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<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. O.</i> (1682).</div>
<p> </p>
<p> </p>
<p>Subsequent publications may be checked in the annual prospectus.</p>
<p> </p>
<p>Publications #1 through 90, of the first fifteen years of Augustan
Reprint Society, are available in bound units at $14.00 per unit of
six from:</p>
<p>
<span style="margin-left: 8em;">KRAUS REPRINT CORPORATION</span><br />
<span style="margin-left: 8em;">16 East 46th Street</span><br />
<span style="margin-left: 8em;">New York, N.Y. 10017</span><br />
</p>
<p> </p>
<p>Publications in print are available at the regular membership rate of
$5.00 yearly. Prices of single issues may be obtained upon request.</p>
<p> </p>
<hr style="width: 65%;" />
<h4>William Andrews Clark Memorial Library: University of California, Los
Angeles</h4>
<h3><span class="smcap">The Augustan Reprint Society</span></h3>
<p><i>General Editors</i>: George Robert Guffey, University of California, Los
Angeles; Maximillian E. Novak, University of California, Los Angeles;
Robert Vosper, William Andrews Clark Memorial Library.</p>
<p><i>Corresponding Secretary</i>: Mrs. Edna C. Davis, William Andrews Clark
Memorial Library.</p>
<p> </p>
<p>The Society's purpose is to publish reprints (usually facsimile
reproductions) of rare seventeenth and eighteenth century works. All
income of the Society is devoted to defraying costs of publication and
mailing.</p>
<p>Correspondence concerning memberships in the United States and Canada
should be addressed to the William Andrews Clark Memorial Library,
2520 Cimarron St., Los Angeles, California. Correspondence concerning
editorial matters may be addressed to any of the general editors at
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Europe. British and European prospective members should address B. H.
Blackwell, Broad Street, Oxford, England. Copies of back issues in
print may be obtained from the Corresponding Secretary.</p>
<p> </p>
<h4>PUBLICATIONS FOR 1967-1968</h4>
<p>127-128. Charles Macklin, <i>A Will and No Will, or a Bone for the
Lawyers</i> (1746). <i>The New Play Criticiz'd, or The Plague of Envy</i>
(1747). Introduction by Jean B. Kern.</p>
<p>129. Lawrence Echard, Prefaces to <i>Terence's Comedies</i> (1694) and
<i>Plautus's Comedies</i> (1694). Introduction by John Barnard.</p>
<p>130. Henry More, <i>Democritus Platonissans</i> (1646). Introduction by P.
G. Stanwood.</p>
<p>131. John Evelyn, <i>The History of ... Sabatai Sevi ... The Suppos'd
Messiah of the Jews</i> (1669). Introduction by Christopher W. Grose.</p>
<p>132. Walter Harte, <i>An Essay on Satire, Particularly on the Dunciad</i>
(1730). Introduction by Thomas B. Gilmore.</p>
<p> </p>
<h4>ANNOUNCEMENTS:</h4>
<p>Next in the series of special publications by the Society will be a
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