Essays on the Stage
by Thomas D'Urfey and Bossuet
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And now his third place is to prove my want of Modesty, and regard to the Audience—And here he's chewing his savoury word Smutt agen, and says Sancho and Teresa talk it broad [Footnote: Collier, p. 203.]; but since his Modesty has not quoted it, I hope my Reader will believe so well of mine, to think I have not written it; I assure him I don't know of any. And I have prov'd our Reformer can mistake, as he does of Marcellas Epilogue, who Raves, he says, with Raptures of Indecency, when the poor Creature is so cold, after her hot fit, that she rather wants a dram of the Bottle—But now, Bounce, for a full charge of Small Shot; here he has gather'd up a heap of Epithets together, without any words between, or connexion to make 'em sense; and this he says I divert the Ladies with—Snotty nose, filthy vermin in the Beard, Nitty Jerkin, and Louse snapper, with the Letter in the Chamber-pot, and natural evacuation. Why truly this is pretty stuff indeed, as his Ingenuity has put it together—but I hope every one will own, that each of these singly, when they are tagg'd to their sensible phrases, may be proper enough in Farce or Low Comedy; but as he has modell'd 'em, 'tis true they are very frightful—And if I had nothing to sing or say to divert Ladies better than this, I should think my self so despicable, that I would e'en get into the next Plot, amongst his Brother Grumblers—then despairing, do some doughty thing to deserve hanging, and depend upon no other comfort but his Absolution.

I remember, being lately at St. James's, this very part of the Doctors Book was read or rather spelt out to me, with tickling satisfaction, by one whose Wit and good Manners are known to be just of the same weight, who, since he can be merry so easily, he shall laugh at some of the Reformers Hotch-potch too, as I have mingled it for him. Jewish Tetragramaton, Stigian Frogs, reeking Pandaemoniums, Debauch'd Protagonists, Nauseous Ribaldry, Ranting Smutt, Abominable Stench, Venus and St George, Juliana, the Witch and the Parson of Wrotham [Footnote: Collier's Epithetes.], with the admirable Popish story of the Woman that went to the Play-House and brought home the Devil with her [Footnote: Collier, p. 257.]—And the Devil's in't indeed, if this charming Rhetorick of his, (since he calls mine so) especially joyn'd with that fine story from Tertullian, don't divert the Ladies as well as t'other; for 'tis very like a Catholick miracle you must know, and the top wit of it is, that when the Parson is Conjuring, he asks the Devil how he durst attack a Christian? who, like an admirable Joker as he was, answers, I have done nothing but what I can justify, for I seiz'd her upon my own ground. Now let the Devil be as witty as he can, I am sure the story, maugre Tertullian's Authority, or the Doctor's either, is confounded silly, and downright nonsense, what credit soever it has with him for its likeness to Jesuiticism. And now I think I have prov'd too, that a Clergy man can speak nonsense, pass it for humour too, and gratify his ease and his malice at once, without a Poet's putting his into his Mouth. And since we have been speaking of quibbling, I shall digress a little to entertain the Reader on that subject. Our Critick rallies Mr Dryden's Sancho in Love Triumphant, for saying, dont provoke me, I'm mischievously bent, to which Carlos a man of sense replys, nay you are bent enough in conscience, but I have a bent Fist for Boxing; Here says he (smartly) you have a brace of quibbles started in a line and a half [Footnote: Collier, p. 170.]—Very true, you have so—But suppose quibbling or punning—but I think this is call'd punning—Is this Gentlemans humour—if so, being a Soldier, I don't see it calls his sense in question at all—but now pray let's see, how our Critick manages a quibble, with a blunder tack'd to the Tail on't, in the page before, there, in the aforesaid Play, Celidea in a passion cries,

Great Nature break thy Chain that links together The Fabrick of this Globe, and make a Chaos, Like that within my Soul—

[Footnote: Collier, p. 68.]

Now, says the Doctor, keen as a Razor, if she had call'd for a Chair, instead of a Chaos, tripp'd off, and kept her folly to herself, the woman had been wiser. Calling for a Chair instead of a Chaos is an extreme pretty Quibble truly—but if the Critick had let the Chair-men have tripp'd off with her, instead of doing it herself as she sat in a Chair, I'm sure the blunder had been sav'd, and I think he had exprest himself a little wiser than he has—And come, now my hand's in, let's parallel Mr Dryden with our Reformer a little longer—Church-men (says Benducar in Don Sebastian,

Tho they Itch to govern all, Are silly, woful awkward Politicians, They make lame mischiefs, tho they meant it well.

[Footnote: Collier, p.104.]

So much the better_, says he, _for tis a sign they are not beaten to the trade_—Oh, that's a mistake, Doctor, they may be beaten to the Trade, and yet be bunglers—And proceeding:

_Their Interest is not finely drawn, and hid,_ _But Seams are coursely bungled up, and seen.

[Footnote: Ibid.]

These Lines, says he, are an Illustration taken from a Taylor. They are so, but what Justice is it in him to lessen 'em, whose own flights are ten times more ridiculous: For example, talking just before of tumbling the Elements together, he says, and since we have shewn our skill of Vaulting on the High Ropes, a little Tumbling on the Stage may not do amiss for variety [Footnote: Collier, p. 158.]. And now I will refer my self to the severest Critick of his party, whether an Illustration taken from a Taylor is not better than one taken from a Vagabond Rope-dancer, or Tumbler, forty times over; but his sense and way of Writing he thinks will infallibly overcome censure; not with me I assure him, to confirm it I must remark him once more, and then my digression shall end. He tells ye Cleora, in the Tragedy of Cleomenes, is not very charming, her part is to tell you, her Child suck'd to no purpose.

It pull'd and pull'd but now, but nothing came; At last it drew so hard that the Blood follow'd, And that red Milk I found upon its Lips, Which made me swoon for fear.

[Footnote: Cleomenes.]

There, says he, is a description of sucking for ye: And then like another Devil of a Joker runs on, truly _one would think the Muse on't were scarcely wean'd_—Very likely; and here I warrant he thinks his Witty Criticism, as safely hous'd now as a Thief in a Mill, as the old Saw has it, did not his plaguee want of Memory now and then contrive to disgrace him; or if you turn to the thirty fourth page of his Lampoon, as Mr _Vanbrooke_ calls it, after he has been comparing a fine young Lady to a _Setting-bitch-teacher.

Lower yet—down, down_, and after he has been bringing forth a Litter of Mr. _Congreeves_ Epithetes, as he calls them, _soothing softness, sinking Ease, wafting Air, thrilling Fears, and incessant scalding Rain_ [Footnote: Collier, p. 34.], all Crude, just as he did mine before, without any connexion of sense to 'em: He tells ye more plain in troth than wittily, that _they make the Poem look like a Bitch overstock'd with Puppies, and suck the sense almost to Skin and Bone_. [Footnote: Ibid, —.] For a Child to suck the Mother till the Blood follows, I think is not unreasonable, but for a Litter of Epithetes to suck the sense of a Poem to the Skin and Bone, is such Fustian stuff that nothing but a Creature, only fit for a Sucking-bottle, could be Author of—And now I think if he has given me any _Crocus Metallorum_, I am even with him with a Dose of _Jollop_, and can whisk too from one Play to another indifferently well, tho not so fast as he; for when I perus'd him first, I could compare him to nothing but an Humble Bee in a Meadow, Buz upon this Daizy, Hum upon that Clover, then upon that Butter-flower—sucking of Honey, as he is of Sense—or as if upon the hunt for knowledge, he could fly from hence to the Colledge at _Downy_, then to St. _Peter_'s at _Rome_, then to _Mahomet_ at _Mecha_, then to the Inquisition at _Goa_—And then buz home again to his own dormitory in _Shooe-lane_: And so much for his injustice, now to his errour in Criticism again, and to proceed in defence of _Don Quixot_.

Mary the Buxom, he says now swears faster 'tis false, and I deny it, she is so far from swearing fast, that she does not (rude as her character is) swear at all, unless the poor interjection I'cod—by his Authority can be made an Oath; and then if you'll peruse him on, here is a whole page and half upon this hint, That the Ladies must have left their Wits and Modesties behind them that came, and lik'd her Words or Actions; and that her Nastiness, and dirty Conversation, is a Midnight Cart, or a Dunghil, instead of an Ornamental Scene. [Footnote: Collier, p. 204.] Now you don't find out our Gentlemans malicious meaning by this, but I shall inform ye. He says, I'm sorry the Ladies brought their Wits and Modesties with them, that came to see this Character; and yet all the whole Town can witness, that as many of the Ladies as could get into the Play-House came thither, to wait upon Her late Majesty of Sacred Memory, who did me that honour only for my benefit; and who was of so nice a Temper, relating to Modesty, that if so much as a hint had been given her by those had seen it before, of such a thing as Immodesty, she had never came, much less had been diverted, as she was, when she did come; but this I take as striking at her through my sides; and I think, to use his own words, is above the Correction of the Pen. [Footnote: Collier, p. 206.] The next is such senseless malice, or ignorance, that it deserves a hoot; he finds Manuel in Don Quixot (playing in his Farce for the Dukes diversion) addressing to the Dutchess in this manner, in a Jargon of Phrase made ridiculous on purpose: Illustrious beauty, I must desire to know whether the most purifidiferous Don Quixot of the Manchissima, and the Squireiferous Pancha, be in this Company or no. To whom Sancho replies, imitating, as he thinks this fine stile, Why lookee, forsooth, without any more flourishes, the Governor Pancha is here, and Don Quixotissimo too, therefore, most Afflictedissimous Matronissima, speak what you Willissimus, for we are all ready to be your Servitorissimus. [Footnote: Vid. Shelton's Translation of Don Quixot, p. 205.] And this now he inserts as my own Invention and manner of Stile, which is taken verbatim from the History of Don Quixot, and is by all those that can judge of humour, very pleasant and fit for that purpose. Now if he has never read that History, his ignorance has abus'd me; and if he has, his impudence has, of which us perceiv'd he has Stock enough, for presently he worries me for saying, in my Epistle Dedicatory to the Duchess of Ormond, That I date my good fortune from her prosperous influence, and says 'tis Astrological. [Footnote: Collier, p. 207.] I don't know whether it has that sort of Learning in't or no, but 'tis as good sense as when he says, like a Wag as he is, that the Ladies fancy is just slip-stocking high, and she seems to want sense more than her Break-fast. [Footnote: Collier, p. 92.] Fancy slip-stocking high? no, no, the merry Grig must mean her pretty Leg was seen so high, for the Master of Art, I beg pardon of the rest that their Title is scandaliz'd, could never mean such Nonsence as t'other sure.

And now drawing near to an end, his malice grows more plainly to a head, by endeavouring to lessen my Credit with my Patron Mr. Montague, whose generous Candor and good Nature to me, and indeed to us all, he perhaps has heard of, for here our modest and moral Critick, has either mistaken the words, or found out a slip of the Press, which because it happens to be Nonsence, he has very gladly exposed for mine; 'tis in my Epistle to my aforesaid Patron, thus:

Had your Eyes shot the haughty Austerity upon me of a right Courtier, your valued minutes had never been disturbed with dilatory Trifles of this nature; but my heart, on dull Consideration of your Merit, had supinely wish'd you Prosperity at a distance_. [Footnote: Collier, p. 207.]

Mine in my Copy was written [due Consideration] but Doctor Crambo will have you believe, I consider'd so little to write the t'other; but now I will hold twenty Stubble Geese to the same number of Tithe Pigs, whenever he is preferr'd to be a Curate again, that I make my Patron smile more at my Entertainment of him at his own Cost, than ever he did at his quoting my dull Consideration, which no body but the dull Absolver could imagine a Man with any Brains could write. And to prove I have yet a few, I will try to Paraphrase upon his Farewel to me, the Translation in Verse, but the Reader shall have his first.

I like an Author that Reforms the Age, And keeps the right Decorum of the Stage; That always pleases by Just Reason's Rule; But for a tedious Droll, a quibbling Fool, Who with low nauseous Bawdry fills his Plays, Let him be gone, and on two Tressels raise Some Smithfield Stage, where he may act his Pranks, And make Jack Puddings speak to Mountebanks.

[Footnote: Collier,]

Your humble Servant good Doctor—Well, now for me.

I like a Parson, that no Souls does Lurch, And keeps the true Decorum of the Church; That always preaches by Just Reason's Rule; But for a Hypocrite, a Canting Fool, Who, cramm'd with Malice, takes the Rebels side, And would, for Conscience, palm on us his Pride, Let him, for Stipend, to the Gubbins* sail, And there Hold-forth for Crusts and Juggs of Ale.

[*: A Savage kind of People in the West of England.]

And so much by way of Prose, I shall only now give the Reformer a little further Advice, in return of his, in my Lyrical way, which is in a Fable of A Dog and an Otter; and to turn his own words upon him, the Citation may possibly be of some service to him, for if not concern'd in the Application, he may at least be precaution'd by the Moral. I find he knows I can sing to other Peoples sense, I'll try now if I can make him sing to mine: And when he Diverts, or is Diverted with Vox, then, Preterea nihil.

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Maxims and Reflections



(In Answer to a Discourse, Of the Lawfullness and Unlawfullness of PLAYS. Printed Before a late PLAY Entituled, BEAUTY in DISTRESS.)

Written in FRENCH by the Bp. of MEAVX.

And now made ENGLISH

The PREFACE By another HAND.


Printed for R. Sare, at Grays-Inn Gate, in Holborne. 1699.

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The Charge drawn up by _Mr. Collier_, against the English Stage hath obliged the Persons concerned in it, to use all possible methods for their own Vindication. But their Endeavours of this kind have been such as seem to have done no great Service to their Cause. The natural Reflection, arising upon the present State of the Controversy, is, that, when Persons so nearly concerned and so well qualified, to say all that the case will bear, have yet been able to say so little to the main points of the Accusation brought against them, the only effectual Reply would be either to write no more for the Stage, or to write for it after quite another manner, than of late hath been done. They that have attempted to answer the _View_ are in good hands already. But since other Succours are called in from abroad, 'tis fit the World should know, that this Reserve too hath been already defeated in it's own Countrey. And that we ought not to be imposed upon here in England, with an Adversary, _whose Arguments have been not only confuted and Scorned by Others, but also retracted by Himself, at home.

That Moroseness of humour, which Some in great good manners have of late been pleased to fix upon the English as their peculiar Character, might possibly be thought to dispose us to a blameable Extreme of Rigor in these matters. And therefore a Forreign Authority was artificially enough brought in, to reproach our pretended Niceness and Austerity. But when the Arguments of this Reply are observed to carry the Point as high, as even the so much upbraided View it self; All but the Willfully blind must see, that even the Gayeties of France could not endure the Corruptions of the Modern Theatres. And that the Complaints against such detestable Abuses are not due to any Quality of the Climate, or particular turn of Temper; but to the common and uniform Principles of Christianity and Virtue, which are the same in every Nation, professing to be governed by them.

To give that Discourse a better face, it is introduced by way of Letter from a Worthy Divine of the Church of England; and published before a late Play called Beauty in Distress. [Footnote: P. IX. X. XXVI.] Tis said to be approved, and recommended by that Reverend Person, for the satisfying some Scruples, whether a man may Lawfully write for the Stage. For a full Resolution whereof the doubting Poet is referred to this Discourse, as that which is presumed to come fully up to his purpose. But we are not told, whether the Divine or the Poet, or who else was the Translator of this Discourse: Or whether that Worthy Friend perused it in French, or in English only. Which yet in the present Case are Material Circumstances, and such as ought not to have been concealed, for Two Reasons particularly, which I hold myself obliged to give the Reader Intimation of.

The First is, That the following Reply produces and answers some Passages of the French Discourse, not to be found in the English. And these not only Expressions or single Sentences, but entire Arguments. Such is that of Plays being a Diversion suitable to the Design of instituting the Sabbath. Such again That which justifies the Acting them the whole Lent throughout. Now this manner of dealing is not exactly agreeable with that Impartiality and Freedom promised in the beginning of the Worthy Divines Letter. [Footnote: P. IX.] And therefore I can very hardly be perswaded, that One of that Character and Function, had the Forming of the Discourse, in the manner it now appears before Mr. M's. Play.

The other Reason, why I Suspect the Discourse not to be translated, or indeed so throughly approved, by a Divine of the Church of England, is, that, even in what does appear there, he speaks very favourably of acting Plays upon Sundays. Now admitting, that all the Profession are not such sowr Criticks as Mr. Collier, yet this is a Liberty, which I do not remember to have heard, that any Modern Divines of that Church allow. And whatever the Poet's Friend may be in His esteem, I shrewdly suspect, that He would hardly pass for a very Worthy Divine, who should so far Countenance these Diversions, as to let them into a share of that Holy day, dedicated to the Worship and more immediate Service of Almighty God,

One would not hastily question Testimonies in matters of Fact, where there appears any probable Arguments to support them. And therefore I am far from objecting against the Knowledge and Integrity of the Booksellers called in to vouch for that Letter, But withall I must beg leave to think it strange, that a Person of Learning and Character should so incautiously espouse a Discourse, and recommend it for the direction of a Gentleman's Conscience, who consulted him for Advice; the Reasoning whereof is not only so weak and Superficiall, but grounded upon Misconstruction in some, and Misrepresentation in Other Authorities cited by it. Methinks these ought to have been well examined, before a man had so perfectly gone into the Consequences drawn from them: such of them at least as are exceeding obvious, and might have been detected by recurring to Books, which almost every Divine hath ready at hand.

In this translated Reply the Reader will not have cause to complain of such Neglect. The Passages out of Thom: Aquinas, St. Jerom, and some others, have been diligently compared, and the Originals faithfully inserted in most material points. And I cannot but wish, that this Book, extant at Paris ever since 1694, had fallen into the hands of this Doubting Gentleman, instead of that Discourse, which it was intended to confute: That neither the Translator, nor his Friend the Worthy Divine, might have given themselves the Trouble of a Vindication of Plays; so reproachfully treated, and so substantially answered, that one would wonder it should have the confidence to appear in English afterwards, to tempt the same Scorn here, when followed cross the Seas by the Bishop of Meaux.

By some expressions, I confess one might be apt to think, that the Author of the Discourse was not perfectly known. But of that no reasonable Doubt can remain, when we find the Replyer to have retracted: and Submitted to the Censure of the Church, Why the Author expresses himself in Terms so soft and general I undertake not to determine. He might in Tenderness forbear his Adversarys Name; He might be content to look upon him as an unwary Publisher, rather than the Writer; and, after Submission made, might charitably desire, as far as might be, to cover his Reproach. It Suffices, that the Opinions in the Book be confuted, and exposed to shame; and when this is done in the Punishment of the Reputed Author, the matter is not great, if the Name from thenceforth be forgotten. If Mons'r Caffaro had the Hardiness to assert a Tract so unworthy his Character, his Answerer would not add perhaps to the Scandall, when that Shame had been taken to himself, with a Remorse becoming the Fact. But be this how it will, Censures, we know, are not inflicted upon Indefinite Some-bodies; that such were inflicted, and a Retractation made, the very first period is peremptory: And I hope the Bp. of Meaux, and his manner of writing, are at least as credible an Evidence of this, as the Booksellers can be Allowed to be, of that Letter being genuine, which refers Mr. M's Conscience to the Discourse for Satisfaction.

I am heartily glad, if the Plays written by that ingenious Gentleman are so chast and inoffensive, as he declares them to be. The rather, because the Success he mentions overthrows that frivolous Pretence, of the Poets lying under a Necessity of writing lewdly in order to please the Town. And if this Gentleman do yet retain the same tenderness of doing nothing for Gain or Glory, which does not strictly become him: If he be still as desirous to be satisfied what does, or does not, become him to do, with regard to the matter in hand, as I ought to presume he was, when he consulted his Friend, I would make it my request, that this Reply may be Seriously and impartially considered. And I cannot but hope, that it may disabuse him of the Errours the Discourse might lead him into, and I am much mistaken, if, upon these Terms, he ever writes for the Stage any more. Prejudice and Passion, Vainglory and Profit, not Reason, and Virtue, and the Common Good, seem but too plainly, to support this Practice, and the Defence of it, as the matter is at present managed among us. And a Person of Mr. M's Parts and Attainments cannot be at a loss, for much nobler subjects to employ them upon.

A Popular one perhaps it may be, but sure a wilder Suggestion, never was offered to men of Common sense, than, that if the Stage be damned, the Art used by Moses, and David, and Solomon, must be no more. [Footnote: See Mr. D's. verses before Beauty, in Distress.] Are we fallen into an Age so incapable of of distinguishing, that there should be no visible difference left between, the Excellencies and the Abuse of any Art? No. Mr: Dryden himself hath taught us better. We will have all due regard for the Author of Absalom and Achitophel, and several other pieces of just renown, and should admire him for a rich Vein of Poetry, though he had never written a Play in his whole Life. Nor shall we think our selves obliged to burn the Translation of Virgil by vertue of that sentence, which seems here to be pronounced upon that of the Fourth Book of Lucretius. The World, I Suppose, are not all agreed, that then is but One Sort of Poetry, and as far from allowing, that the Dramatick, is that One. They who write after those Divine, Patterns of Moses &c: will be no whit the less Poets, though there were not a Theatre left upon the Face of the Earth; Their Honours will be more deserved, Their Laurells more verdant and lasting, when blemished with none of those Reproaches from Others, or their own breasts, which are due to the Corrupters of Mankind, And such are all They, who soften men's abhorrence of Vice, and cherish their dangerous Passions. To tell us then, that All, even Divine, Poetry must be silenced and for ever lost, when the Play-houses are once shut up, is to impose too grossely upon our Understandings. And their Sophistry bears hard, methinks, upon Profaneness, which insinuates the Hymns dictated by the Holy Spirit, of God, to be so nearly related to the Modern Compositions for the Stage, that both must of necessity stand and fall together.

If Poetry have of late sunk in its credit, that misfortune is owing to the degenerate and Mercenary Pens, of some who have set up for the great Masters of it. No man I presume, is for exterminating that noble Art, no not even in the Dramatick part; provided it can be effectually reformed. But if the Reformation of the Stage be no longer practicable, reason good that the incurable Evil should be cut off: If it be practicable, let the Persons concerned give Evidence of it to the World, by tempering their Wit so, as to render it Serviceable to Virtuous purposes, without giving just offence to wise, and Good men. For it is not the Pretence of a good Design which can free the Undertakers from Blame, unless the Goodness of the end and Intention be Seconded with a Prudent Management of the Means. And if Matters once should come to that Extremity, better and much more becoming of the Two, no doubt it were, that our Maker's Praises should be sunk into Prose (as this Ingenious Person phrases it) than that in the midst of a Christan City, that Maker should be six days in seven publickly insulted and blasphemed in poetry.

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Announces Its

Publications for the Third Year (1948-1949)

At least two items will be printed from each of the three following groups:

Series IV: Men, Manners, and Critics

Sir John Falstaff (pseud.), The Theatre (1720). Aaron Hill, Preface to The Creation; and Thomas Brereton, Preface to Esther. [#15870] Ned Ward, Selected Tracts.

Series V: Drama

Edward Moore, The Gamester (1753). [#16267] Nevil Payne, Fatal Jealousy (1673). Mrs. Centlivre, The Busie Body (1709). Charles Macklin, Man of the World (1781).

Series VI: Poetry and Language

John Oldmixon, Reflections on Dr. Swifts Letter to Harley (1712); and Arthur Mainwaring, The British Academy (1712). Pierre Nicole, De Epigrammate. Andre Dacier, Essay on Lyric Poetry.

Issues will appear, as usual, in May, July, September, November, January, and March. In spite of rising costs, membership fees will be kept at the present annual rate of $2.50 in the United States and Canada; $2.75 in Great Britain and the continent. British and continental subscriptions should be sent to B.H. Blackwell, Broad Street, Oxford, England. American and Canadian subscriptions may be sent to any one of the General Editors.

NOTE: All income received by the Society is devoted to defraying cost of printing and mailing.

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Makes Available

Inexpensive Reprints of Rare Materials




Students, scholars, and bibliographers of literature, history, and philology will find the publications valuable. The Johnsonian News Letter has said of them: "Excellent facsimiles, and cheap in price, these represent the triumph of modern scientific reproduction. Be sure to become a subscriber; and take it upon yourself to see that your college library is on the mailing list."

The Augustan Reprint Society is a non-profit, scholarly organization, run without overhead expense. By careful management it is able to offer at least six publications each year at the unusually low membership fee of $2.50 per year in the United States and Canada, and $2.75 in Great Britain and the continent.

Libraries as well as individuals are eligible for membership. Since the publications are issued without profit, however, no discount can be allowed to libraries, agents, or booksellers.

New members may still obtain a complete run of the first year's publications for $2.50, the annual membership fee.

During the first two years the publications are issued in three series: I. Essays on Wit; II. Essays on Poetry and Language; and III. Essays on the Stage.

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MAY, 1946: Series I, No. 1—Richard Blackmore's Essay upon Wit (1716), and Addison's Freeholder No. 45 (1716). [#13484]

JULY, 1946: Series II, No. 1—Samuel Cobb's Of Poetry and Discourse on Criticism (1707) [#14528]

SEPT., 1946: Series III, No. 1—Anon., Letter to A.H. Esq.; concerning the Stage (1698), and Richard Willis' Occasional Paper No. IX (1698).

NOV., 1946: Series I, No. 2—Anon., Essay on Wit (1748), together with Characters by Flecknoe, and Joseph Warton's Adventurer Nos. 127 and 133. [#14973]

JAN., 1947: Series II, No. 2—Samuel Wesley's Epistle to a Friend Concerning Poetry (1700) and Essay on Heroic Poetry (1693).

MARCH, 1947: Series III, No. 2—Anon., Representation of the Impiety and Immorality of the Stage (1704) and anon., Some Thoughts Concerning the Stage (1704). [#15656]


MAY, 1947: Series I, No. 3—John Gay's The Present State of Wit; and a section on Wit from The English Theophrastus. With an Introduction by Donald Bond. [#14800]

JULY, 1947: Series II, No. 3—Rapin's De Carmine Pastorali, translated by Creech. With an Introduction by J. E. Congleton. [#14495]

SEPT., 1947: Series III, No. 3—T. Hanmer's (?) Some Remarks on the Tragedy of Hamlet. With an Introduction by Clarence D. Thorpe. [#14899]

NOV., 1947: Series I, No. 4—Corbyn Morris' Essay towards Fixing the True Standards of Wit, etc. With an Introduction by James L. Clifford. [#16233]

JAN., 1948: Series II, No. 4—Thomas Purney's Discourse on the Pastoral. With an Introduction by Earl Wasserman. [#15313]

MARCH, 1948: Series III, No. 4—Essays on the Stage, selected, with an Introduction by Joseph Wood Krutch.

The list of publications is subject to modification in response to requests by members. From time to time Bibliographical Notes will be included in the issues. Each issue contains an Introduction by a scholar of special competence in the field represented.

The Augustan Reprints are available only to members. They will never be offered at "remainder" prices.


RICHARD C. BOYS, University of Michigan EDWARD NILES HOOKER, University of California, Los Angeles H.T. SWEDENBERG, JR., University of California, Los Angeles


EMMETT L. AVERY, State College of Washington LOUIS I. BREDVOLD, University of Michigan BENJAMIN BOYCE, University of Nebraska CLEANTH BROOKS, Yale University JAMES L. CLIFFORD, Columbia University ARTHUR FRIEDMAN, University of Chicago SAMUEL H. MONK, University of Minnesota JAMES SUTHERLAND, Queen Mary College, London

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[Errors, Problems and Anomalies (all in The Campaigners unless otherwise noted):

J. W. Krutch Introduction (1948) good natured, heavy handed, slow witted, long winded no hyphens in original

title page the DOG and the OTTOR spelling as in the original

p. 2 horrid horrid Blasphemy duplication in original

p. 3 [Footnote: Collier, p.] number missing in original

p. 3 the Blockheaded Chaplain had been greazing his old Cassock original reads Bockheaded ... Gassock

p. 6 in the twinkling of an Ejaculation, as Parson Say-grace has it original reads Ejaculution (source is Congreve, The Double-Dealer: all texts consulted have a) when I find him in this Paragraph of his Book * raving on at this rate asterisk in original

p. 8 contrives to confute some canting prejudic'd Zealots original reads coutrives would he roar it out for Blasphemy, Profaneness, &c. original reads Balsphemy

p. 10 [Footnote: ...54] 5 or 6 letters missing Again speaking of Jupiter and Alcmena original reads Aclmena

p. 13 Yet he buffly goes on, so in original, possibly error for busily (printed text uses long s but reading is unambiguous)

p. 14 Ben Johnson found out Ananias and Rabby Buisy spellings as in original

p. 16 yet however seems to leer of our side reading uncertain, possibly loer

p. 17 [Footnote: D. Quix. p. 1. p. 20.] ? part 1, page 20

p. 19 and has so little the quality of Prophaneness original reads Prohaneness

p. 20 those that bring Devils upon the Stage conjectural reading: entire word "Stage" is illegible

p. 21 But then I have made the Curate Perez assist original reads Per.. (character's name in Don Quixote is Pero Perez)

let me ask the doctor why he does not shew me an example for this himself, and Practice better before he Accuses; for let the Reader look into his Desertion Discuss'd (for he shall find that I have trac'd him through all his Writings) and original reads let me ask the ..ctor why he does not shew me an example for this himself, and Pract... better before he Accuses; for let the Reader look into his Desertion Discuss'd (for he shall find that I have trac'd him through all his Writing.....d

that the Absolver in the first Volume of his Essays, page 120, in his Chapter of the A... tells us, Whether the honesty or dishonesty are discernable in the face, is a question which admits of dispute original reads that the Ab...... in the first Volume of his Essays, page 120, in his Chapter of the A.... tells us, Whether the honesty or dishonesty are discernable in the face, .. . .uestion which admits of dispute

I believe an instance might be given original reads an instan.. .ight be

p. 23 here has escap'd for his usage of a Gentleman original reads Gentlemen

p. 24 as she sat in a Chair original reads Chiar

p. 25 he thinks will infallibly overcome censure original reads iufallibly

There, says he, is a description of sucking for ye original reads There, says he, .. . description of sucking for ye

And then like another Devil of a Joker runs on original reads ruus

did not his plaguee want of Memory so in original

after he has been bringing forth a Litter of Mr. Congreeves Epithetes, as he calls them original reads Epithetes, [blank] calls them

and incessant scalding Rain original reads incess...

He tells ye more plain in troth than wittily original reads He tells ye more plain in trot. wittily

they make the Poem look like a Bitch overstock'd with Puppies, and suck the sense almost to Skin and Bone. For a Child to suck the Mother till the Blood follows, I think is not unreasonable, but for a Litter of Epithetes to suck the sense of a Poem to the Skin and Bone, is such Fustian stuff that original reads they make the Poem look like a Bitch overstock'd with Pup...s, and suck ... sense almost to Skin and Bone. For a C.ild to suck t.. Mother t... ... Blood follows, I think is not, but fo. . ..tter of Ep....... .o suck the sense of a Poem to the Skin and Bone, is such Fustian ..... that

I am even with him with a Dose of Jollop capital J uncertain

And then buz home again to his own dormitory in Shooe-lane original reads Sho.e-lane

p. 27 [Footnote: Collier,] page reference missing in original

p. A2v (Maxims ...) might possibly be thought original reads possibly ]

[Supplementary Note:

Neither of the verse passages quoted on pg. 15 is by Chaucer. The first is from The Plowman's Tale, written about 1380 and traditionally attributed to Chaucer:

Of freres I have tolde before, In a makynge of a Crede. And yet I coulde tell worse and more, But men wolde weryen it to rede.

The second was printed in Tottel's Miscellany ("Songes and Sonettes written by the ryght honorable Lorde Henry Haward late Earle of Surrey, and other", 1557):

Flee fro the prese & dwell with sothfastnes Suffise to thee thy good though it be small, For horde hath hate and climyng ticklenesse Praise hath enuy, and weall is blinde in all Fauour no more, then thee behoue shall. Rede well thy self that others well canst rede, And trouth shall the deliuer it is no drede. ]


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