrop. The dunces, not Pope,
+ridicule the epic world by their words and deeds; but in turn, this
+world ridicules them simply by being "imitated" and incorporated in
+<i>The Dunciad</i>. And its incorporation is by no means equivalent to the
+pollution of epic. That, Harte hints, is the achievement of scribblers
+like Blackmore (p. <a href="#Page_12">12</a>). It is they who inadvertently write mock-epics,
+parodies which degrade their<span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span> great models; Pope, nominally writing
+mock-epic, actually approaches epic achievement.</p>
+
+<p>Harte's reply to those who believed Pope had wasted his talent in
+attacking "the Refuse of the Town" centers in the stanza beginning on
+p. <a href="#Page_24">24</a> but can be found elsewhere as well. Literary "Refuse," he
+realized, could not safely be ignored, for he at least came close to
+understanding that it was "the metaphor by which bigger
+deteriorations," social and moral, "are revealed" (Williams, p. 14).</p>
+
+<p>
+<span style="margin-left: 2em;">... Rules, and Truth, and Order, Dunces strike;</span><br />
+<span style="margin-left: 2em;">Of Arts, and Virtues, enemies alike. (p. <a href="#Page_24">24</a>)</span><br />
+</p>
+
+<p>Ultimately, then, Harte seemed aware that the dunces pose a colossal
+threat, a threat which warrants Pope's numerous echoes of <i>Paradise
+Lost</i>. Harte's <i>Essay</i>, in fact, contains several echoes of the same
+poem. Though, like most of Pope's, these Miltonic echoes are given a
+comic turn which indicates a wide gap between the real satanic host
+and its London auxiliary, there is little doubt that Harte grasped the
+underlying seriousness of his mentor's analogies and his own.</p>
+
+<hr style='width: 25%;' />
+
+<p>A few words remain to be said about Boileau's <i>Discourse of Satires
+Arraigning Persons by Name</i>, which so far as I know appeared with all
+early printings of Harte's <i>Essay</i>.</p>
+
+<p>The <i>Discourse</i> was first published in 1668, with the separately
+printed edition of Boileau's ninth satire; in the same year it was
+included in a collected edition of the satires. It was occasioned,
+evidently, by a critic's complaint that the modern satirist, departing
+from ancient practice, "offers insults to individuals."[<a href="#f24">24</a><a name="f24.1" id="f24.1"></a>]</p>
+
+<p>The only English translation of the <i>Discourse</i> that I have discovered
+before 1730 appears in volume two (1711) of a three-volume translation
+of Boileau's works. This, however, is not the same translation as the
+one accompanying Harte's <i>Essay</i>; it is noticeably less fluent and
+lacks (as does the French) the subtitle "arraigning persons by name."</p>
+
+<p>The 1730 translation is faithful to the original, and the subtitle<span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg viii]</a></span>
+calls attention to the aptness of the <i>Discourse</i> as a defense of
+Pope's satiric practice.[<a href="#f25">25</a><a name="f25.1" id="f25.1"></a>] It is so apt, indeed, that one could
+almost suspect Pope himself of making the translation and submitting
+it to Harte or his publisher. Pope had already invoked Boileau's name
+and precedent in the letter from "William Cleland"; nothing could be
+more logical than for Pope to turn the esteemed Boileau's
+self-justification to his own ends.</p>
+<p>&nbsp;</p>
+<p>Cornell College</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h4>NOTES TO THE INTRODUCTION</h4>
+
+<p>[<a href="#f1.1">1</a><a name="f1" id="f1"></a>] Robert W. Rogers, <i>The Major Satires of Alexander Pope</i>, Illinois
+Studies in Language and Literature, XL (Urbana, 1955), p. 140, dates
+the Essay January 7-14, 1731, N. S., on the evidence of <i>The
+Grub-Street Journal</i>; No. 484 of <i>The London Evening-Post</i> (Saturday,
+January 9, to Tuesday, January 12, 1731) advertises its publication
+for the following day.</p>
+
+<p>[<a href="#f2.1">2</a><a name="f2" id="f2"></a>] Rogers, p. 141. Thomas Park, <i>Supplement to the British Poets</i>
+(London, 1809), VIII, 21-36; Alexander Chalmers, <i>The Works of the
+English Poets</i> (London, 1810), XVI, 348-352; Robert Anderson, <i>A
+Complete Edition of the Poets of Great Britain</i> (London, 1794), IX,
+825-982 [<i>sic</i>].</p>
+
+<p>[<a href="#f3.1">3</a><a name="f3" id="f3"></a>] <i>Pope's "Dunciad": A Study of Its Meaning</i> (Baton Rouge, 1955), p. 54n.</p>
+
+<p>[<a href="#f4.1">4</a><a name="f4" id="f4"></a>] <i>The Correspondence of Alexander Pope</i>, ed. George Sherburn
+(Oxford, 1956), II, 430 n., 497.</p>
+
+<p>[<a href="#f5.1">5</a><a name="f5" id="f5"></a>] George Puttenham, <i>The Arte of English Poesie</i> (1589), in
+<i>Elizabethan Critical Essays</i>, ed. G. Gregory Smith (Oxford, 1904),
+II, 27.</p>
+
+<p>[<a href="#f6.1">6</a><a name="f6" id="f6"></a>] Alvin Kernan, <i>The Cankered Muse: Satire of the English
+Renaissance</i>, Yale Studies in English, CXLII (New Haven, 1959), pp.
+55, 58, 62; Oscar James Campbell, <i>Comicall Satyre and Shakespeare's
+"Troilus and Cressida"</i> (San Marino, 1959), pp. 24-25, 27, 29-30.</p>
+
+<p>[<a href="#f7.1">7</a><a name="f7" id="f7"></a>] <i>De Satyrica Graecorum Poesi, &amp; Romanorum Satira Libri Duo</i>
+(Paris, 1605).</p>
+
+<p>[<a href="#f8.1">8</a><a name="f8" id="f8"></a>] J. F. D'Alton, <i>Roman Literary Theory and Criticism: A Study in
+Tendencies</i> (London, New York, and Toronto, 1931), pp. 356, 414 and
+n.; George Converse Fiske, <i>Lucilius and Horace: A Study in the
+Classical Theory of Imitation</i>, University of Wisconsin Studies in
+Language and Literature, No. 7 (Madison, 1920), p. 443.</p>
+
+<p>[<a href="#f9.1">9</a><a name="f9" id="f9"></a>] Bernard Weinberg, <i>A History of Literary Criticism in the Italian
+Renaissance</i> (Chicago, 1961), II, 745. For similar appraisals of
+satire, see also I, 148-149; II, 759, 807; and Puttenham, pp. 26-28.</p>
+
+<p><span class='pagenum'><a name="Page_x" id="Page_x">[Pg x]</a></span>[<a href="#f10.1">10</a><a name="f10" id="f10"></a>] E.g., John Dennis, "The Grounds of Criticism in Poetry" (1704),
+in <i>The Critical Works</i>, ed. Edward Niles Hooker (Baltimore,
+1939-1943), I, 338; Joseph Trapp, <i>Lectures on Poetry Read in the
+Schools of Natural Philsophy at Oxford</i> (London, 1742), p. 153.</p>
+
+<p>[<a href="#f11.1">11</a><a name="f11" id="f11"></a>] <i>Essays upon Several Subjects</i> (London, 1716-1717), I, 76.</p>
+
+<p>[<a href="#f12.1">12</a><a name="f12" id="f12"></a>] Paul F. Leedy, "Genres Criticism and the Significance of Warton's
+Essay on Pope," <i>JEGP</i>, XLV (1946), 141.</p>
+
+<p>[<a href="#f13.1">13</a><a name="f13" id="f13"></a>] <i>Durgen. Or, A Plain Satyr upon a Pompous Satyrist</i> (London,
+1729), p. 48.</p>
+
+<p>[<a href="#f14.1">14</a><a name="f14" id="f14"></a>] "The Battel of the Poets," in <i>Tales, Epistles, Odes, Fables,
+etc.</i> (London, 1729), p. 138n. Though the poem was first published in
+1725, it was revised to attack <i>The Dunciad</i>; Cooke claims ("The
+Preface," p. 107) that not more than eighty lines in the two versions
+are the same.</p>
+
+<p>[<a href="#f15.1">15</a><a name="f15" id="f15"></a>] <i>Durgen</i>, pp. [i], 19, 40-41.</p>
+
+<p>[<a href="#f16.1">16</a><a name="f16" id="f16"></a>] <i>An Epistle to Mr. Pope, from a Young Gentleman at Rome</i> (London,
+1730), pp. 6-7.</p>
+
+<p>[<a href="#f17.1">17</a><a name="f17" id="f17"></a>] <i>The Progress of Wit</i> (London, 1730), p. 31. Two months after
+Harte's Essay appeared Hill's <i>Advice to the Poets</i>, which complements
+the earlier allegory by urging Pope to shun "<i>vulgar Genii</i>" and
+emulate "Thy own <i>Ulysses</i>" (pp. 18-19).</p>
+
+<p>[<a href="#f18.1">18</a><a name="f18" id="f18"></a>] Daniel Heinsius, "De Satyra Horatiana Liber," in <i>Q. Horati
+Flacci Opera</i> (1612), pp. 137-138; Sir Robert Stapylton, "The Life and
+Character of Juvenal," in <i>Mores Hominum. The Manners of Men,
+Described in Sixteen Satyrs, by Juvenal</i> (London, 1660), p. [v];
+Nicolas Rigault, "De Satira Juvenalis Dissertatio" (1615), in <i>Decii
+Junii Juvenalis Satirarum Libri Quinque</i> (Paris, 1754), p. xxv; and
+André Dacier, <i>An Essay upon Satyr</i> (London, 1695), p. 273.</p>
+
+<p>[<a href="#f19.1">19</a><a name="f19" id="f19"></a>] <i>Essays of John Dryden</i>, ed. W. P. Ker (Oxford, 1900), II, 75,
+104-105; Howard D. Weinbrot, "The Pattern of Formal Verse Satire in
+the Restoration and the Eighteenth Century," <i>PMLA</i>, LXXX (1965),
+394-401; Causaubon, <i>De Satyrica Graecorum Poesi, &amp; Romanorum Satira
+Libri Duo</i>, pp. 291-292; Heinsius, pp. 137-138.</p>
+
+<p>[<a href="#f20.1">20</a><a name="f20" id="f20"></a>] <i>Essays</i>, II, 43, 107-108.</p>
+
+<p>[<a href="#f21.1">21</a><a name="f21" id="f21"></a>] See Weinbrot, p. 399.</p>
+
+<p><span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg xi]</a></span>[<a href="#f22.1">22</a><a name="f22" id="f22"></a>] <i>Durgen</i>, p. 3.</p>
+
+<p>[<a href="#f23.1">23</a><a name="f23" id="f23"></a>] Howard D. Weinbrot, "Parody as Imitation in the 18th Century,"
+<i>AN&amp;Q</i>, II (1964), 131-134.</p>
+
+<p>[<a href="#f24.1">24</a><a name="f24" id="f24"></a>] Boileau, <i>Oeuvres Complètes</i>, ed. Françoise Escal (Éditions
+Gallimard, 1966), p. 924.</p>
+
+<p>[<a href="#f25.1">25</a><a name="f25" id="f25"></a>] Numerous protests against Pope's use of names made such a defense
+desirable. See, for example, Ward (p. 9) and "A Letter to a Noble
+Lord: Occasion'd by the Late Publication of the Dunciad Variorum," in
+<i>Pope Alexander's Supremacy and Infallibility Examin'd</i> (London,
+1729), p. 12. Boileau's <i>Discourse</i> is a particularly apposite reply
+to the latter, which had contrasted Pope's satiric practice with that
+of Horace, Juvenal, and Boileau.</p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<table border="0" cellpadding="0" cellspacing="0" summary="note">
+<tr><td align="center"><strong>BIBLIOGRAPHICAL NOTE</strong></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>The text of this edition is reproduced from a copy in the University
+of Illinois Library.</td></tr></table>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<div class="figcenter"><img src="images/i_015top.png" alt="decorative border" /></div>
+<h3>AN</h3>
+<h2>ESSAY</h2>
+<h3>ON</h3>
+<h1>SATIRE,</h1>
+<h4>Particularly on the <span class="smcap">Dunciad</span>.</h4>
+<div class="figcenter"><img src="images/i_015bot.png" alt="decorative border" /></div>
+<div class="center">(Price One Shilling.)</div>
+
+<hr style="width: 45%;" />
+<div class="figcenter"><img src="images/i_017top.png" alt="decorative border" /></div>
+<p>&nbsp;</p>
+<table border="0" cellpadding="0" cellspacing="0" summary="Speedily Published">
+<tr><td align="center">Speedily will be Published,</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>The Works of <span class="smcap">Virgil</span> Translated<br /> into Blank Verse by <i>J. Trapp</i>, D. D.<br />
+in Three Volumes in 12&#186; with Cuts.</td></tr></table>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i_017bot.png" alt="decorative border" /></div>
+
+<hr style="width: 45%;" />
+<h3>AN</h3>
+<h1>ESSAY</h1>
+<h3>ON</h3>
+<h1>SATIRE,</h1>
+<h4>Particularly on the</h4>
+<h1>DUNCIAD.</h1>
+<hr style="width: 5%;" />
+<h4>BY</h4>
+<h4>Mr. <i>WALTER HARTE</i></h4>
+<h4>of St. <i>Mary-Hall</i>, Oxon.</h4>
+<hr style="width: 5%;" />
+<h4>To which is added, A</h4>
+<h3>DISCOURSE <i>on</i> SATIRES,</h3>
+<h4><i>Arraigning Persons by Name.</i></h4>
+<h3>By Monsieur BOILEAU.</h3>
+<hr style="width: 5%;" />
+<h4><i>LONDON:</i></h4>
+<h5>Printed for <span class="smcap">Lawton Gilliver</span> at <i>Homer's</i> Head</h5>
+<h5>against St. <i>Dunstan's</i> Church, in <i>Fleetstreet</i>,</h5>
+<h5>MDCCXXX.</h5>
+
+
+<hr style="width: 45%;" />
+<div class="figcenter"><img src="images/i_021.png" alt="decorative border" /></div>
+<h4>THE</h4>
+<h2>CONTENTS.</h2>
+
+<p>I. <i>The Origine and Use of</i> Satire. <i>The Excellency of</i> Epic Satire
+<i>above others, as adding Example to Precept, and animating by</i> Fable
+<i>and sensible Images. Epic Satire compar'd with Epic Poem, and wherein
+they differ: Of their</i> Extent, Action, Unities, Episodes, <i>and the
+Nature of their</i> Morals. <i>Of</i> Parody: <i>Of the</i> Style, Figures, <i>and</i>
+Wit <i>proper to this Sort of Poem, and the superior Talents requisite
+to Excel in it.</i></p>
+
+<p>II. <i>The</i> Characters <i>of the several</i> Authors <i>of</i> Satire. 1. <i>The
+Ancients;</i> Homer, Simonides, Archilochus, Aristophanes, Menippus,
+Ennius, Lucilius, Varro, Horace, Persius, Petronius, Juvenal, Lucian,
+<i>the Emperor</i> Julian. 2. <i>The Moderns;</i> Tassone, Coccaius, Rabelais,
+Regnier, Boileau, Dryden, Garth, Pope.</p>
+
+<p>III. <i>From the Practice of all the best Writers and Men in every Age
+and Nation, the</i> Moral Justice <i>of</i> Satire <i>in General, and of this
+Sort in Particular, is Vindicated. The</i> Necessity <i>of it shewn in</i>
+this Age <i>more especially, and why bad Writers are at present the</i>
+most proper Objects of Satire. <i>The</i> True Causes <i>of bad Writers.</i>
+Characters <i>of several Sorts of them now abounding; Envious Critics,
+Furious Pedants, Secret Libellers, Obscene Poetesses, Advocates for
+Corruption, Scoffers at Religion, Writers for Deism, Deistical and</i>
+Arrian-<i>Clergymen.</i></p>
+
+<p><i>Application of the Whole Discourse to the</i> <span class="smcap">Dunciad</span>; <i>concluding with
+an Address to the Author of it.</i></p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i_022.png" alt="decorative emblem" /></div>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
+<div class="figcenter"><img src="images/i_023.png" alt="decorative border" /></div>
+<h3>An</h3>
+<h2>ESSAY</h2>
+<h3>ON</h3>
+<h1>SATIRE.</h1>
+
+<div class="poem">
+<p>T' Exalt the Soul, or make the Heart sincere,<br />
+To arm our Lives with honesty severe,<br />
+To shake the wretch beyond the reach of Law,<br />
+Deter the young, and touch the bold with awe,<br />
+To raise the fal'n, to hear the sufferer's cries,<br />
+<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span>And sanctify the virtues of the wise,<br />
+Old Satire rose from Probity of mind,<br />
+The noblest Ethicks to reform mankind.<br />
+<br />
+<span style="margin-left: 1em;">As <i>Cynthia's</i> Orb excels the gems of night:</span><br />
+So <i>Epic Satire</i> shines distinctly bright.<br />
+Here Genius lives, and strength in every part,<br />
+And lights and shades, and fancy fix'd by art.<br />
+A second beauty in its nature lies,<br />
+It gives not <i>Things</i>, but <i>Beings</i> to our eyes,<br />
+<i>Life</i>, <i>Substance</i>, <i>Spirit</i> animate the whole;<br />
+<i>Fiction</i> and <i>Fable</i> are the Sense and Soul.<br />
+The <i>common Dulness</i> of mankind, array'd<br />
+In pomp, here lives and breathes, a <i>wond'rous Maid</i>:<br />
+The Poet decks her with each unknown Grace,<br />
+Clears her dull brain, and brightens her dark face:<br />
+See! Father <i>Chaos</i> o'er his First-born nods,<br />
+<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span>And Mother <i>Night</i>, in Majesty of Gods!<br />
+See <i>Querno's Throne</i>, by hands Pontific rise,<br />
+And a <i>Fool's Pand&aelig;monium</i> strike our Eyes!<br />
+Ev'n what on C&mdash;&mdash;l the Publick bounteous pours,<br />
+Is sublimated here to <i>Golden show'rs</i>.<br />
+<br />
+<span style="margin-left: 1em;">A <i>Dunciad</i> or a <i>Lutrin</i> is compleat,</span><br />
+And <i>one</i> in action; ludicrously great.<br />
+Each wheel rolls round in due degrees of force;<br />
+E'en <i>Episodes</i> are <i>needful</i>, or <i>of course</i>:<br />
+<i>Of course</i>, when things are virtually begun<br />
+E'er the first ends, the Father and the Son:<br />
+Or else so <i>needful</i>, and exactly grac'd,<br />
+That nothing is <i>ill-suited</i>, or <i>ill-plac'd</i>.<br />
+<br />
+<span style="margin-left: 1em;">True Epic's a vast World, and this a small;</span><br />
+One has its <i>proper</i> beauties, and one <i>all</i>.<br />
+<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span>Like <i>Cynthia</i>, one in <i>thirty days</i> appears,<br />
+Like <i>Saturn</i> one, rolls round in <i>thirty years</i>.<br />
+<i>There</i> opens a wide Tract, a length of Floods,<br />
+A height of Mountains, and a waste of Woods:<br />
+<i>Here</i> but one Spot; nor Leaf, nor Green depart<br />
+From Rules, e'en Nature seems the Child of Art.<br />
+As <i>Unities</i> in Epick works appear,<br />
+So must they shine in full distinction here.<br />
+Ev'n the warm <i>Iliad</i> moves with slower pow'rs:<br />
+That forty days demands, This forty hours.<br />
+<br />
+<span style="margin-left: 1em;">Each other Satire humbler arts has known,</span><br />
+Content with meaner Beauties, tho' its own:<br />
+Enough for that, if rugged in its course<br />
+The Verse but rolls with Vehemence and Force;<br />
+Or nicely pointed in th' <i>Horatian</i> way<br />
+<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span>Wounds keen, like <i>Syrens</i> mischievously gay.<br />
+Here, All has <i>Wit</i>, yet must that Wit be <i>strong</i>,<br />
+Beyond the Turns of <i>Epigram</i>, or <i>Song</i>.<br />
+The <i>Thought</i> must rise exactly from the vice,<br />
+<i>Sudden</i>, yet <i>finish'd</i>, <i>clear</i>, and yet <i>concise</i>.<br />
+<i>One Harmony</i> must <i>first</i> with <i>last</i> unite;<br />
+As all true Paintings have their <i>Place</i> and <i>Light</i>.<br />
+<i>Transitions</i> must be <i>quick</i>, and yet <i>design'd</i>,<br />
+Not made to fill, but just retain the mind:<br />
+And <i>Similies</i>, like meteors of the night,<br />
+Just give one flash of momentary Light.<br />
+<br />
+<span style="margin-left: 1em;">As thinking makes the Soul, low things exprest</span><br />
+In high-rais'd terms, define a <i>Dunciad</i> best.<br />
+<i>Books and the Man</i> demands as much, or more,<br />
+Than <i>He</i> who <i>wander'd to the Latian Shore</i>:<br />
+For here (eternal Grief to <i>Duns</i>'s soul,<br />
+And <i>B</i>&mdash;&mdash;'s thin Ghost!) the <i>Part</i> contains the <i>Whole</i>:<br />
+<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span>Since in Mock-Epic none succeeds, but he<br />
+Who tastes the Whole of Epic Poesy.<br />
+<br />
+<span style="margin-left: 1em;">The <i>Moral</i> must be clear and understood;</span><br />
+But finer still, if negatively good:<br />
+Blaspheming <i>Capaneus</i> obliquely shows<br />
+T' adore those Gods <i>&AElig;neas</i> fears and knows.<br />
+A <i>Fool's</i> the <i>Heroe</i>; but the <i>Poet's</i> end<br />
+Is, to be <i>candid</i>, <i>modest</i>, and a <i>Friend</i>.<br />
+<br />
+<span style="margin-left: 1em;">Let <i>Classic Learning</i> sanctify each Part,</span><br />
+Not only show your Reading, but your Art.<br />
+<br />
+<span style="margin-left: 1em;">The charms of <i>Parody</i>, like those of Wit,</span><br />
+If well <i>contrasted</i>, never fail to hit;<br />
+One half in light, and one in darkness drest,<br />
+(For contraries oppos'd still shine the best.)<br />
+<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span>When a cold Page half breaks the Writer's heart,<br />
+By this it warms, and brightens into Art.<br />
+When Rhet'ric glitters with too pompous pride,<br />
+By this, like <i>Circe</i>, 'tis un-deify'd.<br />
+So <i>Berecynthia</i>, while her off-spring vye<br />
+In homage to the Mother of the sky,<br />
+(Deck'd in rich robes, of trees, and plants, and flow'rs,<br />
+And crown'd illustrious with an hundred tow'rs)<br />
+O'er all <i>Parnassus</i> casts her eyes at once,<br />
+And sees an hundred Sons&mdash;<i>and each a Dunce</i>.<br />
+<br />
+<span style="margin-left: 1em;">The <i>Language</i> next: from hence new pleasure springs;</span><br />
+For <i>Styles</i> are dignify'd, as well as <i>Things</i>.<br />
+Tho' Sense subsists, distinct from phrase or sound,<br />
+Yet <i>Gravity</i> conveys a surer wound.<br />
+<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span>The chymic secret which your pains wou'd find,<br />
+Breaks out, unsought for, in <i>Cervantes'</i> mind;<br />
+And <i>Quixot</i>'s wildness, like that King's of old,<br />
+Turns all he touches, into <i>Pomp</i> and <i>Gold</i>.<br />
+Yet in this Pomp discretion must be had;<br />
+Tho' <i>grave</i>, not <i>stiff</i>; tho' <i>whimsical</i>, not <i>mad</i>:<br />
+In Works like these if <i>Fustian</i> might appear,<br />
+Mock-Epics, <i>Blackmore</i>, would not cost thee dear.<br />
+<br />
+<span style="margin-left: 1em;">We grant, that <i>Butler</i> ravishes the Heart,</span><br />
+As <i>Shakespear</i> soar'd beyond the reach of Art;<br />
+(For Nature form'd those Poets without Rules,<br />
+To fill the world with <i>imitating Fools</i>.)<br />
+What <i>Burlesque</i> could, was by that Genius done;<br />
+Yet faults it has, impossible to shun:<br />
+Th' unchanging strain for want of grandeur cloys,<br />
+And gives too oft the horse-laugh mirth of Boys:<br />
+<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span>The short-legg'd verse, and double-gingling Sound,<br />
+So quick surprize us, that our heads run round:<br />
+Yet in this Work peculiar Life presides,<br />
+And <i>Wit</i>, for all the world to glean besides.<br />
+<br />
+<span style="margin-left: 1em;">Here pause, my Muse, too daring and too young!</span><br />
+Nor rashly aim at Precepts yet unsung.<br />
+Can Man the Master of the <i>Dunciad</i> teach?<br />
+And these new Bays what other hopes to reach?<br />
+'Twere better judg'd, to study and explain<br />
+Each ancient Grace he copies not in vain;<br />
+To trace thee, Satire, to thy utmost Spring,<br />
+Thy Form, thy Changes, and thy Authors sing.<br />
+<br />
+<span style="margin-left: 1em;">All Nations with this Liberty dispense,</span><br />
+<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span>And bid us shock the Man that shocks Good Sense.<br />
+Great <i>Homer</i> first the Mimic Sketch design'd<br />
+What grasp'd not <i>Homer's</i> comprehensive mind?<br />
+By him who <i>Virtue</i> prais'd, was <i>Folly</i> curst,<br />
+And who <i>Achilles</i> sung, drew <i>Dunce the First</i>.[<a href="#f26">26</a><a name="f26.1" id="f26.1"></a>]<br />
+<br />
+<span style="margin-left: 1em;">Next him <i>Simonides</i>, with lighter Air,</span><br />
+In Beasts, and Apes, and Vermin, paints the <i>Fair</i>:<br />
+The good <i>Scriblerus</i> in like forms displays<br />
+The reptile Rhimesters of these later days.<br />
+<br />
+<span style="margin-left: 1em;">More fierce, <i>Archilochus</i>! thy vengeful flame;</span><br />
+Fools read and <i>dy'd</i>: for Blockheads then had <i>Shame</i>.<br />
+<br />
+The Comic-Satirist[<a href="#f27">27</a><a name="f27.1" id="f27.1"></a>] attack'd his Age,<br />
+<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span>And found low Arts, and Pride, among the Sage:<br />
+See learned <i>Athens</i> stand attentive by,<br />
+And <i>Stoicks</i> learn their Foibles from the Eye.<br />
+<br />
+<span style="margin-left: 1em;"><i>Latium's fifth Homer</i>[<a href="#f28">28</a><a name="f28.1" id="f28.1"></a>] held the <i>Greeks</i> in view;</span><br />
+Solid, tho' rough, yet incorrect as new.<br />
+<i>Lucilius</i>, warm'd with more than mortal flame<br />
+Rose next[<a href="#f29">29</a><a name="f29.1" id="f29.1"></a>], and held a torch to ev'ry shame.<br />
+See stern <i>Menippus</i>, cynical, unclean;<br />
+And <i>Grecian Cento</i>'s, mannerly obscene.<br />
+Add the last efforts of <i>Pacuvius'</i> rage,<br />
+And the chaste decency of <i>Varro</i>'s page.[<a href="#f30">30</a><a name="f30.1" id="f30.1"></a>]<br />
+<br />
+<span style="margin-left: 1em;">See <i>Horace</i> next, in each reflection nice,</span><br />
+Learn'd, but not vain, the Foe of Fools nor Vice.<br />
+Each page instructs, each Sentiment prevails,<br />
+All shines alike, he rallies, but ne'er rails:<br />
+<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span>With courtly ease conceals a Master's art,<br />
+And least-expected steals upon the heart.<br />
+Yet <i>Cassius</i>[<a href="#f31">31</a><a name="f31.1" id="f31.1"></a>] felt the fury of his rage,<br />
+(<i>Cassius</i>, the <i>We&mdash;&mdash;d</i> of a former age)<br />
+And sad <i>Alpinus</i>, ignorantly read,<br />
+Who murder'd <i>Memnon</i>, tho' for ages dead.<br />
+<br />
+<span style="margin-left: 1em;">Then <i>Persius</i> came: whose line tho' roughly wrought,</span><br />
+His Sense o'erpaid the stricture of his thought.<br />
+Here in clear light the <i>Stoic</i>-doctrine shines,<br />
+Truth all subdues, or Patience all resigns.<br />
+A Mind supreme![<a href="#f32">32</a><a name="f32.1" id="f32.1"></a>] impartial, yet severe:<br />
+Pure in each Act, in each Recess sincere!<br />
+Yet <i>rich ill</i> Poets urg'd the <i>Stoic</i>'s Frown,<br />
+And bade him strike at <i>Dulness</i> and a <i>Crown</i>.[<a href="#f33">33</a><a name="f33.1" id="f33.1"></a>]<br />
+<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span><br />
+<span style="margin-left: 1em;">The Vice and Luxury <i>Petronius</i> drew,</span><br />
+In <i>Nero</i> meet: th' imperial point of view:<br />
+The Roman <i>Wilmot</i>, that could Vice chastize,<br />
+Pleas'd the mad King he serv'd, to satirize.<br />
+<br />
+<span style="margin-left: 1em;">The next[<a href="#f34">34</a><a name="f34.1" id="f34.1"></a>] in Satire felt a nobler rage,</span><br />
+What honest Heart could bear <i>Domitian</i>'s age?<br />
+See his strong Sense, and Numbers masculine!<br />
+His Soul is kindled, and he kindles mine:<br />
+Scornful of Vice, and fearless of Offence,<br />
+He flows a Torrent of impetuous Sense.<br />
+<br />
+<span style="margin-left: 1em;">Lo! Savage Tyrants Who blasphem'd their God</span><br />
+Turn Suppliants now, and gaze at <i>Julian</i>'s Rod.[<a href="#f35">35</a><a name="f35.1" id="f35.1"></a>]<br />
+<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span><br />
+<span style="margin-left: 1em;"><i>Lucian</i>, severe, but in a gay disguise,</span><br />
+Attacks old Faith, or sports in learned Lyes;[<a href="#f36">36</a><a name="f36.1" id="f36.1"></a>]<br />
+Sets Heroes and Philosophers at odds;<br />
+And scourges Mortals, and dethrones the Gods.<br />
+<br />
+<span style="margin-left: 1em;">Then all was Night&mdash;But <i>Satire</i> rose once more</span><br />
+Where <i>Medici</i> and <i>Leo</i> Arts restore.<br />
+<i>Tasson&egrave;</i> shone fantastic, but sublime:<br />
+And He, who form'd the <i>Macaronique</i>-Rhime:<br />
+<br />
+<span style="margin-left: 1em;">Then <i>Westward</i> too by slow degrees confest,</span><br />
+Where boundless <i>Rabelais</i> made the World his Jest;<br />
+<i>Marot</i> had Nature, <i>Regnier</i> Force and Flame,<br />
+But swallow'd all in <i>Boileau</i>'s matchless Fame!<br />
+Extensive Soul! who rang'd all learning o'er,<br />
+Present and past&mdash;and yet found room for more.<br />
+<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span>Full of new Sense, exact in every Page,<br />
+Unbounded, and yet sober in thy Rage.<br />
+Strange Fate! <i>Thy solid</i> Sterling <i>of two lines,</i><br />
+<i>Drawn to our</i> Tinsel, <i>thro' whole Pages shines!</i>[<a href="#f37">37</a><a name="f37.1" id="f37.1"></a>]<br />
+<br />
+<span style="margin-left: 1em;">In <i>Albion</i> then, with equal lustre bright,</span><br />
+Great <i>Dryden</i> rose, and steer'd by Nature's light.<br />
+Two glimmering Orbs he just observ'd from far,<br />
+The Ocean wide, and dubious either Star,<br />
+<i>Donne</i> teem'd with Wit, but all was maim'd and bruis'd,<br />
+The periods endless, and the sense confus'd:<br />
+<i>Oldham</i> rush'd on, impetuous, and sublime,<br />
+But lame in Language, Harmony, and Rhyme;<br />
+These (with new graces) vig'rous nature join'd<br />
+In one, and center'd 'em in <i>Dryden</i>'s mind.<br />
+<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span>How full thy verse? Thy meaning how severe?<br />
+How dark thy theme? yet made exactly clear.<br />
+Not mortal is thy accent, nor thy rage,<br />
+Yet mercy softens, or contracts each Page.<br />
+Dread Bard! instruct us to revere thy rules,<br />
+And hate like thee, all Rebels, and all Fools.<br />
+<br />
+<span style="margin-left: 1em;">His Spirit ceas'd not (in strict truth) to be;</span><br />
+For dying <i>Dryden</i> breath'd, O <i>Garth!</i> on thee,<br />
+Bade thee to keep alive his genuine Rage,<br />
+Half-sunk in want, oppression and old age;<br />
+Then, when thy pious hands repos'd his head,[<a href="#f38">38</a><a name="f38.1" id="f38.1"></a>]<br />
+When vain young Lords and ev'n the Flamen fled.<br />
+For well thou knew'st his merit and his art,<br />
+His upright mind, clear head, and friendly heart.<br />
+<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span>Ev'n <i>Pope</i> himself (who sees no Virtue bleed<br />
+But bears th' affliction) envies thee the deed.<br />
+<br />
+<span style="margin-left: 1em;">O <i>Pope</i>! Instructor of my studious days,</span><br />
+Who fix'd my steps in virtue's early ways:<br />
+On whom our labours, and our hopes depend,<br />
+Thou more than Patron, and ev'n more than Friend!<br />
+Above all Flattery, all Thirst of Gain,<br />
+And Mortal but in Sickness, and in Pain!<br />
+Thou taught'st old Satire nobler fruits to bear,<br />
+And check'd her Licence with a moral Care:<br />
+Thou gav'st the Thought new beauties not its own,<br />
+And touch'd the Verse with Graces yet unknown.<br />
+Each lawless branch thy level eye survey'd.<br />
+And still corrected Nature as she stray'd:<br />
+Warm'd <i>Boileau</i>'s Sense with <i>Britain</i>'s genuine Fire,<br />
+And added Softness to <i>Tasson&egrave;</i>'s Lyre.<br />
+<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span><br />
+<span style="margin-left: 1em;">Yet mark the hideous nonsense of the age,</span><br />
+And thou thy self the subject of its rage.<br />
+So in old times, round godlike <i>Sc&aelig;va</i> ran<br />
+<i>Rome</i>'s dastard Sons, a <i>Million</i>, and a <i>Man</i>.<br />
+<br />
+<span style="margin-left: 1em;">Th' exalted merits of the Wise and Good</span><br />
+Are seen, far off, and rarely understood.<br />
+The world's a father to a Dunce unknown,<br />
+And much he thrives, for Dulness! he's thy own.<br />
+No hackney brethren e'er condemn him <i>twice</i>;<br />
+He fears no enemies, but dust and mice.<br />
+<br />
+<span style="margin-left: 1em;">If <i>Pope</i> but writes, the Devil <i>Legion</i> raves,</span><br />
+And meagre Critics mutter in their caves:<br />
+(Such Critics of necessity consume<br />
+All Wit, as Hangmen ravish'd Maids at <i>Rome</i>.)<br />
+Names he a Scribler? all the world's in arms,<br />
+<i>Augusta</i>, <i>Granta</i>, <i>Rhedecyna</i> swarms:<br />
+<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span>The guilty reader fancies what he fears,<br />
+And every <i>Midas</i> trembles for his ears.<br />
+<br />
+<span style="margin-left: 1em;">See all such malice, obloquy, and spite</span><br />
+Expire e're morn, the mushroom of a night!<br />
+Transient as vapours glimm'ring thro' the glades,<br />
+Half-form'd and idle, as the dreams of maids,<br />
+Vain as the sick man's vow, or young man's sigh,<br />
+Third-nights of Bards, or <i>H</i>&mdash;&mdash;'s sophistry.<br />
+<br />
+<span style="margin-left: 1em;">These ever hate the Poet's sacred line:</span><br />
+These hate whate'er is glorious, or divine.<br />
+From one Eternal Fountain <i>Beauty</i> springs,<br />
+The Energy of <i>Wit</i>, and <i>Truth of Things</i>,<br />
+That Source is <span class="smcap">God</span>: From <i>him</i> they downwards tend,<br />
+Flow round&mdash;yet in their native center end.<br />
+<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span>Hence Rules, and Truth, and Order, Dunces strike;<br />
+Of Arts, and Virtues, enemies alike.<br />
+<br />
+<span style="margin-left: 1em;">Some urge, that Poets of supreme renown</span><br />
+Judge ill to scourge the Refuse of the Town.<br />
+How'ere their Casuists hope to turn the scale,<br />
+These men must smart, or scandal will prevail.<br />
+By these, the weaker Sex still suffer most:<br />
+And such are prais'd who rose at Honour's cost:<br />
+The Learn'd they wound, the Virtuous, and the Fair,<br />
+No fault they cancel, no reproach they spare:<br />
+The random Shaft, impetuous in the dark,<br />
+Sings on unseen, and quivers in the mark.<br />
+'Tis Justice, and not Anger, makes us write,<br />
+Such sons of darkness must be drag'd to light:<br />
+Long-suff'ring nature must not always hold;<br />
+In virtue's cause 'tis gen'rous to be bold.<br />
+<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span>To scourge the bad, th' unwary to reclaim,<br />
+And make light flash upon the face of shame.<br />
+<br />
+<span style="margin-left: 1em;">Others have urg'd (but weigh it, and you'll find</span><br />
+'Tis light as feathers blown before the wind)<br />
+That Poverty, the Curse of Providence,<br />
+Attones for a dull Writer's want of Sense:<br />
+Alas! his Dulness 'twas that made him poor;<br />
+Not <i>vice versa</i>: We infer no more.<br />
+Of Vice and Folly Poverty's the curse,<br />
+Heav'n may be rigid, but the Man was worse,<br />
+By good made bad, by favours more disgrac'd,<br />
+So dire th' effects of ignorance misplac'd!<br />
+Of idle Youth, unwatch'd by Parents eyes!<br />
+Of Zeal for pence, and Dedication Lies!<br />
+Of conscience model'd by a Great man's looks!<br />
+And arguings in religion&mdash;from No books!<br />
+<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span><br />
+<span style="margin-left: 1em;">No light the darkness of that mind invades,</span><br />
+Where <i>Chaos</i> rules, enshrin'd in genuine Shades;<br />
+Where, in the Dungeon of the Soul inclos'd,<br />
+True Dulness nods, reclining and repos'd.<br />
+Sense, Grace, or Harmony, ne'er enter there,<br />
+Nor human Faith, nor Piety sincere;<br />
+A mid-night of the Spirits, Soul, and Head,<br />
+(Suspended all) as Thought it self lay dead.<br />
+Yet oft a mimic gleam of transient light<br />
+Breaks thro' this gloom, and then they think they write;<br />
+From Streets to Streets th' unnumber'd Pamphlets fly,<br />
+Then tremble <i>Warner</i>, <i>Brown</i>, and <i>Billingsly</i>.[<a href="#f39">39</a><a name="f39.1" id="f39.1"></a>]<br />
+<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span><br />
+<span style="margin-left: 1em;">O thou most gentle Deity appear,</span><br />
+Thou who still hear'st, and yet art prone to hear:<br />
+Whose eye ne'er closes, and whose brains ne'er rest,<br />
+(Thy own dear Dulness bawling at thy breast)<br />
+Attend, O <i>Patience</i>, on thy arm reclin'd,<br />
+And see Wit's endless enemies behind!<br />
+<br />
+<span style="margin-left: 1em;">And ye, <i>Our Muses</i>, with a <i>hundred tongues</i>,</span><br />
+And Thou, O <i>Henley!</i> blest with <i>brazen lungs</i>;<br />
+Fanatic <i>Withers!</i> fam'd for rhimes and sighs,<br />
+And <i>Jacob Behmen!</i> most obscurely wise;<br />
+From darkness palpable, on dusky wings<br />
+Ascend! and shroud him who your Off-spring sings.<br />
+<br />
+<span style="margin-left: 1em;">The first with <i>Egypt</i>'s darkness in his head</span><br />
+Thinks Wit the devil, and curses books unread.<br />
+<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span>For twice ten winters has he blunder'd on,<br />
+Thro' heavy comments, yet ne'er lost nor won:<br />
+Much may be done in twenty winters more,<br />
+And let him then learn <i>English</i> at threescore.<br />
+No sacred <i>Maro</i> glitters on his shelf,<br />
+He wants the mighty <i>Stagyrite</i> himself.<br />
+See vast <i>Coimbria</i>'s comments[<a href="#f40">40</a><a name="f40.1" id="f40.1"></a>] pil'd on high,<br />
+In heaps <i>Soncinas</i>,[<a href="#f41">41</a><a name="f41.1" id="f41.1"></a>]  <i>Sotus</i>, <i>Sanchez</i> lie:<br />
+For idle hours, <i>Sa</i>'s[<a href="#f42">42</a><a name="f42.1" id="f42.1"></a>]  idler casuistry.<br />
+<br />
+<span style="margin-left: 1em;">Yet worse is he, who in one language read,</span><br />
+Has one eternal jingling in his head,<br />
+At night, at morn, in bed, and on the stairs ...<br />
+Talks flights to grooms, and makes lewd songs at pray'rs<br />
+<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span>His Pride, a Pun: a Guinea his Reward,<br />
+His Critick <i>G-ld-n</i>, <i>Jemmy M-re</i> his Bard.<br />
+<br />
+<span style="margin-left: 1em;">What artful Hand the Wretch's Form can hit,</span><br />
+Begot by <i>Satan</i> on a <i>M&mdash;&mdash;ly</i>'s Wit:<br />
+In Parties furious at the great Man's nod,<br />
+And hating none for nothing, but his God:<br />
+Foe to the Learn'd, the Virtuous, and the Sage,<br />
+A Pimp in Youth, an Atheist in old Age:<br />
+Now plung'd in Bawdry and substantial Lyes,<br />
+Now dab'ling in ungodly Theories;<br />
+But so, as Swallows skim the pleasing flood,<br />
+Grows giddy, but ne'er drinks to do him good:<br />
+Alike resolv'd to flatter, or to cheat,<br />
+Nay worship Onions, if they cry, <i>come eat</i>:<br />
+A foe to Faith, in Revelation blind,<br />
+And impious much, as Dunces are by kind.<br />
+<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span><br />
+<span style="margin-left: 1em;">Next see the Master-piece of Flatt'ry rise,</span><br />
+Th' anointed Son of Dulness and of Lies:<br />
+Whose softest Whisper fills a Patron's Ear,<br />
+Who smiles unpleas'd, and mourns without a tear.[<a href="#f43">43</a><a name="f43.1" id="f43.1"></a>]<br />
+Persuasive, tho' a woful Blockhead he:<br />
+Truth dies before his shadowy Sophistry.<br />
+For well he knows[<a href="#f44">44</a><a name="f44.1" id="f44.1"></a>] the Vices of the Town,<br />
+The Schemes of State, and Int'rest of the Gown;<br />
+Immoral Afternoons, indecent Nights,<br />
+Enflaming Wines, and second Appetites.<br />
+<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span><br />
+<span style="margin-left: 1em;">But most the Theatres with dulness groan,</span><br />
+Embrio's half-form'd, a Progeny unknown:<br />
+Fine things for nothing, transports out of season,<br />
+Effects un-caus'd, and murders without reason.<br />
+Here Worlds run round, and Years are taught to stay,<br />
+Each Scene an Elegy, each Act a Play.[<a href="#f45">45</a><a name="f45.1" id="f45.1"></a>]<br />
+Can the same Pow'r such various Passions move?<br />
+Rejoice, or weep, 'tis ev'ry thing for <i>Love</i>.<br />
+The self-same Cause produces Heav'n and Hell:<br />
+Things contrary as Buckets in a Well;<br />
+One up, one down, one empty, and one full:<br />
+Half high, half low, half witty, and half dull.<br />
+So on the borders of an ancient Wood,<br />
+Or where some Poplar trembles <ins class="correction" title="Original reads 'o er'.">o'er</ins> the Flood,<br />
+<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span><i>Arachn&egrave;</i> travels on her filmy thread,<br />
+Now high, now low, or on her feet or head.<br />
+<br />
+<span style="margin-left: 1em;">Yet these love Verse, as Croaking comforts Frogs,[<a href="#f46">46</a><a name="f46.1" id="f46.1"></a>]</span><br />
+And Mire and Ordure are the Heav'n of Hogs.<br />
+As well might Nothing bind Immensity,<br />
+Or passive Matter Immaterials see,<br />
+As these shou'd write by reason, rhime, and rule,<br />
+Or we turn Wit, whom nature doom'd a Fool.<br />
+If <i>Dryden</i> err'd, 'twas human frailty once,<br />
+But blund'ring is the Essence of a Dunce.<br />
+<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span><br />
+<span style="margin-left: 1em;">Some write for Glory, but the Phantom fades;</span><br />
+Some write as Party, or as Spleen invades;<br />
+A third, because his Father was well read,<br />
+And Murd'rer-like, calls Blushes from the dead.<br />
+Yet all for Morals and for Arts contend&mdash;&mdash;<br />
+They want'em both, who never prais'd a Friend.<br />
+More ill, than dull; For pure stupidity<br />
+Was ne'er a crime in honest <i>Banks</i>, or me.<br />
+<br />
+<span style="margin-left: 1em;">See next a Croud in damasks, silks, and crapes,</span><br />
+Equivocal in dress, half-belles, half-trapes:<br />
+A length of night-gown rich <i>Phantasia</i> trails,<br />
+<i>Olinda</i> wears one shift, and pares no nails:<br />
+Some in <i>C&mdash;&mdash;l</i>'s Cabinet each act display,<br />
+When nature in a transport dies away:<br />
+<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+Some more refin'd transcribe their Opera-loves<br />
+On Iv'ry Tablets, or in clean white Gloves:<br />
+Some of Platonic, some of carnal Taste,<br />
+Hoop'd, or un-hoop'd, ungarter'd, or unlac'd.<br />
+Thus thick in Air the wing'd Creation play,<br />
+When vernal <i>Ph&oelig;bus</i> rouls the Light away,<br />
+A motley race, half Insects and half Fowls,<br />
+Loose-tail'd and dirty, May-flies, Bats, and Owls.<br />
+<br />
+<span style="margin-left: 1em;">Gods, that this native nonsense was our worst!</span><br />
+With Crimes more deep, O <i>Albion!</i> art thou curst.<br />
+No Judgment open Prophanation fears,<br />
+For who dreads God, that can preserve his Ears?<br />
+Oh save me Providence, from Vice refin'd,<br />
+That worst of ills, a <i>Speculative Mind</i>![<a href="#f47">47</a><a name="f47.1" id="f47.1"></a>]<br />
+<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span>Not that I blame divine Philosophy,<br />
+(Yet much we risque, for Pride and Learning lye.)<br />
+Heav'n's paths are found by Nature more than Art,<br />
+The Schoolman's Head misleads the Layman's Heart.<br />
+<br />
+<span style="margin-left: 1em;">What unrepented Deeds has <i>Albion</i> done?</span><br />
+Yet spare us Heav'n! return, and spare thy own.<br />
+Religion vanishes to <i>Types</i>, and <i>Shade</i>,<br />
+By Wits, by fools, by her own Sons betray'd!<br />
+Sure 'twas enough to give the Dev'l his due,<br />
+Must such Men mingle with the <i>Priesthood</i> too?<br />
+So stood <i>Onias</i> at th' Almighty's Throne,<br />
+Profanely cinctur'd in a Harlot's Zone.<br />
+<br />
+<span style="margin-left: 1em;">Some <i>Rome</i>, and some the <i>Reformation</i> blame;</span><br />
+'Tis hard to say from whence such License came;<br />
+<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span>From fierce Enthusiasts, or Socinians sad?<br />
+<i>C&mdash;&mdash;&mdash;ns</i> the soft, or <i>Bourignon</i> the mad?<br />
+From wayward Nature, or lewd Poet's Rhimes?<br />
+From praying, canting, or king-killing times?<br />
+From all the dregs which <i>Gallia</i> cou'd pour forth,<br />
+(Those Sons of Schism) landed in the <i>North</i>?&mdash;<br />
+From whence it came, they and the D&mdash;&mdash;l best know,<br />
+Yet thus much, <i>Pope</i>, each Atheist is thy Foe.<br />
+<br />
+<span style="margin-left: 1em;">O Decency, forgive these friendly Rhimes,</span><br />
+For raking in the dunghill of their crimes.<br />
+To name each Monster wou'd make Printing dear,<br />
+Or tire <i>Ned Ward</i>, who writes six Books a-year.<br />
+Such vicious Nonsense, Impudence, and Spite,<br />
+Wou'd make a Hermit, or a Father write.<br />
+<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span>Tho' <i>Julian</i> rul'd the World, and held no more<br />
+Than deist <i>Gildon</i> taught, or <i>Toland</i> swore,<br />
+Good <i>Greg'ry</i>[<a href="#f48">48</a><a name="f48.1" id="f48.1"></a>] prov'd him execrably bad,<br />
+And scourg'd his Soul, with drunken Reason mad.<br />
+Much longer, <i>Pope</i> restrain'd his awful hand,<br />
+Wept o'er poor <i>Niniveh</i>, and her dull band,<br />
+'Till Fools like Weeds rose up, and choak'd the Land.<br />
+Long, long he slumber'd e'er th' avenging hour;<br />
+For dubious Mercy half o'er-rul'd his pow'r:<br />
+'Till the wing'd bolt, red-hissing from above<br />
+Pierc'd Millions thro'&mdash;&mdash;For such the Wrath of <i>Jove</i>.<br />
+<i>Hell</i>, <i>Chaos</i>, <i>Darkness</i>, tremble at the sound,<br />
+And prostrate Fools bestrow the vast Profound:<br />
+<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span>No <i>Charon</i> wafts 'em from the farther Shore,<br />
+Silent they sleep, alas! to rise no more.<br />
+<br />
+<span style="margin-left: 1em;">Oh <span class="smcap">Pope</span>, and Sacred <i>Criticism!</i> forgive</span><br />
+A Youth, who dares approach your Shrine, and live!<br />
+Far has he wander'd in an unknown Night,<br />
+No Guide to lead him, but his own dim Light.<br />
+For him more fit, in vulgar Paths to tread,<br />
+To shew th' Unlearned what they never read,<br />
+Youth to improve, or rising Genius tend,<br />
+To Science much, to Virtue more, a Friend.</p></div>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i_056.png" alt="Lion Motif" /></div>
+
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p><strong>Footnotes:</strong></p>
+
+<p>[<a href="#f26.1">26</a><a name="f26" id="f26"></a>] Margites.</p>
+
+<p>[<a href="#f27.1">27</a><a name="f27" id="f27"></a>] Aristophanes.</p>
+
+<p>[<a href="#f28.1">28</a><a name="f28" id="f28"></a>] Ennius.</p>
+
+<p>[<a href="#f29.1">29</a><a name="f29" id="f29"></a>] &mdash;&mdash;clarumq; facem præferre pudori, <i>Juv. S.</i> 1.</p>
+
+<p>[<a href="#f30.1">30</a><a name="f30" id="f30"></a>] <i>See</i> Varro<i>'s Character in</i> Cicero<i>'s Academics.</i></p>
+
+<p>[<a href="#f31.1">31</a><a name="f31" id="f31"></a>] <i>Epode</i> 6.</p>
+
+<p>[<a href="#f32.1">32</a><a name="f32" id="f32"></a>] <i>Alludes to this Couplet in his second Satire</i>,<br />
+<br />
+<span style="margin-left: 2em;">Compositum jus fasq; animi, sanctiq; recessus,</span><br />
+<span style="margin-left: 2em;">Mentis, &amp; incoctum generoso pectus honesto.</span></p>
+
+
+<p>[<a href="#f33.1">33</a><a name="f33" id="f33"></a>] <i>See his first Satire of</i> Nero<i>'s Verses,</i> &amp;c.</p>
+
+<p>[<a href="#f34.1">34</a><a name="f34" id="f34"></a>] Juvenal.</p>
+
+<p>[<a href="#f35.1">35</a><a name="f35" id="f35"></a>] <i>The</i> Cæsars <i>of the Emperor</i> Julian.</p>
+
+<p>[<a href="#f36.1">36</a><a name="f36" id="f36"></a>] Lucian<i>'s True History.</i></p>
+
+<p>[<a href="#f37.1">37</a><a name="f37" id="f37"></a>] Roscommon<i>, Revers'd.</i></p>
+
+<p>[<a href="#f38.1">38</a><a name="f38" id="f38"></a>] <i>Dr</i>. Garth <i>took care of Mr.</i> Dryden<i>'s Funeral, which some Noblemen,
+who undertook it, had neglected.</i></p>
+
+<p>[<a href="#f39.1">39</a><a name="f39" id="f39"></a>] Three Booksellers.</p>
+
+<p>[<a href="#f40.1">40</a><a name="f40" id="f40"></a>] Coimbria<i>'s comments.</i> Colleg. Conimbricense, <i>a Society in</i> Spain,
+<i>which publish'd tedious explanations of</i> Aristotle.</p>
+
+<p>[<a href="#f41.1">41</a><a name="f41" id="f41"></a>] Soncinas, <i>a Schoolman.</i></p>
+
+<p>[<a href="#f42.1">42</a><a name="f42" id="f42"></a>] Sa (Eman. de) <i>See</i> Paschal<i>'s Mystery of Jesuitism.</i></p>
+
+<p>[<a href="#f43.1">43</a><a name="f43" id="f43"></a>] <br />
+<span style="margin-left: 2em;">Pompeius, tenui jugulos aperire susurro. &nbsp;&nbsp;Juv. S. 4.</span><br />
+<span style="margin-left: 2em;">Flet, si lacrymas aspexit amici, Nec dolet. &nbsp;&nbsp;S. 3.</span><br /></p>
+
+<p>[<a href="#f44.1">44</a><a name="f44" id="f44"></a>] <br />
+<span style="margin-left: 12em;">&mdash;&mdash;Noverat ille</span><br />
+<span style="margin-left: 2em;">Luxuriam Imperii veteris, noctesq; Neronis</span><br />
+<span style="margin-left: 2em;">Jam medias, aliamq; famem.  &nbsp;&nbsp;&nbsp;&nbsp; Juv. S. 4.</span><br /></p>
+
+<p>[<a href="#f45.1">45</a><a name="f45" id="f45"></a>] Et chaque Acte en fa pièce &amp; una pièce entière. <i>Boil.</i></p>
+
+<p>[<a href="#f46.1">46</a><a name="f46" id="f46"></a>] <i>'When a poor Genius has labour'd much, he judges well not to expect
+the Encomiums of the Publick: for these are not his due. Yet for fear
+his drudgery shou'd have no recompense, God (of his goodness) has
+given him a personal Satisfaction. To envy him in this wou'd be
+injustice beyond barbarity itself: Thus the same Deity (who is equally
+just in all points) has given Frogs the comfort of Croaking,</i> &amp;c<br />
+<span style="margin-left: 14em;">Le Pere Gerasse Sommes Theol. L. 2.</span></p>
+
+<p>[<a href="#f47.1">47</a><a name="f47" id="f47"></a>] Plato <i>calls this an Ignorance of
+a dark and dangerous Nature, under appearance of the greatest Wisdom.</i></p>
+
+<p>[<a href="#f48.1">48</a><a name="f48" id="f48"></a>] Gregory Nazianz: <i>a Father at the
+beginning of the Fourth Century. He writ two most bitter Satires (or
+Invectives) against the Emperor</i> Julian.</p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i_057.png" alt="decorative border" /></div>
+<h2>A</h2>
+<h2>DISCOURSE</h2>
+<h2>OF</h2>
+<h1>SATIRES</h1>
+
+<h3><i>Arraigning Persons by Name</i>.</h3>
+<h3>By Monsieur BOILEAU.</h3>
+
+<p>When first I publish'd my Satires, I was thoroughly prepar'd for that
+Noise and Tumult which the Impression of my Book has rais'd upon
+<i>Parnassus</i>. I knew that the Tribe of Poets, and above all, Bad Poets,
+are a People ready to take fire; and that Minds so covetous of Praise
+wou'd not easily digest any Raillery, how gentle soever. I may farther
+say to my advantage, that I have look'd with the<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> Eyes of a Stoick
+upon the Defamatory Libels that have been publish'd against me.
+Whatever Calumnies they have been willing to asperse me with, whatever
+false Reports they have spread of my Person, I can easily forgive
+those little Revenges; and ascribe 'em to the Spleen of a provok'd
+Author, who finds himself attack'd in the most sensible part of a
+Poet, I mean, in his Writings.</p>
+
+<p>But I own I was a little surpriz'd at the whimsical Chagrin of certain
+<i>Readers</i>, who instead of diverting themselves with this Quarrel of
+<i>Parnassus</i>, of which they might have been indifferent Spectators,
+chose to make themselves Parties, and rather to take pet with Fools,
+than laugh with Men of Sense. 'Twas to comfort these People, that I
+compos'd my ninth Satire; where I think I have shewn clearly enough,
+that without any prejudice either to one's Conscience or the
+Government, one may think bad Verses bad Verses, and have full right
+to be tir'd with reading a silly Book. But since these Gentlemen have
+spoken of the liberty I have taken of <i>Naming</i> them, as an Attempt
+unheard-of, and without Example, and since Examples can't well be put
+into Rhyme; 'tis proper to say one word to inform 'em of a thing of
+which they alone wou'd gladly be ignorant, and to make them know, that
+in comparison of all my brother Satirists, I have been a Poet of great
+Moderation.</p>
+
+<p>To begin with <i>Lucilius</i> the Inventer of Satire; what liberty, or
+rather what license did he not indulge in his Works? They were not
+only Poets and Authors whom he attack'd, they were People of the first
+Qua<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span>lity in <i>Rome</i>, and Consular Persons. However <i>Scipio</i> and
+<i>L&aelig;lius</i> did not judge that Poet (so determin'd a Laugher as he was)
+unworthy of their Friendship; and probably upon occasion no more
+refus'd him, than they did <i>Terence</i>, their advice on his Writings:
+They never thought of espousing the part of <i>Lupus</i> and <i>Metellus</i>,
+whom he ridicul'd in his Satires, nor imagin'd they gave up any part
+of their own Character in leaving to his Mercy all the Coxcombs of the
+Nation.</p>
+
+<p>
+<span style="margin-left: 7em;">&mdash;&mdash;<i>num</i> L&aelig;lius, <i>aut qui</i></span><br />
+<span style="margin-left: 1em;"><i>Duxit ab oppressa meritum Carthagine nomen,</i></span><br />
+<span style="margin-left: 1em;"><i>Ingenio offensi, aut l&aelig;so doluere</i> Metello</span><br />
+<span style="margin-left: 1em;"><i>Famosisve</i> Lupo <i>co-operto versibus?</i></span><br />
+</p>
+<p>&nbsp;</p>
+<p>In a word, <i>Lucilius</i> spar'd neither the Small nor the Great, and
+often from the Nobles and the Patricians he stoop'd to the Lees of the
+People.</p>
+
+<p>
+<span style="margin-left: 1em;"><i>Primores populi arripuit populumq; tributim.</i></span><br />
+</p>
+<p>&nbsp;</p>
+<p>It may be said that <i>Lucilius</i> liv'd in a Republick where those sort
+of liberties might be permitted. Look then upon <i>Horace</i>, who liv'd
+under an Emperor in the beginnings of a Monarchy (the most dangerous
+time in the world to laugh) who is there whom he has not satiriz'd by
+name? <i>Fabius</i> the great Talker, <i>Tigellius</i> the Fantastick,
+<i>Nasidienus</i> the Impertinent, <i>Nomentanus</i> the Debauchee, and whoever
+came at his Quill's end. They may answer that these are fictitious
+Names: an excellent Answer indeed! As if those whom he attack'd were
+no better known; as if we<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> were ignorant that <i>Fabius</i> was a <i>Roman</i>
+Knight who compos'd a Treatise of Law, that <i>Tigellius</i> was a Musician
+favour'd by <i>Augustus</i>, that <i>Nasidienus Rufus</i> was a famous Coxcomb
+in <i>Rome</i>, that <i>Cassius Nomentanus</i> was one of the most noted Rakes
+in <i>Italy</i>. Certainly those who talk in this manner, are not
+conversant with ancient Writers, nor extreamly instructed in the
+affairs of the Court of <i>Agustus</i>. <i>Horace</i> is not contented with
+calling people by their <i>Names</i>; he seems so afraid they should be
+mistaken, that he gives us even their Sir-names; nay tells us the
+Trade they follow'd, or the Employments they exercis'd. Observe for
+Example how he speaks of <i>Aufidius Luscus</i> Pr&aelig;tor of <i>Fundi</i>.</p>
+
+<p>
+<span style="margin-left: 1em;">Fundos Aufidio Lusco <i>Pr&aelig;tore libenter</i></span><br />
+<span style="margin-left: 1em;"><i>Linquimus, insani ridentes pr&aelig;mia scrib&aelig;</i></span><br />
+<span style="margin-left: 1em;"><i>Pr&aelig;textam &amp; latum clavum,</i> &amp;c.</span><br />
+</p>
+<p>&nbsp;</p>
+<p><i>We were glad to leave</i> (says he) <i>the Town of</i> Fundi <i>of which one</i>
+Aufidius Luscus <i>was Pr&aelig;ator, but it was not without laughing heartily
+at the folly of this man, who having been a Clerk, took upon him the
+Airs of a Senator and a Person of Quality.</i> Could a Man be describ'd
+more precisely? and would not the Circumstances only be sufficient to
+make him known? Will they say that <i>Aufidius</i> was then dead? <i>Horace</i>
+speaks of a Voyage made some time since. And how will my Censors
+account for this other passage?</p>
+
+<p>
+<span style="margin-left: 1em;"><i>Turgidus</i> Alpinus <i>jugulat dum</i> Memnona, <i>dumque</i></span><br />
+<span style="margin-left: 1em;"><i>Diffingit</i> Rheni <i>luteum caput: h&aelig;c ego ludo</i>.</span><br />
+<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+<p>&nbsp;</p>
+<p><i>While that Bombast Poet</i> Alpinus, <i>murders</i> Memnon <i>in his Poem, and
+bemires himself in his description of the</i> Rhine, <i>I divert my self in
+these Satires.</i> 'Tis plain from hence, that <i>Alpinus</i> liv'd in the
+time when <i>Horace</i> writ these Satires: and suppose <i>Alpinus</i> was an
+imaginary Name, cou'd the Author of the Poem of <i>Memnon</i> be taken for
+another? <i>Horace</i>, they may say, liv'd under the reign of the most
+Polite of all the Emperors; but do we live under a Reign less polite?
+and would they have a Prince who has so many Qualities in common with
+<i>Augustus</i>, either less disgusted than he at bad Books, or more
+rigorous towards those who blame them?</p>
+
+<p>Let us next examine <i>Persius</i>, who writ in the time of <i>Nero</i>: He not
+only Raillies the Works of the Poets of his days, but attacks the
+Verses of the Emperor himself: For all the World knows, and all the
+Court of <i>Nero</i> well knew, that those four lines,</p>
+
+<p>
+<span style="margin-left: 1em;"><i>Torva Mimalloneis</i>, &amp;c.</span><br />
+</p>
+
+<p>which <i>Persius</i> so bitterly ridicules in his first Satire, were
+<i>Nero</i>'s own Verses; and yet we have no account that <i>Nero</i> (so much a
+Tyrant as he was) caus'd <i>Persius</i> to be punish'd; Enemy as he was to
+Reason, and fond as every one knows of his own Works, he was gallant
+enough to take this Raillery on his Verses, and did not think that the
+Emperor on this occasion should assert the Character of the Poet.</p>
+
+<p><i>Juvenal</i>, who flourish'd under <i>Trajan</i>, shews a little more respect
+towards the great Men of his age; and was contented to sprinkle the
+gall of his<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> Satire on those of the precedent reign. But as for the
+<i>Writers</i>, he never look'd for them further than his own time. At the
+very beginning of his Work you find him in a very bad humor against
+all his <i>cotemporary Scriblers</i>: ask <i>Juvenal</i> what oblig'd him to
+take up his Pen? he was weary of hearing the <i>Theseide</i> of <i>Codrus</i>,
+the <i>Orestes</i> of this man, and the <i>Telephus</i> of that, and all the
+Poets (as he elsewhere says) who recited their Verses in the Month of
+<i>August</i>,</p>
+
+<p>
+<span style="margin-left: 1em;"><i>&mdash;&mdash;&amp;</i> Augusto <i>recitantes Mense Poetas.</i></span><br />
+</p>
+<p>&nbsp;</p>
+<p>So true it is that the right of blaming bad Authors, is an ancient
+Right, pass'd into a Custom, among all the Satirists, and allow'd in
+all ages.</p>
+
+<hr style='width: 45%;' />
+
+<p>To come from the Ancients to the Moderns. <i>Regnier</i> who is almost the
+only Satirical Poet we have, has in truth been a little more discreet
+than the rest; nevertheless he speaks very freely of <i>Gallet</i> the
+famous Gamester, who paid his Creditors with <i>Sept</i> and <i>Quatorze</i>,
+and of the <i>Sieur de Provins</i> who chang'd his long Cloak into a
+Doublet, and of <i>Cousin</i> who run from his house for fear of repairing
+it, and of <i>Pierre de Puis</i>, and many others.</p>
+
+<p>What will my Critics say to this? When they are ever so little
+touch'd, they wou'd drive from the Republick of Letters all the
+Satirical Poets, as so many disturbers of the Peace of the Nation. But
+what will they say of <i>Virgil</i>; the wise, the discreet <i>Virgil</i>? who
+in an Eclog where he has nothing to do with<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> Satire, has made in one
+Line two Poets for ever ridiculous.</p>
+
+<p>
+<span style="margin-left: 1em;"><i>Qui</i> Bavium <i>non odit, amet tua carmina</i> M&oelig;vi.</span><br />
+</p>
+<p>&nbsp;</p>
+<p>Let them not say that <i>Bavius</i> and <i>M&oelig;vius</i> in this place are
+<i>suppos'd names</i>, since it would be too plainly to give the Lye to the
+learned <i>Servius</i>, who positively declares the contrary. In a word,
+what would my Censors do with <i>Catullus</i>, <i>Martial</i>, and all the Poets
+of Antiquity, who have made no more scruple in this matter than
+<i>Virgil</i>? What would they think of <i>Voiture</i> who had the conscience to
+laugh at the expence of the renowned <i>Neuf Germain</i>, tho' equally to
+be admir'd for the Antiquity of his Beard, and the Novelty of his
+Poetry? Will they banish from <i>Parnassus</i>, him, and all the ancient
+Poets, to establish the reputation of Fools and Coxcombs? If so, I
+shall be very easy in my banishment, and have the pleasure of very
+good company. Without Raillery, wou'd these Gentlemen really be more
+wise than <i>Scipio</i> and <i>Lelius</i>, more delicate than <i>Augustus</i>, or more
+cruel than <i>Nero</i>? But they who are so angry at the Critics, how comes
+it that they are so merciful to bad Authors? I see what it is that
+troubles them; they have no mind to be undeceiv'd. It vexes them to
+have seriously admir'd those Works, which my Satires have expos'd to
+universal Contempt; and to see themselves condemn'd, to forget in
+their old Age, those Verses which they got by heart in their Youth, as
+Master-pieces of Wit. Truly I am sorry for 'em, but where's the help?
+Can<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> they expect, that to comply with their particular Taste, we
+should renounce common Sense? applaud indifferently all the
+Impertinencies which a Coxcomb shall think fit to throw upon paper?
+and instead of condemning bad Poets (as they did in certain Countries)
+to lick out their Writings with their own Tongue, shall Books become
+for the future inviolable Sanctuaries, where all Blockheads shall be
+made free Denizens, not to be touch'd without Profanation? I could say
+much more on this subject; but as I have already treated it in my
+ninth Satire, I shall thither refer the Reader.</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<h2><i>F I N I S.</i></h2>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/i_064.png" alt="decorative emblem" /></div>
+
+<hr style="width: 65%;" />
+<p><big><i>BOOKS printed for</i> <span class="smcap">Lawton Gilliver</span> <i>at</i> <span class="smcap">Homer's Head</span>, <i>against St.</i> <span class="smcap">Dunstan's</span> <i>Church,</i> Fleetstreet.</big></p>
+
+
+<p>Two Epistles to Mr. <big><i>POPE</i></big>, concerning the Authors of the Age. By the
+Author of the Universal Passion.</p>
+
+<p><i>Imperium Pelagi</i>: A Naval Lyrick; Written in Imitation of <i>Pindar</i>'s
+Spirit. Occasion'd by His Majesty's Return, <i>Sept.</i> 1729, and the
+succeeding Peace. By the same Author.</p>
+
+<p>Just publish'd, The <span class="smcap">Second Edition</span> of the <big>DUNCIAD</big> Variorum, 8&#186; with
+some additional <span class="smcap">Notes</span> and <span class="smcap">Epigrams</span>.</p>
+
+<p>The <span class="smcap">Art</span> of <span class="smcap">Politicks</span>, in Imitation of <i>Horace</i>'s Art of Poetry, with a
+curious Frontispiece. <i>Risum Teneatis Amici.</i></p>
+
+<p><span class="smcap">M. Hieronymi Vid&aelig; Opera Omnia Poetica</span>, quibus adjicitur ejusdem de
+dignitate Rei-public&aelig; recensione. Dialogus. R. Russel, A. M. Two Toms,
+12&#186;.</p>
+
+<p>Quintus Horatius Flaccus. Compedibus Metricorum numerorum solutus: In
+usum Tyronum. Opera &amp; Studio N. Bailey.</p>
+
+<p>The Adventures of Telemachus in twenty-four Books. Done into English
+from the last Paris Edition, by Mr. Littlebury and Mr. Boyer: Adorn'd
+with twenty-four Plates, and a Map of Telemachus's Travels; all
+curiously engraven by very good Hands. The Twelfth Edition, 2 Vols.
+8<i>vo.</i></p>
+
+<p>A few remaining Copies of Dr. Hickes's Thesaurus Ling. Vett.
+Septentrionalium. Three Toms, Folio. Printed at Oxford.</p>
+
+<p><span class="smcap">Arrian's</span> History of <span class="smcap">Alexander's</span> Expedition and Battles: To which is
+added, A Criticism on Q. Curtius, as a fabulous Historian. By M. le
+Clerc, in two Vols, 8<i>vo.</i></p>
+
+<p>The History of the <span class="smcap">Council</span> of <span class="smcap">Constance</span>. Written in French by James
+Lenfant. Done into English from the last Edition, printed at Amsterdam
+1727. Adorned with twenty Copper Plates, curiously Engraven by the
+best Hands. Two Vols, 4to.</p>
+
+<p>The <span class="smcap">Nurse's Guide</span>: Or, The right Method of bringing up Young Children:
+To which is added, An Essay on preserving Health, and prolonging Life.
+With a Treatise of the Gout, and Receipts for the Cure of that
+Distemper. By an Eminent Physician, 8<i>vo.</i></p>
+
+<p><span class="smcap">Pomona</span>: Or, The Fruit-Garden illustrated. Containing sure Methods for
+improving all the best Kinds of Fruits now extant in England. By Batty
+Langley, of Twickenham.</p>
+
+<p>Thirty-nine Sermons on several Occasions. By the late Reverend Mr.
+John Cooke, A. M. one of the Six Preachers of the Cathedral Church of
+Canterbury, in two Vols. 8<i>vo.</i></p>
+
+<p><i>Where may be had the</i> Spectators, Tatlers, Guardians, Freeholder,
+Lover, <i>and</i> Reader, &amp;c. <i>Books in the</i> <span class="smcap">Law</span>,
+<i>and other</i> <span class="smcap">Sciences</span>; <i>with great Variety of single</i>
+<span class="smcap">Plays</span>.</p>
+
+
+
+<hr style="width: 65%;" />
+<h1><span class="smcap">The Augustan Reprint Society</span></h1>
+<h3>WILLIAM ANDREWS CLARK</h3>
+<h3>MEMORIAL LIBRARY</h3>
+<h3>UNIVERSITY OF CALIFORNIA, LOS ANGELES</h3>
+<p>&nbsp;</p>
+<h4>PUBLICATIONS IN PRINT</h4>
+<p>&nbsp;</p>
+
+<h4>1948-1949</h4>
+<div class="ads">
+16. Henry Nevil Payne, <i>The Fatal Jealousie</i> (1673).<br />
+<br />
+18. Anonymous, "Of Genius," in <i>The Occasional Paper</i>, Vol. III, No.
+10 (1719), and Aaron Hill, Preface to <i>The Creation</i> (1720).</div>
+<h4>1949-1950</h4>
+<div class="ads">
+19. Susanna Centlivre, <i>The Busie Body</i> (1709).<br />
+<br />
+20. Lewis Theobald, <i>Preface to the Works of Shakespeare</i> (1734).<br />
+<br />
+22. Samuel Johnson, <i>The Vanity of Human Wishes</i> (1749), and two
+<i>Rambler</i> papers (1750).<br />
+<br />
+23. John Dryden, <i>His Majesties Declaration Defended</i> (1681).</div>
+<h4>1950-1951</h4>
+<div class="ads">
+26. Charles Macklin, <i>The Man of the World</i> (1792).</div>
+<h4>1951-1952</h4>
+<div class="ads">
+31. Thomas Gray, <i>An Elegy Wrote in a Country Churchyard</i> (1751), and
+<i>The Eton College Manuscript</i>.</div>
+<h4>1952-1953</h4>
+<div class="ads">
+41. Bernard Mandeville, <i>A Letter to Dion</i> (1732).</div>
+<h4>1962-1963</h4>
+<div class="ads">
+98. <i>Select Hymns Taken Out of Mr. Herbert's Temple</i> (1697).</div>
+<h4>1963-1964</h4>
+<div class="ads">
+104. Thomas D'Urfey, <i>Wonders in the Sun</i>; or, <i>The Kingdom of the Birds</i> (1706).</div>
+<h4>1964-1965</h4>
+<div class="ads">
+110. John Tutchin, <i>Selected Poems</i> (1685-1700).<br />
+<br />
+111. Anonymous, <i>Political Justice</i> (1736).<br />
+<br />
+112. Robert Dodsley, <i>An Essay on Fable</i> (1764).<br />
+<br />
+113. T. R., <i>An Essay Concerning Critical and Curious Learning</i> (1698).<br />
+<br />
+114. <i>Two Poems Against Pope</i> : Leonard Welsted, <i>One Epistle to Mr.
+A. Pope</i> (1730), and Anonymous, <i>The Blatant Beast</i> (1742).</div>
+<h4>1965-1966</h4>
+<div class="ads">
+115. Daniel Defoe and others, <i>Accounts of the Apparition of Mrs. Veal</i>.<br />
+<br />
+116. Charles Macklin, <i>The Covent Garden Theatre</i> (1752).<br />
+<br />
+117. Sir George L'Estrange, <i>Citt and Bumpkin</i> (1680).<br />
+<br />
+118. Henry More, <i>Enthusiasmus Triumphatus</i> (1662).<br />
+<br />
+119. Thomas Traherne, <i>Meditations on the Six Days of the Creation</i> (1717).<br />
+<br />
+120. Bernard Mandeville, <i>Aesop Dress'd or a Collection of Fables</i> (1704).</div>
+<h4>1966-1967</h4>
+<div class="ads">
+122. James MacPherson, <i>Fragments of Ancient Poetry</i> (1760).<br />
+<br />
+123. Edmond Malone, <i>Cursory Observations on the Poems Attributed to Mr. Thomas Rowley</i> (1782).<br />
+<br />
+124. Anonymous, <i>The Female Wits</i> (1704).<br />
+<br />
+125. Anonymous, <i>The Scribleriad</i> (1742). Lord Hervey, <i>The Difference
+Between Verbal and Practical Virtue</i> (1742).<br />
+<br />
+126. <i>Le Lutrin: an Heroick Poem, Written Originally in French by
+Monsieur Boileau: Made English by N. O.</i> (1682).</div>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>Subsequent publications may be checked in the annual prospectus.</p>
+<p>&nbsp;</p>
+<p>Publications #1 through 90, of the first fifteen years of Augustan
+Reprint Society, are available in bound units at $14.00 per unit of
+six from:</p>
+<p>
+<span style="margin-left: 8em;">KRAUS REPRINT CORPORATION</span><br />
+<span style="margin-left: 8em;">16 East 46th Street</span><br />
+<span style="margin-left: 8em;">New York, N.Y. 10017</span><br />
+</p>
+<p>&nbsp;</p>
+<p>Publications in print are available at the regular membership rate of
+$5.00 yearly. Prices of single issues may be obtained upon request.</p>
+<p>&nbsp;</p>
+
+<hr style="width: 65%;" />
+<h4>William Andrews Clark Memorial Library: University of California, Los
+Angeles</h4>
+
+<h3><span class="smcap">The Augustan Reprint Society</span></h3>
+
+<p><i>General Editors</i>: George Robert Guffey, University of California, Los
+Angeles; Maximillian E. Novak, University of California, Los Angeles;
+Robert Vosper, William Andrews Clark Memorial Library.</p>
+
+<p><i>Corresponding Secretary</i>: Mrs. Edna C. Davis, William Andrews Clark
+Memorial Library.</p>
+<p>&nbsp;</p>
+
+<p>The Society's purpose is to publish reprints (usually facsimile
+reproductions) of rare seventeenth and eighteenth century works. All
+income of the Society is devoted to defraying costs of publication and
+mailing.</p>
+
+<p>Correspondence concerning memberships in the United States and Canada
+should be addressed to the William Andrews Clark Memorial Library,
+2520 Cimarron St., Los Angeles, California. Correspondence concerning
+editorial matters may be addressed to any of the general editors at
+the same address. Manuscripts of introductions should conform to the
+recommendations of the MLA <i>Style Sheet</i>. The membership fee is $5.00
+a year in the United States and Canada and 30&mdash;in Great Britain and
+Europe. British and European prospective members should address B. H.
+Blackwell, Broad Street, Oxford, England. Copies of back issues in
+print may be obtained from the Corresponding Secretary.</p>
+
+<p>&nbsp;</p>
+<h4>PUBLICATIONS FOR 1967-1968</h4>
+
+<p>127-128. Charles Macklin, <i>A Will and No Will, or a Bone for the
+Lawyers</i> (1746). <i>The New Play Criticiz'd, or The Plague of Envy</i>
+(1747). Introduction by Jean B. Kern.</p>
+
+<p>129. Lawrence Echard, Prefaces to <i>Terence's Comedies</i> (1694) and
+<i>Plautus's Comedies</i> (1694). Introduction by John Barnard.</p>
+
+<p>130. Henry More, <i>Democritus Platonissans</i> (1646). Introduction by P.
+G. Stanwood.</p>
+
+<p>131. John Evelyn, <i>The History of ... Sabatai Sevi ... The Suppos'd
+Messiah of the Jews</i> (1669). Introduction by Christopher W. Grose.</p>
+
+<p>132. Walter Harte, <i>An Essay on Satire, Particularly on the Dunciad</i>
+(1730). Introduction by Thomas B. Gilmore.</p>
+
+<p>&nbsp;</p>
+<h4>ANNOUNCEMENTS:</h4>
+
+<p>Next in the series of special publications by the Society will be a
+volume including Elkanah Settle's <i>The Empress of Morocco</i> (1673) with
+five plates; <i>Notes and Observations on the Empress of Morocco</i> (1674)
+by John Dryden, John Crowne and Thomas Shadwell; <i>Notes and
+Observations on the Empress of Morocco Revised</i> (1674) by Elkanah
+Settle; and <i>The Empress of Morocco. A Farce</i> (1674) by Thomas Duffet,
+with an Introduction by Maximillian E. Novak. Already published in
+this series are reprints of John Ogilby's <i>The Fables of Aesop
+Paraphras'd in Verse</i> (1668), with an Introduction by Earl Miner and
+John Gay's <i>Fables</i> (1727, 1738), with an Introduction by Vinton A.
+Dearing. Publication is assisted by funds from the Chancellor of the
+University of California, Los Angeles. Price to members of the
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@@ -0,0 +1,2009 @@
+The Project Gutenberg eBook, An Essay on Satire, Particularly on the
+Dunciad, by Walter Harte
+
+
+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: An Essay on Satire, Particularly on the Dunciad
+
+
+Author: Walter Harte
+
+
+
+Release Date: June 25, 2009  [eBook #29237]
+Most recently updated: November 29, 2011
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK AN ESSAY ON SATIRE, PARTICULARLY
+ON THE DUNCIAD***
+
+
+E-text prepared by Chris Curnow, Stephanie Eason, Joseph Cooper, and the
+Project Gutenberg Online Distributed Proofreading Team
+(http://www.pgdp.net)
+
+
+
+Transcriber's note:
+
+      Text in italics is enclosed between underscores (_italics_).
+
+
+
+
+
+The Augustan Reprint Society
+
+WALTER HARTE
+
+AN ESSAY ON SATIRE,
+
+Particularly on the DUNCIAD.
+
+(1730)
+
+Introduction by
+
+THOMAS B. GILMORE
+
+
+
+
+
+
+
+Publication Number 132
+William Andrews Clark Memorial Library
+University of California, Los Angeles
+1968
+
+       *       *       *       *       *
+
+
+  GENERAL EDITORS
+
+  George Robert Guffey, _University of California, Los Angeles_
+  Maximillian E. Novak, _University of California, Los Angeles_
+  Robert Vosper, _William Andrews Clark Memorial Library_
+
+
+  ADVISORY EDITORS
+
+  Richard C. Boys, _University of Michigan_
+  James L. Clifford, _Columbia University_
+  Ralph Cohen, _University of Virginia_
+  Vinton A. Dearing, _University of California, Los Angeles_
+  Arthur Friedman, _University of Chicago_
+  Louis A. Landa, _Princeton University_
+  Earl Miner, _University of California, Los Angeles_
+  Samuel H. Monk, _University of Minnesota_
+  Everett T. Moore, _University of California, Los Angeles_
+  Lawrence Clark Powell, _William Andrews Clark Memorial Library_
+  James Sutherland, _University College, London_
+  H. T. Swedenberg, Jr., _University of California, Los Angeles_
+
+
+  CORRESPONDING SECRETARY
+
+  Edna C. Davis, _William Andrews Clark Memorial Library_
+
+
+       *       *       *       *       *
+
+
+
+INTRODUCTION
+
+
+Since the first publication of Walter Harte's _An Essay on Satire,
+Particularly on the Dunciad_,[1] it has reappeared more than once: the
+unsold sheets of the first edition were included in _A Collection of
+Pieces in Verse and Prose, Which Have Been Publish'd on Occasion of
+the Dunciad_ (1732), and the _Essay_ is also found in at least three
+late eighteenth- or early nineteenth-century collections of poetry.[2]
+For several reasons, however, it makes sense to reprint the _Essay_
+again. The three collections are scarce and have forbiddingly small
+type; I know of no other twentieth-century reprinting; and, perhaps
+most important, Aubrey Williams claims that "the critical value for
+the _Dunciad_ of Harte's poem has not been fully appreciated."[3] Its
+value can best be substantiated, or disputed, if it is rescued from
+its typographical limbo in the collections and reprinted from its more
+attractive first edition.
+
+Probably the immediate reason for the _Essay_ was Harte's admiration
+for Pope, which arose in part from personal gratitude. On 9 February
+1727, Harte wrote an unidentified correspondent that "Mr. Pope was
+pleased to correct every page" of his forthcoming _Poems on Several
+Occasions_ "with his own hand." Furthermore, Harte may have learned
+that Pope had petitioned Lady Sarah Cowper, in 1728, to use her
+influence to obtain him a fellowship in Exeter College, Oxford.[4]
+
+But however appealing the _Essay_ may be as an installment on Harte's
+debt to Pope, there must obviously be better reasons for reprinting
+it. Harte himself doubtless had additional reasons for writing it. To
+understand them and the poem, we must also understand, at least in
+broad outline, the two traditional ways of evaluating satire which
+Harte and others of his age had inherited. One of them was distinctly
+at odds with Harte's aims; to the other he gave his support and made
+his own contribution.
+
+One tradition stressed the "lowness" of satire, in itself and compared
+with other genres. This tradition, moreover, had at least two sources:
+the practice of Elizabethan satirists and the critical custom of
+assigning satire to a middle or low position in the hierarchy of
+genres.
+
+From the time of _Piers Plowman_, it was characteristic of English
+satirists "to taxe the common abuses and vice of the people in rough
+and bitter speaches."[5] This native character was reenforced by the
+Elizabethan assumption that there should be similarities between
+satire and its supposed etymological forebears--the satyrs, legendary
+half men, half goats of ancient Greece. Believing that the Roman
+satirists Persius and Juvenal had imitated the uncouth manners and
+vituperative diction of the satyrs, Elizabethan satirists likewise
+strove to be as rough, harsh, and licentious as possible.[6] Despite
+the objections to the satire-satyr etymology stated by Isaac
+Casaubon,[7] scurrilous satire, especially as a political weapon, was
+a recognizable subspecies in England at least to 1700. The anonymous
+author, for instance, of _A Satyr Against Common-Wealths_ (1684)
+contended in his preface that it is "_as disagreeable to see a Satyr
+Cloath'd in soft and effeminate Language, as to see a Woman scold and
+vent her self in_ Billingsgate _Rhetorick in a gentile and
+advantageous Garb_." But as Harte certainly realized, _The Dunciad_
+differed greatly from unvarnished abuse, and thus required different
+standards of critical judgment.
+
+Harte also rejected the critical habit of giving satire a relatively
+low rank in the scale of literary genres. This habit can be traced to
+Horace, who belittled the literary status of his own satires,[8] and
+it was prominent in the Renaissance. The place of satire in a
+hierarchical list of Julius Caesar Scaliger is perhaps typical: "'And
+the most noble, of course, are hymns and paeans. In the second place
+are songs and odes and scolia, which are concerned with the praises of
+brave men. In the third place the epic, in which there are heroes and
+other lesser personages. Tragedy together with comedy follows this
+order; nevertheless comedy will hold the fourth place apart by itself.
+After these, satires, then exodia, lusus, nuptial songs, elegies,
+monodia, songs, epigrams.'"[9] Similar rankings of satire frequently
+recurred in the neo-classical period,[10] as did the Renaissance
+supposition that each genre has a style and subject matter appropriate
+to it. This supposition discouraged any "mixing" of the genres: in
+Richard Blackmore's words, "all comick Manners, witty Conceits and
+Ridicule" should be barred from heroic poetry.[11] The influence of
+the genres theories even after Pope's death may be shown by the fact
+that Pope, for the very reason that he had failed to work in the major
+genres, was often ranked below such epic or tragic poets as Spenser,
+Shakespeare, and Milton.[12]
+
+One senses the foregoing critical assumptions about satire behind much
+of the early comment on _The Dunciad_. Most of the critics, to be
+sure, were anything but impartial; in many instances they were
+smarting from Pope's satire and sought any critical weapons available
+for retaliation. But it will not do to dismiss these men or their
+responses to _The Dunciad_ as inconsequential; they had the weight of
+numbers on their side and, more important, the authority of
+long-established attitudes toward satire.
+
+Although it is frequently impossible to determine exactly which
+critics Harte was answering in his _Essay_, brief illustration of two
+prominent types of attack can indicate what he had to vindicate _The
+Dunciad_ against. One of those types resembled Blackmore's objection
+to a mixing of genres. If satire should be barred from heroic poetry,
+the reverse, for some critics, was also true, and Pope should not have
+used epic allusions and devices in _The Dunciad_. Edward Ward, for
+one, thought the poem an incongruous mixture "against all rule."[13]
+Pope's violation of "rule" seemed almost a desecration of epic to
+Thomas Cooke; of the mock-heroic games in Book II of _The Dunciad_, he
+complained that "to imitate _Virgil_ is not to have Games, and those
+beastly and unnatural, because _Virgil_ has noble and reasonable
+Games, but to preserve a Purity of Manners, Propriety of Conduct
+founded on Nature, a Beauty and Exactness of Stile, and continued
+Harmony of Verse concording with the Sense."[14]
+
+The other kind of attack accused Pope of wasting his talents in _The
+Dunciad_, but palliated blame by reminding him of his demonstrated
+ability in more worthy poetical pursuits. This was one of Ward's
+resources; perhaps disingenuously, he professed amazement that a poet
+with Pope's "_sublime Genius_," born for "an Epick Muse," "sacred
+Hymns," and "heav'nly Anthems," would lower himself to mock at
+"_trifling Foibles_" or "the Starvlings of _Apollo's_ Train."[15] More
+concerned with Pope's potentialities than with his recent ignominy,
+George Lyttelton nevertheless made essentially the same point: Pope
+could never become the English Virgil if he "let meaner Satire ...
+stain the Glory" of his "nobler Lays."[16] And Aaron Hill wrote an
+allegorical poem to show Pope the error of _The Dunciad_ and to
+suggest means of escape from entombment "in his _own_ PROFUND."[17] In
+such censure we perhaps glimpse an opinion attributable to the still
+influential genres theories: a poet of "_sublime Genius_" should work
+in a more sublime poetic genre than satire.
+
+In opposing this low view of satire, Harte drew upon ideas more
+congenial to his purposes and far more congenial to _The Dunciad_.
+Originating with the Renaissance commentaries on the formal verse
+satire of the Romans, their lineage was just as venerable as that of
+the low view. These critical concepts were probably just as
+influential too, for they continued to be reiterated by commentaries
+down to and beyond Pope's time.
+
+Whatever their quarrels, the Renaissance commentaries were virtually
+united in regarding satire as exalted moral instruction and satirists
+as ethical philosophers. Casaubon's choice for this sort of praise was
+Persius; Heinsius and Stapylton likened their respective choices,
+Horace and Juvenal, to Socrates and Plato; and Rigault considered all
+three satirists to be philosophers, distinguished only by the
+different styles which their different periods required. The satirist
+might disguise himself as a jester, but only to make his moral wisdom
+more easily digestible; peeling away his mask, "we find in him all the
+Gods together," "_Maxims or Sentences, that like the lawes of nature,
+are held sacred by all Nations_."[18]
+
+Dryden's _Discourse Concerning the Original and Progress of Satire_
+drew heavily and eclectically upon these commentaries, investing their
+judgments with a new popularity and authority. Although Dryden
+condemned Persius for obscurity and other defects, he agreed with
+Casaubon that Persius excels as a moral philosopher and that "moral
+doctrine" is more important to satire than wit or urbanity. Dryden
+knew, moreover, that the satirist's inculcation of "moral doctrine"
+meant a dual purpose, a pattern of blame and praise--not only "the
+scourging of vice" but also "exhortation to virtue"--long recognized
+as a definitive characteristic of formal verse satire.[19] But if
+Dryden insisted on the moral dignity of satire, he laid equal stress
+on the dignity attainable through verse and numbers. After
+complimenting Boileau's _Lutrin_ for its successful imitation of
+Virgil, its blend of "the majesty of the heroic" with the "venom" of
+satire, Dryden speaks of "the beautiful turns of words and thoughts,
+which are as requisite in this [satire], as in heroic poetry itself,
+of which the satire is undoubtedly a species"; and earlier in the
+_Discourse_ he had called heroic poetry "certainly the greatest work
+of human nature."[20]
+
+It is clear that Harte's _Essay_ belongs in the tradition of criticism
+established by the commentaries on classical satire and continued by
+Dryden. Like these predecessors, Harte believes that satire is moral
+philosophy, teaching "the noblest Ethicks to reform mankind" (p. 6).
+Like them again, he believes that to fulfill this purpose satire must
+not only lash vice but recommend virtue, at least by implication:
+
+  Blaspheming _Capaneus_ obliquely shows
+  T'adore those Gods _Aeneas_ fears and knows, (p. 10)[21]
+
+But perhaps Harte's overriding concern was to do for satire (with _The
+Dunciad_ as his focus) what Dryden's _Discourse_ had done: to reassert
+its dignity and majesty.
+
+Although Harte is quite careful to distinguish satire from epic
+poetry, the total effect of his _Essay_ is to blur this distinction
+and to raise _The Dunciad_ very nearly to the level of genuine epic.
+The term "_Epic Satire_" (p. 6) certainly seems to refer to the
+wedding of two disparate genres in _The Dunciad_, lifting it above
+satire that is merely "rugged" or "mischievously gay" (p. 8). (The
+epithet is also, perhaps, a thrust at Edward Ward, who had pinned it
+on _The Dunciad_ with a sneer.)[22] Harte's claim that
+
+  _Books and the Man_ demands as much, or more,
+  Than _He who wander'd to the Latian shore_ (p. 9)
+
+has a similar effect. The greatest epic poets and satirists have
+always transcended rules to follow "Nature's light"; Pope,
+over-topping them all, has "still corrected Nature as she stray'd"
+(pp. 19, 21). But perhaps Harte's most successful attempt to elevate
+_The Dunciad_ comes in section two of his poem. Unlike Dryden, in
+whose _Discourse_ the account of the "progress" of satire is confined
+almost exclusively to a few Roman writers, Harte begins his account of
+its progress with Homer and brings it down to Pope. Deriving the
+ancestry of _The Dunciad_ from Homer, the greatest epic poet,
+obviously enhances Pope's satire. Perhaps less obviously, by extending
+Dryden's account to the present, Harte makes _The Dunciad_ not only a
+chronological _terminus ad quem_ but, far more important, the fruit of
+centuries of slowly accumulating mastery and wisdom.
+
+The strategies mentioned thus far constitute one series of answers to
+critics who charged Pope with debasing true epic. But Harte also
+addressed himself to such critics more directly. Although Aubrey
+Williams (p. 54) has clearly demonstrated Harte's awareness that the
+world of _The Dunciad_ does in one sense sully epic beauties, at the
+same time, I think, Harte knew that the epic poems to which _The
+Dunciad_ continually alludes remain fixed, unsullied polestars;
+otherwise the reader of the poem would lack a way of measuring the
+meanness of its characters and principles. The "charms of _Parody_" in
+_The Dunciad_ provide a contrast between its dark, fallen world and
+the undimmed luster of epic realms (p. 10). By using the ambiguous
+word _parody_, which in the eighteenth century could mean either
+ridicule or straight imitation,[23] Harte skillfully suggests the
+complex purpose of Pope's epic backdrop. The dunces, not Pope,
+ridicule the epic world by their words and deeds; but in turn, this
+world ridicules them simply by being "imitated" and incorporated in
+_The Dunciad_. And its incorporation is by no means equivalent to the
+pollution of epic. That, Harte hints, is the achievement of scribblers
+like Blackmore (p. 12). It is they who inadvertently write mock-epics,
+parodies which degrade their great models; Pope, nominally writing
+mock-epic, actually approaches epic achievement.
+
+Harte's reply to those who believed Pope had wasted his talent in
+attacking "the Refuse of the Town" centers in the stanza beginning on
+p. 24 but can be found elsewhere as well. Literary "Refuse," he
+realized, could not safely be ignored, for he at least came close to
+understanding that it was "the metaphor by which bigger
+deteriorations," social and moral, "are revealed" (Williams, p. 14).
+
+  ... Rules, and Truth, and Order, Dunces strike;
+  Of Arts, and Virtues, enemies alike. (p. 24)
+
+Ultimately, then, Harte seemed aware that the dunces pose a colossal
+threat, a threat which warrants Pope's numerous echoes of _Paradise
+Lost_. Harte's _Essay_, in fact, contains several echoes of the same
+poem. Though, like most of Pope's, these Miltonic echoes are given a
+comic turn which indicates a wide gap between the real satanic host
+and its London auxiliary, there is little doubt that Harte grasped the
+underlying seriousness of his mentor's analogies and his own.
+
+       *       *       *       *       *
+
+A few words remain to be said about Boileau's _Discourse of Satires
+Arraigning Persons by Name_, which so far as I know appeared with all
+early printings of Harte's _Essay_.
+
+The _Discourse_ was first published in 1668, with the separately
+printed edition of Boileau's ninth satire; in the same year it was
+included in a collected edition of the satires. It was occasioned,
+evidently, by a critic's complaint that the modern satirist, departing
+from ancient practice, "offers insults to individuals."[24]
+
+The only English translation of the _Discourse_ that I have discovered
+before 1730 appears in volume two (1711) of a three-volume translation
+of Boileau's works. This, however, is not the same translation as the
+one accompanying Harte's _Essay_; it is noticeably less fluent and
+lacks (as does the French) the subtitle "arraigning persons by name."
+
+The 1730 translation is faithful to the original, and the subtitle
+calls attention to the aptness of the _Discourse_ as a defense of
+Pope's satiric practice.[25] It is so apt, indeed, that one could
+almost suspect Pope himself of making the translation and submitting
+it to Harte or his publisher. Pope had already invoked Boileau's name
+and precedent in the letter from "William Cleland"; nothing could be
+more logical than for Pope to turn the esteemed Boileau's
+self-justification to his own ends.
+
+Cornell College
+
+
+
+NOTES TO THE INTRODUCTION
+
+[1] Robert W. Rogers, _The Major Satires of Alexander Pope_, Illinois
+Studies in Language and Literature, XL (Urbana, 1955), p. 140, dates
+the Essay January 7-14, 1731, N. S., on the evidence of _The
+Grub-Street Journal_; No. 484 of _The London Evening-Post_ (Saturday,
+January 9, to Tuesday, January 12, 1731) advertises its publication
+for the following day.
+
+[2] Rogers, p. 141. Thomas Park, _Supplement to the British Poets_
+(London, 1809), VIII, 21-36; Alexander Chalmers, _The Works of the
+English Poets_ (London, 1810), XVI, 348-352; Robert Anderson, _A
+Complete Edition of the Poets of Great Britain_ (London, 1794), IX,
+825-982 [_sic_].
+
+[3] _Pope's "Dunciad": A Study of Its Meaning_ (Baton Rouge, 1955), p.
+54n.
+
+[4] _The Correspondence of Alexander Pope_, ed. George Sherburn
+(Oxford, 1956), II, 430 n., 497.
+
+[5] George Puttenham, _The Arte of English Poesie_ (1589), in
+_Elizabethan Critical Essays_, ed. G. Gregory Smith (Oxford, 1904),
+II, 27.
+
+[6] Alvin Kernan, _The Cankered Muse: Satire of the English
+Renaissance_, Yale Studies in English, CXLII (New Haven, 1959), pp.
+55, 58, 62; Oscar James Campbell, _Comicall Satyre and Shakespeare's
+"Troilus and Cressida"_ (San Marino, 1959), pp. 24-25, 27, 29-30.
+
+[7] _De Satyrica Graecorum Poesi, & Romanorum Satira Libri Duo_
+(Paris, 1605).
+
+[8] J. F. D'Alton, _Roman Literary Theory and Criticism: A Study in
+Tendencies_ (London, New York, and Toronto, 1931), pp. 356, 414 and
+n.; George Converse Fiske, _Lucilius and Horace: A Study in the
+Classical Theory of Imitation_, University of Wisconsin Studies in
+Language and Literature, No. 7 (Madison, 1920), p. 443.
+
+[9] Bernard Weinberg, _A History of Literary Criticism in the Italian
+Renaissance_ (Chicago, 1961), II, 745. For similar appraisals of
+satire, see also I, 148-149; II, 759, 807; and Puttenham, pp. 26-28.
+
+[10] E.g., John Dennis, "The Grounds of Criticism in Poetry" (1704),
+in _The Critical Works_, ed. Edward Niles Hooker (Baltimore,
+1939-1943), I, 338; Joseph Trapp, _Lectures on Poetry Read in the
+Schools of Natural Philsophy at Oxford_ (London, 1742), p. 153.
+
+[11] _Essays upon Several Subjects_ (London, 1716-1717), I, 76.
+
+[12] Paul F. Leedy, "Genres Criticism and the Significance of Warton's
+Essay on Pope," _JEGP_, XLV (1946), 141.
+
+[13] _Durgen. Or, A Plain Satyr upon a Pompous Satyrist_ (London,
+1729), p. 48.
+
+[14] "The Battel of the Poets," in _Tales, Epistles, Odes, Fables,
+etc._ (London, 1729), p. 138n. Though the poem was first published in
+1725, it was revised to attack _The Dunciad_; Cooke claims ("The
+Preface," p. 107) that not more than eighty lines in the two versions
+are the same.
+
+[15] _Durgen_, pp. [i], 19, 40-41.
+
+[16] _An Epistle to Mr. Pope, from a Young Gentleman at Rome_ (London,
+1730), pp. 6-7.
+
+[17] _The Progress of Wit_ (London, 1730), p. 31. Two months after
+Harte's Essay appeared Hill's _Advice to the Poets_, which complements
+the earlier allegory by urging Pope to shun "_vulgar Genii_" and
+emulate "Thy own _Ulysses_" (pp. 18-19).
+
+[18] Daniel Heinsius, "De Satyra Horatiana Liber," in _Q. Horati
+Flacci Opera_ (1612), pp. 137-138; Sir Robert Stapylton, "The Life and
+Character of Juvenal," in _Mores Hominum. The Manners of Men,
+Described in Sixteen Satyrs, by Juvenal_ (London, 1660), p. [v];
+Nicolas Rigault, "De Satira Juvenalis Dissertatio" (1615), in _Decii
+Junii Juvenalis Satirarum Libri Quinque_ (Paris, 1754), p. xxv; and
+Andre Dacier, _An Essay upon Satyr_ (London, 1695), p. 273.
+
+[19] _Essays of John Dryden_, ed. W. P. Ker (Oxford, 1900), II, 75,
+104-105; Howard D. Weinbrot, "The Pattern of Formal Verse Satire in
+the Restoration and the Eighteenth Century," _PMLA_, LXXX (1965),
+394-401; Causaubon, _De Satyrica Graecorum Poesi, & Romanorum Satira
+Libri Duo_, pp. 291-292; Heinsius, pp. 137-138.
+
+[20] _Essays_, II, 43, 107-108.
+
+[21] See Weinbrot, p. 399.
+
+[22] _Durgen_, p. 3.
+
+[23] Howard D. Weinbrot, "Parody as Imitation in the 18th Century,"
+_AN&Q_, II (1964), 131-134.
+
+[24] Boileau, _Oeuvres Completes_, ed. Francoise Escal (Editions
+Gallimard, 1966), p. 924.
+
+[25] Numerous protests against Pope's use of names made such a defense
+desirable. See, for example, Ward (p. 9) and "A Letter to a Noble
+Lord: Occasion'd by the Late Publication of the Dunciad Variorum," in
+_Pope Alexander's Supremacy and Infallibility Examin'd_ (London,
+1729), p. 12. Boileau's _Discourse_ is a particularly apposite reply
+to the latter, which had contrasted Pope's satiric practice with that
+of Horace, Juvenal, and Boileau.
+
+
+
+
+BIBLIOGRAPHICAL NOTE
+
+The text of this edition is reproduced from a copy in the University
+of Illinois Library.
+
+
+
+
+  AN
+  ESSAY,
+  ON
+  SATIRE,
+
+  Particularly on the DUNCIAD.
+
+  (Price One Shilling.)
+
+
+
+
+Speedily will be Published,
+
+The Works of VIRGIL Translated into Blank Verse by _J. Trapp_, D. D.
+in Three Volumes in 12 with Cuts.
+
+
+
+
+  AN
+  ESSAY
+  ON
+  SATIRE,
+
+  Particularly on the
+  DUNCIAD.
+
+  BY
+  Mr. _WALTER HARTE_
+
+  of St. _Mary-Hall_, Oxon.
+
+  To which is added, A
+  DISCOURSE _on_ SATIRES,
+  _Arraigning Persons by Name_.
+
+  By Monsieur BOILEAU.
+
+  _LONDON:_
+
+  Printed for LAWTON GILLIVER at _Homer's_ Head
+  against St. _Dunstan's_ Church, in _Fleetstreet_,
+  MDCCXXX.
+
+
+
+
+THE CONTENTS.
+
+
+I. _The Origine and Use of_ Satire. _The Excellency of_ Epic Satire
+_above others, as adding Example to Precept, and animating by_ Fable
+_and sensible Images. Epic Satire compar'd with Epic Poem, and wherein
+they differ: Of their_ Extent, Action, Unities, Episodes, _and the
+Nature of their_ Morals. _Of_ Parody: _Of the_ Style, Figures, _and_
+Wit _proper to this Sort of Poem, and the superior Talents requisite
+to Excel in it._
+
+II. _The_ Characters _of the several Authors of Satire. 1. The
+Ancients;_ Homer, Simonides, Archilochus, Aristophanes, Menippus,
+Ennius, Lucilius, Varro, Horace, Persius, Petronius, Juvenal, Lucian,
+_the Emperor_ Julian. _2. The Moderns;_ Tassone, Coccaius, Rabelais,
+Regnier, Boileau, Dryden, Garth, Pope.
+
+III. _From the Practice of all the best Writers and Men in every Age
+and Nation, the_ Moral Justice _of_ Satire _in General, and of this
+Sort in Particular, is Vindicated. The_ Necessity _of it shewn in_
+this Age _more especially, and why bad Writers are at present the_
+most proper Objects of Satire. _The_ True Causes _of bad Writers._
+Characters _of several Sorts of them now abounding; Envious Critics,
+Furious Pedants, Secret Libellers, Obscene Poetesses, Advocates for
+Corruption, Scoffers at Religion, Writers for Deism, Deistical and_
+Arrian-_Clergymen._
+
+_Application of the Whole Discourse to the_ DUNCIAD _concluding with
+an Address to the Author of it._
+
+
+
+
+  AN
+  ESSAY
+  ON
+  SATIRE.
+
+
+  T' Exalt the Soul, or make the Heart sincere,
+  To arm our Lives with honesty severe,
+  To shake the wretch beyond the reach of Law,
+  Deter the young, and touch the bold with awe,
+  To raise the fal'n, to hear the sufferer's cries,
+  And sanctify the virtues of the wise,
+  Old Satire rose from Probity of mind,
+  The noblest Ethicks to reform mankind.
+
+    As _Cynthia's_ Orb excels the gems of night:
+  So _Epic Satire_ shines distinctly bright.
+  Here Genius lives, and strength in every part,
+  And lights and shades, and fancy fix'd by art.
+  A second beauty in its nature lies,
+  It gives not _Things_, but _Beings_ to our eyes,
+  _Life_, _Substance_, _Spirit_ animate the whole;
+  _Fiction_ and _Fable_ are the Sense and Soul.
+  The _common Dulness_ of mankind, array'd
+  In pomp, here lives and breathes, a _wond'rous Maid_:
+  The Poet decks her with each unknown Grace,
+  Clears her dull brain, and brightens her dark face:
+  See! Father _Chaos_ o'er his First-born nods,
+  And Mother _Night_, in Majesty of Gods!
+  See _Querno's Throne_, by hands Pontific rise,
+  And a _Fool's Pandaemonium_ strike our Eyes!
+  Ev'n what on C----l the Publick bounteous pours,
+  Is sublimated here to _Golden show'rs_.
+
+    A _Dunciad_ or a _Lutrin_ is compleat,
+  And _one_ in action; ludicrously great.
+  Each wheel rolls round in due degrees of force;
+  E'en _Episodes_ are _needful_, or _of course_:
+  _Of course_, when things are virtually begun
+  E'er the first ends, the Father and the Son:
+  Or else so _needful_, and exactly grac'd,
+  That nothing is _ill-suited_, or _ill-plac'd_.
+
+    True Epic's a vast World, and this a small;
+  One has its _proper_ beauties, and one _all_.
+  Like _Cynthia_, one in _thirty days_ appears,
+  Like _Saturn_ one, rolls round in _thirty years_.
+  _There_ opens a wide Tract, a length of Floods,
+  A height of Mountains, and a waste of Woods:
+  _Here_ but one Spot; nor Leaf, nor Green depart
+  From Rules, e'en Nature seems the Child of Art.
+  As _Unities_ in Epick works appear,
+  So must they shine in full distinction here.
+  Ev'n the warm _Iliad_ moves with slower pow'rs:
+  That forty days demands, This forty hours.
+
+    Each other Satire humbler arts has known,
+  Content with meaner Beauties, tho' its own:
+  Enough for that, if rugged in its course
+  The Verse but rolls with Vehemence and Force;
+  Or nicely pointed in th' _Horatian_ way
+  Wounds keen, like _Syrens_ mischievously gay.
+  Here, All has _Wit_, yet must that Wit be _strong_,
+  Beyond the Turns of _Epigram_, or _Song_.
+  The _Thought_ must rise exactly from the vice,
+  _Sudden_, yet _finish'd_, _clear_, and yet _concise_.
+  _One Harmony_ must _first_ with _last_ unite;
+  As all true Paintings have their _Place_ and _Light_.
+  _Transitions_ must be _quick_, and yet _design'd_,
+  Not made to fill, but just retain the mind:
+  And _Similies_, like meteors of the night,
+  Just give one flash of momentary Light.
+
+    As thinking makes the Soul, low things exprest
+  In high-rais'd terms, define a _Dunciad_ best.
+  _Books and the Man_ demands as much, or more,
+  Than _He_ who _wander'd to the Latian Shore_:
+  For here (eternal Grief to _Duns_'s soul,
+  And _B_----'s thin Ghost!) the _Part_ contains the _Whole_:
+  Since in Mock-Epic none succeeds, but he
+  Who tastes the Whole of Epic Poesy.
+
+    The _Moral_ must be clear and understood;
+  But finer still, if negatively good:
+  Blaspheming _Capaneus_ obliquely shows
+  T' adore those Gods _Aeneas_ fears and knows.
+  A _Fool's_ the _Heroe_; but the _Poet's_ end
+  Is, to be _candid_, _modest_, and a _Friend_.
+
+    Let _Classic Learning_ sanctify each Part,
+  Not only show your Reading, but your Art.
+
+    The charms of _Parody_, like those of Wit,
+  If well _contrasted_, never fail to hit;
+  One half in light, and one in darkness drest,
+  (For contraries oppos'd still shine the best.)
+  When a cold Page half breaks the Writer's heart,
+  By this it warms, and brightens into Art.
+  When Rhet'ric glitters with too pompous pride,
+  By this, like _Circe_, 'tis un-deify'd.
+  So _Berecynthia_, while her off-spring vye
+  In homage to the Mother of the sky,
+  (Deck'd in rich robes, of trees, and plants, and flow'rs,
+  And crown'd illustrious with an hundred tow'rs)
+  O'er all _Parnassus_ casts her eyes at once,
+  And sees an hundred Sons--_and each a Dunce_.
+
+    The _Language_ next: from hence new pleasure springs;
+  For _Styles_ are dignify'd, as well as _Things_.
+  Tho' Sense subsists, distinct from phrase or sound,
+  Yet _Gravity_ conveys a surer wound.
+  The chymic secret which your pains wou'd find,
+  Breaks out, unsought for, in _Cervantes'_ mind;
+  And _Quixot_'s wildness, like that King's of old,
+  Turns all he touches, into _Pomp_ and _Gold_.
+  Yet in this Pomp discretion must be had;
+  Tho' _grave_, not _stiff_; tho' _whimsical_, not _mad_:
+  In Works like these if _Fustian_ might appear,
+  Mock-Epics, _Blackmore_, would not cost thee dear.
+
+    We grant, that _Butler_ ravishes the Heart,
+  As _Shakespear_ soar'd beyond the reach of Art;
+  (For Nature form'd those Poets without Rules,
+  To fill the world with _imitating Fools_.)
+  What _Burlesque_ could, was by that Genius done;
+  Yet faults it has, impossible to shun:
+  Th' unchanging strain for want of grandeur cloys,
+  And gives too oft the horse-laugh mirth of Boys:
+  The short-legg'd verse, and double-gingling Sound,
+  So quick surprize us, that our heads run round:
+  Yet in this Work peculiar Life presides,
+  And _Wit_, for all the world to glean besides.
+
+    Here pause, my Muse, too daring and too young!
+  Nor rashly aim at Precepts yet unsung.
+  Can Man the Master of the _Dunciad_ teach?
+  And these new Bays what other hopes to reach?
+  'Twere better judg'd, to study and explain
+  Each ancient Grace he copies not in vain;
+  To trace thee, Satire, to thy utmost Spring,
+  Thy Form, thy Changes, and thy Authors sing.
+
+    All Nations with this Liberty dispense,
+  And bid us shock the Man that shocks Good Sense.
+  Great _Homer_ first the Mimic Sketch design'd
+  What grasp'd not _Homer's_ comprehensive mind?
+  By him who _Virtue_ prais'd, was _Folly_ curst,
+  And who _Achilles_ sung, drew _Dunce the First_.[26]
+
+    Next him _Simonides_, with lighter Air,
+  In Beasts, and Apes, and Vermin, paints the _Fair_:
+  The good _Scriblerus_ in like forms displays
+  The reptile Rhimesters of these later days.
+
+    More fierce, _Archilochus_! thy vengeful flame;
+  Fools read and _dy'd_: for Blockheads then had _Shame_.
+
+  The Comic-Satirist[27] attack'd his Age,
+  And found low Arts, and Pride, among the Sage:
+  See learned _Athens_ stand attentive by,
+  And _Stoicks_ learn their Foibles from the Eye.
+
+    _Latium's fifth Homer_[28] held the _Greeks_ in view;
+  Solid, tho' rough, yet incorrect as new.
+  _Lucilius_, warm'd with more than mortal flame
+  Rose next[29], and held a torch to ev'ry shame.
+  See stern _Menippus_, cynical, unclean;
+  And _Grecian Cento_'s, mannerly obscene.
+  Add the last efforts of _Pacuvius'_ rage,
+  And the chaste decency of _Varro_'s page.[30]
+
+    See _Horace_ next, in each reflection nice,
+  Learn'd, but not vain, the Foe of Fools nor Vice.
+  Each page instructs, each Sentiment prevails,
+  All shines alike, he rallies, but ne'er rails:
+  With courtly ease conceals a Master's art,
+  And least-expected steals upon the heart.
+  Yet _Cassius_[31] felt the fury of his rage,
+  (_Cassius_, the _We----d_ of a former age)
+  And sad _Alpinus_, ignorantly read,
+  Who murder'd _Memnon_, tho' for ages dead.
+
+    Then _Persius_ came: whose line tho' roughly wrought,
+  His Sense o'erpaid the stricture of his thought.
+  Here in clear light the _Stoic_-doctrine shines,
+  Truth all subdues, or Patience all resigns.
+  A Mind supreme![32] impartial, yet severe:
+  Pure in each Act, in each Recess sincere!
+  Yet _rich ill_ Poets urg'd the _Stoic_'s Frown,
+  And bade him strike at _Dulness_ and a _Crown_[33].
+
+    The Vice and Luxury _Petronius_ drew,
+  In _Nero_ meet: th' imperial point of view:
+  The Roman _Wilmot_, that could Vice chastize,
+  Pleas'd the mad King he serv'd, to satirize.
+
+    The next[34] in Satire felt a nobler rage,
+  What honest Heart could bear _Domitian_'s age?
+  See his strong Sense, and Numbers masculine!
+  His Soul is kindled, and he kindles mine:
+  Scornful of Vice, and fearless of Offence,
+  He flows a Torrent of impetuous Sense.
+
+    Lo! Savage Tyrants Who blasphem'd their God
+  Turn Suppliants now, and gaze at _Julian_'s Rod.[35]
+
+    _Lucian_, severe, but in a gay disguise,
+  Attacks old Faith, or sports in learned Lyes;[36]
+  Sets Heroes and Philosophers at odds;
+  And scourges Mortals, and dethrones the Gods.
+
+    Then all was Night--But _Satire_ rose once more
+  Where _Medici_ and _Leo_ Arts restore.
+  _Tassone_ shone fantastic, but sublime:
+  And He, who form'd the _Macaronique_-Rhime:
+
+    Then _Westward_ too by slow degrees confest,
+  Where boundless _Rabelais_ made the World his Jest;
+  _Marot_ had Nature, _Regnier_ Force and Flame,
+  But swallow'd all in _Boileau_'s matchless Fame!
+  Extensive Soul! who rang'd all learning o'er,
+  Present and past--and yet found room for more.
+  Full of new Sense, exact in every Page,
+  Unbounded, and yet sober in thy Rage.
+  Strange Fate! _Thy solid_ Sterling _of two lines,_
+  _Drawn to our_ Tinsel, _thro' whole Pages shines!_[37]
+
+    In _Albion_ then, with equal lustre bright,
+  Great _Dryden_ rose, and steer'd by Nature's light.
+  Two glimmering Orbs he just observ'd from far,
+  The Ocean wide, and dubious either Star,
+  _Donne_ teem'd with Wit, but all was maim'd and bruis'd,
+  The periods endless, and the sense confus'd:
+  _Oldham_ rush'd on, impetuous, and sublime,
+  But lame in Language, Harmony, and Rhyme;
+  These (with new graces) vig'rous nature join'd
+  In one, and center'd 'em in _Dryden_'s mind.
+  How full thy verse? Thy meaning how severe?
+  How dark thy theme? yet made exactly clear.
+  Not mortal is thy accent, nor thy rage,
+  Yet mercy softens, or contracts each Page.
+  Dread Bard! instruct us to revere thy rules,
+  And hate like thee, all Rebels, and all Fools.
+
+    His Spirit ceas'd not (in strict truth) to be;
+  For dying _Dryden_ breath'd, O _Garth!_ on thee,
+  Bade thee to keep alive his genuine Rage,
+  Half-sunk in want, oppression and old age;
+  Then, when thy pious hands repos'd his head,[38]
+  When vain young Lords and ev'n the Flamen fled.
+  For well thou knew'st his merit and his art,
+  His upright mind, clear head, and friendly heart.
+  Ev'n _Pope_ himself (who sees no Virtue bleed
+  But bears th' affliction) envies thee the deed.
+
+    O _Pope_! Instructor of my studious days,
+  Who fix'd my steps in virtue's early ways:
+  On whom our labours, and our hopes depend,
+  Thou more than Patron, and ev'n more than Friend!
+  Above all Flattery, all Thirst of Gain,
+  And Mortal but in Sickness, and in Pain!
+  Thou taught'st old Satire nobler fruits to bear,
+  And check'd her Licence with a moral Care:
+  Thou gav'st the Thought new beauties not its own,
+  And touch'd the Verse with Graces yet unknown.
+  Each lawless branch thy level eye survey'd.
+  And still corrected Nature as she stray'd:
+  Warm'd _Boileau_'s Sense with _Britain_'s genuine Fire,
+  And added Softness to _Tassone_'s Lyre.
+
+    Yet mark the hideous nonsense of the age,
+  And thou thy self the subject of its rage.
+  So in old times, round godlike _Scaeva_ ran
+  _Rome_'s dastard Sons, a _Million_, and a _Man_.
+
+    Th' exalted merits of the Wise and Good
+  Are seen, far off, and rarely understood.
+  The world's a father to a Dunce unknown,
+  And much he thrives, for Dulness! he's thy own.
+  No hackney brethren e'er condemn him _twice_;
+  He fears no enemies, but dust and mice.
+
+    If _Pope_ but writes, the Devil _Legion_ raves,
+  And meagre Critics mutter in their caves:
+  (Such Critics of necessity consume
+  All Wit, as Hangmen ravish'd Maids at _Rome_.)
+  Names he a Scribler? all the world's in arms,
+  _Augusta_, _Granta_, _Rhedecyna_ swarms:
+  The guilty reader fancies what he fears,
+  And every _Midas_ trembles for his ears.
+
+    See all such malice, obloquy, and spite
+  Expire e're morn, the mushroom of a night!
+  Transient as vapours glimm'ring thro' the glades,
+  Half-form'd and idle, as the dreams of maids,
+  Vain as the sick man's vow, or young man's sigh,
+  Third-nights of Bards, or _H_----'s sophistry.
+
+    These ever hate the Poet's sacred line:
+  These hate whate'er is glorious, or divine.
+  From one Eternal Fountain _Beauty_ springs,
+  The Energy of _Wit_, and _Truth of Things_,
+  That Source is GOD: From _him_ they downwards tend,
+  Flow round--yet in their native center end.
+  Hence Rules, and Truth, and Order, Dunces strike;
+  Of Arts, and Virtues, enemies alike.
+
+    Some urge, that Poets of supreme renown
+  Judge ill to scourge the Refuse of the Town.
+  How'ere their Casuists hope to turn the scale,
+  These men must smart, or scandal will prevail.
+  By these, the weaker Sex still suffer most:
+  And such are prais'd who rose at Honour's cost:
+  The Learn'd they wound, the Virtuous, and the Fair,
+  No fault they cancel, no reproach they spare:
+  The random Shaft, impetuous in the dark,
+  Sings on unseen, and quivers in the mark.
+  'Tis Justice, and not Anger, makes us write,
+  Such sons of darkness must be drag'd to light:
+  Long-suff'ring nature must not always hold;
+  In virtue's cause 'tis gen'rous to be bold.
+  To scourge the bad, th' unwary to reclaim,
+  And make light flash upon the face of shame.
+
+    Others have urg'd (but weigh it, and you'll find
+  'Tis light as feathers blown before the wind)
+  That Poverty, the Curse of Providence,
+  Attones for a dull Writer's want of Sense:
+  Alas! his Dulness 'twas that made him poor;
+  Not _vice versa_: We infer no more.
+  Of Vice and Folly Poverty's the curse,
+  Heav'n may be rigid, but the Man was worse,
+  By good made bad, by favours more disgrac'd,
+  So dire th' effects of ignorance misplac'd!
+  Of idle Youth, unwatch'd by Parents eyes!
+  Of Zeal for pence, and Dedication Lies!
+  Of conscience model'd by a Great man's looks!
+  And arguings in religion--from No books!
+
+    No light the darkness of that mind invades,
+  Where _Chaos_ rules, enshrin'd in genuine Shades;
+  Where, in the Dungeon of the Soul inclos'd,
+  True Dulness nods, reclining and repos'd.
+  Sense, Grace, or Harmony, ne'er enter there,
+  Nor human Faith, nor Piety sincere;
+  A mid-night of the Spirits, Soul, and Head,
+  (Suspended all) as Thought it self lay dead.
+  Yet oft a mimic gleam of transient light
+  Breaks thro' this gloom, and then they think they write;
+  From Streets to Streets th' unnumber'd Pamphlets fly,
+  Then tremble _Warner_, _Brown_, and _Billingsly_.[39]
+
+    O thou most gentle Deity appear,
+  Thou who still hear'st, and yet art prone to hear:
+  Whose eye ne'er closes, and whose brains ne'er rest,
+  (Thy own dear Dulness bawling at thy breast)
+  Attend, O _Patience_, on thy arm reclin'd,
+  And see Wit's endless enemies behind!
+
+    And ye, _Our Muses_, with a _hundred tongues_,
+  And Thou, O _Henley!_ blest with _brazen lungs_;
+  Fanatic _Withers!_ fam'd for rhimes and sighs,
+  And _Jacob Behmen!_ most obscurely wise;
+  From darkness palpable, on dusky wings
+  Ascend! and shroud him who your Off-spring sings.
+
+    The first with _Egypt_'s darkness in his head
+  Thinks Wit the devil, and curses books unread.
+  For twice ten winters has he blunder'd on,
+  Thro' heavy comments, yet ne'er lost nor won:
+  Much may be done in twenty winters more,
+  And let him then learn _English_ at threescore.
+  No sacred _Maro_ glitters on his shelf,
+  He wants the mighty _Stagyrite_ himself.
+  See vast _Coimbria_'s comments[40] pil'd on high,
+  In heaps _Soncinas_,[41] _Sotus_, _Sanchez_ lie:
+  For idle hours, _Sa_'s[42] idler casuistry.
+
+    Yet worse is he, who in one language read,
+  Has one eternal jingling in his head,
+  At night, at morn, in bed, and on the stairs ...
+  Talks flights to grooms, and makes lewd songs at pray'rs
+  His Pride, a Pun: a Guinea his Reward,
+  His Critick _G-ld-n_, _Jemmy M-re_ his Bard.
+
+    What artful Hand the Wretch's Form can hit,
+  Begot by _Satan_ on a _M----ly_'s Wit:
+  In Parties furious at the great Man's nod,
+  And hating none for nothing, but his God:
+  Foe to the Learn'd, the Virtuous, and the Sage,
+  A Pimp in Youth, an Atheist in old Age:
+  Now plung'd in Bawdry and substantial Lyes,
+  Now dab'ling in ungodly Theories;
+  But so, as Swallows skim the pleasing flood,
+  Grows giddy, but ne'er drinks to do him good:
+  Alike resolv'd to flatter, or to cheat,
+  Nay worship Onions, if they cry, _come eat_:
+  A foe to Faith, in Revelation blind,
+  And impious much, as Dunces are by kind.
+
+    Next see the Master-piece of Flatt'ry rise,
+  Th' anointed Son of Dulness and of Lies:
+  Whose softest Whisper fills a Patron's Ear,
+  Who smiles unpleas'd, and mourns without a tear.[43]
+  Persuasive, tho' a woful Blockhead he:
+  Truth dies before his shadowy Sophistry.
+  For well he knows[44] the Vices of the Town,
+  The Schemes of State, and Int'rest of the Gown;
+  Immoral Afternoons, indecent Nights,
+  Enflaming Wines, and second Appetites.
+
+    But most the Theatres with dulness groan,
+  Embrio's half-form'd, a Progeny unknown:
+  Fine things for nothing, transports out of season,
+  Effects un-caus'd, and murders without reason.
+  Here Worlds run round, and Years are taught to stay,
+  Each Scene an Elegy, each Act a Play.[45]
+  Can the same Pow'r such various Passions move?
+  Rejoice, or weep, 'tis ev'ry thing for _Love_.
+  The self-same Cause produces Heav'n and Hell:
+  Things contrary as Buckets in a Well;
+  One up, one down, one empty, and one full:
+  Half high, half low, half witty, and half dull.
+  So on the borders of an ancient Wood,
+  Or where some Poplar trembles o'er the Flood,
+  _Arachne_ travels on her filmy thread,
+  Now high, now low, or on her feet or head.
+
+    Yet these love Verse, as Croaking comforts Frogs,[46]
+  And Mire and Ordure are the Heav'n of Hogs.
+  As well might Nothing bind Immensity,
+  Or passive Matter Immaterials see,
+  As these shou'd write by reason, rhime, and rule,
+  Or we turn Wit, whom nature doom'd a Fool.
+  If _Dryden_ err'd, 'twas human frailty once,
+  But blund'ring is the Essence of a Dunce.
+
+    Some write for Glory, but the Phantom fades;
+  Some write as Party, or as Spleen invades;
+  A third, because his Father was well read,
+  And Murd'rer-like, calls Blushes from the dead.
+  Yet all for Morals and for Arts contend----
+  They want'em both, who never prais'd a Friend.
+  More ill, than dull; For pure stupidity
+  Was ne'er a crime in honest _Banks_, or me.
+
+    See next a Croud in damasks, silks, and crapes,
+  Equivocal in dress, half-belles, half-trapes:
+  A length of night-gown rich _Phantasia_ trails,
+  _Olinda_ wears one shift, and pares no nails:
+  Some in _C----l_'s Cabinet each act display,
+  When nature in a transport dies away:
+  Some more refin'd transcribe their Opera-loves
+  On Iv'ry Tablets, or in clean white Gloves:
+  Some of Platonic, some of carnal Taste,
+  Hoop'd, or un-hoop'd, ungarter'd, or unlac'd.
+  Thus thick in Air the wing'd Creation play,
+  When vernal _Phoebus_ rouls the Light away,
+  A motley race, half Insects and half Fowls,
+  Loose-tail'd and dirty, May-flies, Bats, and Owls.
+
+    Gods, that this native nonsense was our worst!
+  With Crimes more deep, O _Albion!_ art thou curst.
+  No Judgment open Prophanation fears,
+  For who dreads God, that can preserve his Ears?
+  Oh save me Providence, from Vice refin'd,
+  That worst of ills, a _Speculative Mind_![47]
+  Not that I blame divine Philosophy,
+  (Yet much we risque, for Pride and Learning lye.)
+  Heav'n's paths are found by Nature more than Art,
+  The Schoolman's Head misleads the Layman's Heart.
+
+    What unrepented Deeds has _Albion_ done?
+  Yet spare us Heav'n! return, and spare thy own.
+  Religion vanishes to _Types_, and _Shade_,
+  By Wits, by fools, by her own Sons betray'd!
+  Sure 'twas enough to give the Dev'l his due,
+  Must such Men mingle with the _Priesthood_ too?
+  So stood _Onias_ at th' Almighty's Throne,
+  Profanely cinctur'd in a Harlot's Zone.
+
+    Some _Rome_, and some the _Reformation_ blame;
+  'Tis hard to say from whence such License came;
+  From fierce Enthusiasts, or Socinians sad?
+  _C----ns_ the soft, or _Bourignon_ the mad?
+  From wayward Nature, or lewd Poet's Rhimes?
+  From praying, canting, or king-killing times?
+  From all the dregs which _Gallia_ cou'd pour forth,
+  (Those Sons of Schism) landed in the _North_?--
+  From whence it came, they and the D----l best know,
+  Yet thus much, _Pope_, each Atheist is thy Foe.
+
+    O Decency, forgive these friendly Rhimes,
+  For raking in the dunghill of their crimes.
+  To name each Monster wou'd make Printing dear,
+  Or tire _Ned Ward_, who writes six Books a-year.
+  Such vicious Nonsense, Impudence, and Spite,
+  Wou'd make a Hermit, or a Father write.
+  Tho' _Julian_ rul'd the World, and held no more
+  Than deist _Gildon_ taught, or _Toland_ swore,
+  Good _Greg'ry_[48] prov'd him execrably bad,
+  And scourg'd his Soul, with drunken Reason mad.
+  Much longer, _Pope_ restrain'd his awful hand,
+  Wept o'er poor _Niniveh_, and her dull band,
+  'Till Fools like Weeds rose up, and choak'd the Land.
+  Long, long he slumber'd e'er th' avenging hour;
+  For dubious Mercy half o'er-rul'd his pow'r:
+  'Till the wing'd bolt, red-hissing from above
+  Pierc'd Millions thro'----For such the Wrath of _Jove_.
+  _Hell_, _Chaos_, _Darkness_, tremble at the sound,
+  And prostrate Fools bestrow the vast Profound:
+  No _Charon_ wafts 'em from the farther Shore,
+  Silent they sleep, alas! to rise no more.
+
+    Oh POPE, and Sacred _Criticism!_ forgive
+  A Youth, who dares approach your Shrine, and live!
+  Far has he wander'd in an unknown Night,
+  No Guide to lead him, but his own dim Light.
+  For him more fit, in vulgar Paths to tread,
+  To shew th' Unlearned what they never read,
+  Youth to improve, or rising Genius tend,
+  To Science much, to Virtue more, a Friend.
+
+
+
+Footnotes:
+
+[26] Margites.
+
+[27] Aristophanes.
+
+[28] Ennius.
+
+[29] ----clarumq; facem praeferre pudori, _Juv. S._ 1.
+
+[30] _See_ Varro_'s Character in_ Cicero_'s Academics._
+
+[31] _Epode_ 6.
+
+[32] _Alludes to this Couplet in his second Satire_,
+
+      Compositum jus fasq; animi, sanctiq; recessus,
+      Mentis, & incoctum generoso pectus honesto.
+
+[33] _See his first Satire of_ Nero_'s Verses,_ &c.
+
+[34] Juvenal.
+
+[35] _The_ Caesars _of the Emperor_ Julian.
+
+[36] Lucian_'s True History._
+
+[37] Roscommon, _Revers'd._
+
+[38] _Dr_. Garth _took care of Mr._ Dryden_'s Funeral, which
+some Noblemen, who undertook it, had neglected._
+
+[39] Three Booksellers.
+
+[40] Coimbria_'s comments._ Colleg. Conimbricense, _a Society in_ Spain,
+_which publish'd tedious explanations of_ Aristotle.
+
+[41] Soncinas, _a Schoolman._
+
+[42] Sa (Eman. de) _See_ Paschal_'s Mystery of Jesuitism._
+
+[43]
+  Pompeius, tenui jugulos aperire susurro. Juv. S. 4.
+  Flet, si lacrymas aspexit amici, Nec dolet. S. 3.
+
+[44]
+                  ------Noverat ille
+  Luxuriam Imperii veteris, noctesq; Neronis
+  Jam medias, aliamq; famem.  Juv. S. 4.
+
+[45] Et chaque Acte en fa piece & una piece entiere. _Boil._
+
+[46]_'When a poor Genius has labour'd much, he judges well not to expect
+the Encomiums of the Publick: for these are not his due. Yet for fear
+his drudgery shou'd have no recompense, God (of his goodness) has
+given him a personal Satisfaction. To envy him in this wou'd be
+injustice beyond barbarity itself: Thus the same Deity (who is equally
+just in all points) has given Frogs the comfort of Croaking, &c.'_
+
+                                    Le Pere Gerasse Sommes Theol. L. 2.
+
+[47] Plato _calls this an Ignorance of a dark and dangerous Nature,
+under appearance of the greatest Wisdom._
+
+[48] Gregory Nazianz: _a Father at the beginning of the Fourth Century.
+He writ two most bitter Satires (or Invectives) against the Emperor_
+Julian.
+
+
+
+
+  A
+  DISCOURSE
+  OF
+  SATIRES
+
+  _Arraigning Persons by Name_.
+  By Monsieur BOILEAU.
+
+
+When first I publish'd my Satires, I was thoroughly prepar'd for that
+Noise and Tumult which the Impression of my Book has rais'd upon
+_Parnassus_. I knew that the Tribe of Poets, and above all, Bad Poets,
+are a People ready to take fire; and that Minds so covetous of Praise
+wou'd not easily digest any Raillery, how gentle soever. I may farther
+say to my advantage, that I have look'd with the Eyes of a Stoick
+upon the Defamatory Libels that have been publish'd against me.
+Whatever Calumnies they have been willing to asperse me with, whatever
+false Reports they have spread of my Person, I can easily forgive
+those little Revenges; and ascribe 'em to the Spleen of a provok'd
+Author, who finds himself attack'd in the most sensible part of a
+Poet, I mean, in his Writings.
+
+But I own I was a little surpriz'd at the whimsical Chagrin of certain
+_Readers_, who instead of diverting themselves with this Quarrel of
+_Parnassus_, of which they might have been indifferent Spectators,
+chose to make themselves Parties, and rather to take pet with Fools,
+than laugh with Men of Sense. 'Twas to comfort these People, that I
+compos'd my ninth Satire; where I think I have shewn clearly enough,
+that without any prejudice either to one's Conscience or the
+Government, one may think bad Verses bad Verses, and have full right
+to be tir'd with reading a silly Book. But since these Gentlemen have
+spoken of the liberty I have taken of _Naming_ them, as an Attempt
+unheard-of, and without Example, and since Examples can't well be put
+into Rhyme; 'tis proper to say one word to inform 'em of a thing of
+which they alone wou'd gladly be ignorant, and to make them know, that
+in comparison of all my brother Satirists, I have been a Poet of great
+Moderation.
+
+To begin with _Lucilius_ the Inventer of Satire; what liberty, or
+rather what license did he not indulge in his Works? They were not
+only Poets and Authors whom he attack'd, they were People of the first
+Quality in _Rome_, and Consular Persons. However _Scipio_ and
+_Laelius_ did not judge that Poet (so determin'd a Laugher as he was)
+unworthy of their Friendship; and probably upon occasion no more
+refus'd him, than they did _Terence_, their advice on his Writings:
+They never thought of espousing the part of _Lupus_ and _Metellus_,
+whom he ridicul'd in his Satires, nor imagin'd they gave up any part
+of their own Character in leaving to his Mercy all the Coxcombs of the
+Nation.
+
+              ----_num_ Laelius, _aut qui_
+  _Duxit ab oppressa meritum Carthagine nomen,_
+  _Ingenio offensi, aut laeso doluere_ Metello
+  _Famosisve_ Lupo _co-operto versibus?_
+
+
+In a word, _Lucilius_ spar'd neither the Small nor the Great, and
+often from the Nobles and the Patricians he stoop'd to the Lees of the
+People.
+
+  _Primores populi arripuit populumq; tributim._
+
+
+It may be said that _Lucilius_ liv'd in a Republick where those sort
+of liberties might be permitted. Look then upon _Horace_, who liv'd
+under an Emperor in the beginnings of a Monarchy (the most dangerous
+time in the world to laugh) who is there whom he has not satiriz'd by
+name? _Fabius_ the great Talker, _Tigellius_ the Fantastick,
+_Nasidienus_ the Impertinent, _Nomentanus_ the Debauchee, and whoever
+came at his Quill's end. They may answer that these are fictitious
+Names: an excellent Answer indeed! As if those whom he attack'd were
+no better known; as if we were ignorant that _Fabius_ was a _Roman_
+Knight who compos'd a Treatise of Law, that _Tigellius_ was a Musician
+favour'd by _Augustus_, that _Nasidienus Rufus_ was a famous Coxcomb
+in _Rome_, that _Cassius Nomentanus_ was one of the most noted Rakes
+in _Italy_. Certainly those who talk in this manner, are not
+conversant with ancient Writers, nor extreamly instructed in the
+affairs of the Court of _Agustus_. _Horace_ is not contented with
+calling people by their _Names_; he seems so afraid they should be
+mistaken, that he gives us even their Sir-names; nay tells us the
+Trade they follow'd, or the Employments they exercis'd. Observe for
+Example how he speaks of _Aufidius Luscus_ Praetor of _Fundi_.
+
+  Fundos Aufidio Lusco _Praetore libenter_
+  _Linquimus, insani ridentes praemia scribae_
+  _Praetextam & latum clavum,_ &c.
+
+
+_We were glad to leave_ (says he) _the Town of_ Fundi _of which one_
+Aufidius Luscus _was Praeator, but it was not without laughing heartily
+at the folly of this man, who having been a Clerk, took upon him the
+Airs of a Senator and a Person of Quality._ Could a Man be describ'd
+more precisely? and would not the Circumstances only be sufficient to
+make him known? Will they say that _Aufidius_ was then dead? _Horace_
+speaks of a Voyage made some time since. And how will my Censors
+account for this other passage?
+
+  _Turgidus_ Alpinus _jugulat dum_ Memnona, _dumque_
+  _Diffingit_ Rheni _luteum caput: haec ego ludo_.
+
+
+_While that Bombast Poet_ Alpinus, _murders_ Memnon _in his Poem, and
+bemires himself in his description of the_ Rhine, _I divert my self in
+these Satires._ 'Tis plain from hence, that _Alpinus_ liv'd in the
+time when _Horace_ writ these Satires: and suppose _Alpinus_ was an
+imaginary Name, cou'd the Author of the Poem of _Memnon_ be taken for
+another? _Horace_, they may say, liv'd under the reign of the most
+Polite of all the Emperors; but do we live under a Reign less polite?
+and would they have a Prince who has so many Qualities in common with
+_Augustus_, either less disgusted than he at bad Books, or more
+rigorous towards those who blame them?
+
+Let us next examine _Persius_, who writ in the time of _Nero_: He not
+only Raillies the Works of the Poets of his days, but attacks the
+Verses of the Emperor himself: For all the World knows, and all the
+Court of _Nero_ well knew, that those four lines,
+
+  _Torva Mimalloneis_, &c.
+
+which _Persius_ so bitterly ridicules in his first Satire, were
+_Nero_'s own Verses; and yet we have no account that _Nero_ (so much a
+Tyrant as he was) caus'd _Persius_ to be punish'd; Enemy as he was to
+Reason, and fond as every one knows of his own Works, he was gallant
+enough to take this Raillery on his Verses, and did not think that the
+Emperor on this occasion should assert the Character of the Poet.
+
+_Juvenal_, who flourish'd under _Trajan_, shews a little more respect
+towards the great Men of his age; and was contented to sprinkle the
+gall of his Satire on those of the precedent reign. But as for the
+_Writers_, he never look'd for them further than his own time. At the
+very beginning of his Work you find him in a very bad humor against
+all his _cotemporary Scriblers_: ask _Juvenal_ what oblig'd him to
+take up his Pen? he was weary of hearing the _Theseide_ of _Codrus_,
+the _Orestes_ of this man, and the _Telephus_ of that, and all the
+Poets (as he elsewhere says) who recited their Verses in the Month of
+_August_,
+
+  _----&_ Augusto _recitantes Mense Poetas._
+
+
+So true it is that the right of blaming bad Authors, is an ancient
+Right, pass'd into a Custom, among all the Satirists, and allow'd in
+all ages.
+
+       *       *       *       *       *
+
+To come from the Ancients to the Moderns. _Regnier_ who is almost the
+only Satirical Poet we have, has in truth been a little more discreet
+than the rest; nevertheless he speaks very freely of _Gallet_ the
+famous Gamester, who paid his Creditors with _Sept_ and _Quatorze_,
+and of the _Sieur de Provins_ who chang'd his long Cloak into a
+Doublet, and of _Cousin_ who run from his house for fear of repairing
+it, and of _Pierre de Puis_, and many others.
+
+What will my Critics say to this? When they are ever so little
+touch'd, they wou'd drive from the Republick of Letters all the
+Satirical Poets, as so many disturbers of the Peace of the Nation. But
+what will they say of _Virgil_; the wise, the discreet _Virgil_? who
+in an Eclog where he has nothing to do with Satire, has made in one
+Line two Poets for ever ridiculous.
+
+  _Qui_ Bavium _non odit, amet tua carmina_ Moevi.
+
+
+Let them not say that _Bavius_ and _Moevius_ in this place are
+_suppos'd names_, since it would be too plainly to give the Lye to the
+learned _Servius_, who positively declares the contrary. In a word,
+what would my Censors do with _Catullus_, _Martial_, and all the Poets
+of Antiquity, who have made no more scruple in this matter than
+_Virgil_? What would they think of _Voiture_ who had the conscience to
+laugh at the expence of the renowned _Neuf Germain_, tho' equally to
+be admir'd for the Antiquity of his Beard, and the Novelty of his
+Poetry? Will they banish from _Parnassus_, him, and all the ancient
+Poets, to establish the reputation of Fools and Coxcombs? If so, I
+shall be very easy in my banishment, and have the pleasure of very
+good company. Without Raillery, wou'd these Gentlemen really be more
+wise than _Scipio_ and _Lelius_, more delicate than _Augustus_, or more
+cruel than _Nero_? But they who are so angry at the Critics, how comes
+it that they are so merciful to bad Authors? I see what it is that
+troubles them; they have no mind to be undeceiv'd. It vexes them to
+have seriously admir'd those Works, which my Satires have expos'd to
+universal Contempt; and to see themselves condemn'd, to forget in
+their old Age, those Verses which they got by heart in their Youth, as
+Master-pieces of Wit. Truly I am sorry for 'em, but where's the help?
+Can they expect, that to comply with their particular Taste, we
+should renounce common Sense? applaud indifferently all the
+Impertinencies which a Coxcomb shall think fit to throw upon paper?
+and instead of condemning bad Poets (as they did in certain Countries)
+to lick out their Writings with their own Tongue, shall Books become
+for the future inviolable Sanctuaries, where all Blockheads shall be
+made free Denizens, not to be touch'd without Profanation? I could say
+much more on this subject; but as I have already treated it in my
+ninth Satire, I shall thither refer the Reader.
+
+_FINIS._
+
+
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+113. T. R., _An Essay Concerning Critical and Curious Learning_
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+
+124. Anonymous, _The Female Wits_ (1704).
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+125. Anonymous, _The Scribleriad_ (1742). Lord Hervey, _The Difference
+Between Verbal and Practical Virtue_ (1742).
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+Transcriber's note:
+
+  The elongated "s" has been modernized.
+  Footnote marker placement has been made consistent.
+  Misprint "oe r" was corrected to "oe'r" (page 31).
+  Extra line spacing is intentional to represent both the end of a quote
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+
+
+***END OF THE PROJECT GUTENBERG EBOOK AN ESSAY ON SATIRE, PARTICULARLY ON
+THE DUNCIAD***
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