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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/29237-8.txt b/29237-8.txt new file mode 100644 index 0000000..64e4d13 --- /dev/null +++ b/29237-8.txt @@ -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-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._ + + + + +_BOOKS printed for_ LAWTON GILLIVER _at_ HOMER'S HEAD, +_against St._ DUNSTAN'S _Church,_ Fleetstreet. + + +Two Epistles to Mr. _POPE_, concerning the Authors of the Age. By the +Author of the Universal Passion. + +_Imperium Pelagi_: A Naval Lyrick; Written in Imitation of _Pindar_'s +Spirit. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <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> </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> </p> +<hr class="full" /> +<p> </p> +<p> </p> +<p> </p> + +<h3><span class="smcap">The Augustan Reprint Society</span></h3> +<p> </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> </p> +<h5>(1730)</h5> +<p> </p> + +<h5><i>Introduction by</i></h5> +<h4><span class="smcap">Thomas B. Gilmore</span></h4> +<p> </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> </p> +<hr style="width: 65%;" /> +<p> </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—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—not only "the +scourging of vice" but also "exhortation to virtue"—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> </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, & 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, & 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&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> </p> +<p> </p> +<p> </p> +<table border="0" cellpadding="0" cellspacing="0" summary="note"> +<tr><td align="center"><strong>BIBLIOGRAPHICAL NOTE</strong></td></tr> +<tr><td> </td></tr> +<tr><td>The text of this edition is reproduced from a copy in the University +of Illinois Library.</td></tr></table> +<p> </p> +<p> </p> +<p> </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> </p> +<table border="0" cellpadding="0" cellspacing="0" summary="Speedily Published"> +<tr><td align="center">Speedily will be Published,</td></tr> +<tr><td> </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 12º with Cuts.</td></tr></table> +<p> </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> </p> +<p> </p> +<p> </p> +<div class="figcenter"><img src="images/i_022.png" alt="decorative emblem" /></div> +<p> </p> +<p> </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 Pandæmonium</i> strike our Eyes!<br /> +Ev'n what on C——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>——'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>Æneas</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—<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——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—But <i>Satire</i> rose once more</span><br /> +Where <i>Medici</i> and <i>Leo</i> Arts restore.<br /> +<i>Tassonè</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—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>Tassonè</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>Scæva</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>——'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—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—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——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>Arachnè</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——<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——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>Phœbus</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———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>?—<br /> +From whence it came, they and the D——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'——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> </p> +<p> </p> +<p> </p> +<div class="figcenter"><img src="images/i_056.png" alt="Lion Motif" /></div> + + +<p> </p> +<p> </p> +<p> </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>] ——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, & 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> &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. Juv. S. 4.</span><br /> +<span style="margin-left: 2em;">Flet, si lacrymas aspexit amici, Nec dolet. S. 3.</span><br /></p> + +<p>[<a href="#f44.1">44</a><a name="f44" id="f44"></a>] <br /> +<span style="margin-left: 12em;">——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. 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 & 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> &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> </p> +<p> </p> +<p> </p> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> +<p> </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>Lælius</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;">——<i>num</i> Lælius, <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 læso doluere</i> Metello</span><br /> +<span style="margin-left: 1em;"><i>Famosisve</i> Lupo <i>co-operto versibus?</i></span><br /> +</p> +<p> </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> </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> Prætor of <i>Fundi</i>.</p> + +<p> +<span style="margin-left: 1em;">Fundos Aufidio Lusco <i>Prætore libenter</i></span><br /> +<span style="margin-left: 1em;"><i>Linquimus, insani ridentes præmia scribæ</i></span><br /> +<span style="margin-left: 1em;"><i>Prætextam & latum clavum,</i> &c.</span><br /> +</p> +<p> </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 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.</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: hæc ego ludo</i>.</span><br /> +<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span></p> +<p> </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>, &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>——&</i> Augusto <i>recitantes Mense Poetas.</i></span><br /> +</p> +<p> </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> Mœvi.</span><br /> +</p> +<p> </p> +<p>Let them not say that <i>Bavius</i> and <i>Mœvius</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> </p> +<p> </p> +<h2><i>F I N I S.</i></h2> +<p> </p> +<p> </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, 8º 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 Vidæ Opera Omnia Poetica</span>, quibus adjicitur ejusdem de +dignitate Rei-publicæ recensione. Dialogus. R. Russel, A. M. Two Toms, +12º.</p> + +<p>Quintus Horatius Flaccus. Compedibus Metricorum numerorum solutus: In +usum Tyronum. Opera & 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, &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> </p> +<h4>PUBLICATIONS IN PRINT</h4> +<p> </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. 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Gilmore.</p> + +<p> </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 +Society, $2.50 for the first copy and $3.25 for additional copies. +Price to non-members, $4.00.</p> + + +<p> </p> +<h3><span class="smcap">The Augustan Reprint Society</span></h3> +<h4>William Andrews Clark Memorial Library</h4> +<h5>2520 CIMARRON STREET, LOS ANGELES, CALIFORNIA 90018</h5> +<p> </p> +<h5>Make check or money order payable to <span class="smcap">The Regents of the University of +California</span></h5> + +<p> </p> +<p> </p> +<p> </p> +<hr style="width: 65%;" /> +<p>Transcriber's note:<br /> +<br /> +The elongated "s" has been modernized.<br /> +<br /> +Footnote marker placement has been made consistent.<br /> +<br /> +Extra line spacing is intentional to represent both the end of a quote +and the beginning of a new paragraph as presented in the original.</p> + +<p> </p> +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK AN ESSAY ON SATIRE, PARTICULARLY ON THE DUNCIAD***</p> +<p>******* This file should be named 29237-h.txt or 29237-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/2/9/2/3/29237">http://www.gutenberg.org/2/9/2/3/29237</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: 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._ + + + + +_BOOKS printed for_ LAWTON GILLIVER _at_ HOMER'S HEAD, +_against St._ DUNSTAN'S _Church,_ Fleetstreet. + + +Two Epistles to Mr. _POPE_, concerning the Authors of the Age. By the +Author of the Universal Passion. + +_Imperium Pelagi_: A Naval Lyrick; Written in Imitation of _Pindar_'s +Spirit. Occasion'd by His Majesty's Return, _Sept. 1729_, and the +succeeding Peace. By the same Author. + +Just publish'd, The SECOND EDITION of the DUNCIAD Variorum, 8 with +some additional NOTES and EPIGRAMS. + +The ART of POLITICKS, in Imitation of _Horace_'s Art of Poetry, with a +curious Frontispiece. _Risum Teneatis Amici._ + +M. HIERONYMI VIDAE OPERA OMNIA POETICA, quibus adjicitur ejusdem de +dignitate Rei-publicae recensione. Dialogus. R. Russel, A. M. Two Toms, +12. + +Quintus Horatius Flaccus. Compedibus Metricorum numerorum solutus: In +usum Tyronum. Opera & Studio N. Bailey. + +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_vo._ + +A few remaining Copies of Dr. Hickes's Thesaurus Ling. Vett. +Septentrionalium. Three Toms, Folio. Printed at Oxford. + +ARRIAN'S History of ALEXANDER'S Expedition and Battles: To which is +added, A Criticism on Q. Curtius, as a fabulous Historian. By M. le +Clerc, in two Vols, 8_vo._ + +The History of the COUNCIL of CONSTANCE. 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. + +The NURSE'S GUIDE: 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_vo._ + +POMONA: 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. + +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_vo._ + +_Where may be had the_ Spectators, Tatlers, Guardians, Freeholder, +Lover, _and_ Reader, _&c. Books in the_ LAW, _and other_ +SCIENCES; _with great Variety of single_ PLAYS. + + + +THE AUGUSTAN REPRINT SOCIETY + + WILLIAM ANDREWS CLARK MEMORIAL LIBRARY + UNIVERSITY OF CALIFORNIA. LOS ANGELES + +PUBLICATIONS IN PRINT + + +1948-1949 + +16. Henry Nevil Payne, _The Fatal Jealousie_ (1673). + +18. Anonymous, "Of Genius," in _The Occasional Paper_, Vol. III, No. +10 (1719), and Aaron Hill, Preface to _The Creation_ (1720). + + +1949-1950 + +19. Susanna Centlivre, _The Busie Body_ (1709). + +20. Lewis Theobald, _Preface to the Works of Shakespeare_ (1734). + +22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and two +_Rambler_ papers (1750). + +23. John Dryden, _His Majesties Declaration Defended_ (1681). + + +1950-1951 + +26. Charles Macklin, _The Man of the World_ (1792). + + +1951-1952 + +31. 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