The Project Gutenberg EBook of Poeta de Tristibus: Or, the Poet's Complaint, by Anonymous This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Poeta de Tristibus: Or, the Poet's Complaint Author: Anonymous Contributor: Harold Love Release Date: September 8, 2013 [EBook #43673] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK POETA DE TRISTIBUS *** Produced by Chris Curnow, Richard Tonsing, Joseph Cooper and the Online Distributed Proofreading Team at http://www.pgdp.net
The Augustan Reprint Society
(1682)
Introduction and Notes by
Harold Love
PUBLICATION NUMBER 149
WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
University of California, Los Angeles
1971
GENERAL EDITORS
William E. Conway, William Andrews Clark Memorial Library
George Robert Guffey, University of California, Los Angeles
Maximillian E. Novak, University of California, Los Angeles
ASSOCIATE EDITOR
David S. Rodes, University of California, Los Angeles
ADVISORY EDITORS
Richard C. Boys, University of Michigan
James L. Clifford, Columbia University
Ralph Cohen, University of Virginia
Vinton A. Dearing, University of California, Los Angeles
Arthur Friedman, University of Chicago
Louis A. Landa, Princeton University
Earl Miner, University of California, Los Angeles
Samuel H. Monk, University of Minnesota
Everett T. Moore, University of California, Los Angeles
Lawrence Clark Powell, William Andrews Clark Memorial Library
James Sutherland, University College, London
H. T. Swedenberg, Jr., University of California, Los Angeles
Robert Vosper, William Andrews Clark Memorial Library
Curt A. Zimansky, State University of Iowa
CORRESPONDING SECRETARY
Edna C. Davis, William Andrews Clark Memorial Library
EDITORIAL ASSISTANT
Lilly Kurahashi, William Andrews Clark Memorial Library
INTRODUCTION
The Publisher's Epistle to the
The Author's Epistle.
The First CANTO.
The Second CANTO.
The Third CANTO.
The Fourth CANTO.
PRESS VARIANTS
NOTES
REGULAR PUBLICATIONS FOR 1970-1971
SPECIAL PUBLICATION FOR 1969-1970-1971
The Augustan Reprint Society
Poeta de Tristibus: or, the Poet's Complaint (PdT) was published by two newly established booksellers, Henry Faithorne and John Kersey, early in November 1681 (title-page dated 1682). The poem is only one of a large number of Restoration satires on writers as a group, its nearest neighbors in time being the pseudo-Rochester "A Session of the Poets," the anonymous "Advice to Apollo," Mulgrave's "An Essay upon Satyr," Otway's The Poet's Complaint, Robert Gould's "To Julian, Secretary to the Muses," the anonymous "Satire on the Poets," Shadwell's The Tory Poets, and Thomas Wood's Juvenalis Redivivus. It differs from these in its Hudibrastic meter, the richness of its biographical detail, and a relatively mild degree of animus against its victims, though there is quite a deal against poetry as art and trade.
In the two introductory epistles, we are asked to believe first that the poem is the work of a young writer driven into exile by his poverty and secondly that the manuscript was sent from Dover to a relative on 10 January 1681 in acknowledgment of a piece of gold. It is possible, as will be seen, that this reflects an actual history; however, the matter is complicated by the existence of a second text, published by 12 November 1681 (Luttrell's date on his copy, now at Harvard, and apparently the only one still extant) as The Poet's Complaint (PC) in which the story is presented in a slightly different form and the text of the poem is little more than a third the length of PdT. An advertisement placed in Nathaniel Thompson's Loyal Protestant and True Domestick Intelligence on 19 November 1681 claims that the rival version, published by Dan Brown, was printed from a "spurious and very imperfect Copy which contains only the first Part of the said Poem, the three last Parts (which are the most considerable) being wholly left out, excepting some few lines of them foisted in here and there without any Sense or Coherence" and describes the Faithorne and Kersey manuscript as "from the Authors Original Copy in four parts (together with several Additions and Corrections by an Ingenious Person)." In[Pg ii] a recent article (PQ, XLVII [1968], 547-562) the present editor has argued against this account of the poem's genesis, and has proposed the following hypothetical order of versions. (For the details of the argument the reader is referred to the article.)
(1) An impromptu written as The Poet's Complaint on or about 30 December 1680, for despatch to "a Person of Quality," using materials from a commonplace book dating from circa 1677. This assumption is based on the terminal dates of its collection of quotations from other writers which differs from that of PdT, and a disparity between the times of composition alleged in the epistles to the two poems—PdT claiming "less than a fortnight's space" and PC "less than three days space."
(2) An enlarged version of #1 in four cantos completed by 10 January 1681. (The "Authors Original Copy.")
(3) The version of #2 revised and augmented by "The Ingenious Person," who may or may not have been identical with the "Publisher," and printed as Poeta de Tristibus.
It would follow that the near-simultaneous publication of versions #1 and #3 in November 1681 was wholly coincidental. My initial assumption that PC represents an early draft rather than a truncated copy of PdT has been reviewed with approval by my colleague David Bradley, using criteria developed during a study of analogous situations among Elizabethan dramatic texts. One of his most valuable observations is that the two versions are thematically distinct, PC being a satire on backbiting, attacking those who abuse poets and poetry, and PdT a more general study of the notion "Wit versus Wealth." It is unfortunately impossible to reproduce his more detailed comments since this would also involve reproducing sizeable sections of PC; however, the basic point concerning the direction of copying can be made in another way through the pattern of variants revealed in extracts from the epilogue to Lacy's The Old Troop and Dryden's prologue to Aureng-Zebe which are quoted in both[Pg iii] PC and PdT. Collation shows that both texts are derived from a lost intermediary which was in close though not complete agreement with PC against PdT. This rules out any chance that this section of PC could be derived from the printer's copy of PdT, and suggests that the intermediary is more likely to have been the hypothetical commonplace book or the MS of PC than any four-canto text, though the second possibility cannot be dismissed on textual grounds alone.
The only real clues to the authorship of the poem are the biographical details of the preface and the signature initials "T.W." following the author's epistle of PC—either or both of which may of course result from a conscious intention to deceive. Surprisingly, both seem to be relevant to the history of Thomas Ward, the author of the hudibrastic anti-protestant satire, England's Reformation (1719), who is known to have left England at roughly the time suggested as that of the poem's composition. In the life of Ward prefixed to An Interesting Controversy with Mr. Ritschel, Vicar of Hexham (1819), which appears to be based at an unknown degree of removal on a personal memoir, he is said to have been born on 13 April 1652, and to have returned to England in the thirty-fourth year of his age after at least "five or six years" abroad, a figure which may just be reconciled with a departure date in January 1680/1. However, other details of the case do not fit so well. To start with, it is hard to see how a man of twenty-eight could refer, as the author does in both epistles, to his "want of years, and a necessary Experience in the Ages humour." Nor is it easy to reconcile Ward's fervent Catholicism with a satiric allusion in PC to non-preaching bishops—a favorite topic of Puritan polemic—or with a reference to the Pope as "Rome's great Idol." Ward is said in the Life to have been a Catholic before his departure, and writes movingly in England's Reformation of his friendship with the Yorkshire anchorite Father Posket, executed in March 1679. The matter is further complicated by the appearance of the initials "T.W." together with the dateline "Rome, June 10. 79. Stilo Novo." on a broadsheet of 1679, A letter from Rome to a Friend in London in Relation to the Jesuits Executed, and those that are to be Executed in the Countryes, which is in fact an anti-Catholic tract vigorously supporting the executions. For this to have been the work of Ward we would have to assume that he had set out for[Pg iv] Rome at least two years before the departure of the Poeta and then suffered a violent relapse into Puritanism. On the other hand, if the pamphlet, as is quite probable, was really the work of one of Shaftesbury's propagandists in London, there would have been excellent reasons for attaching the initials of a known Catholic exile. As the year 1679 is also within the stated date-range of Ward's departure, the existence of the broadsheet must count marginally against his being the author of PdT.
I can cast no further light on this mystery beyond proposing that if the story of the exiled poet is in fact a fabrication, the poem may have been the work of a younger (b. 1661) and Protestant "T.W." in the person of Thomas Wood, Anthony à Wood's nephew, later celebrated as a legal writer, poet, and controversialist and for his fondness for anonymous and pseudonymous publication. Two of Wood's poems, Juvenalis Redivivus (published anonymously in 1683) and an elegy on the death of Oldham (included with Dryden's lines in the Remains of 1684), are satires on the poets of a similar kind to PdT, while the second has a striking structural similarity to its opening canto. Neither PdT nor PC is included in Wood's list of his writings sent to his uncle in 1692 for inclusion in Athenae Oxonienses (Bodl. MS. Wood F.45, f.#229), nor do they appear in A Catalogue of Part of the Library of the Reverend Dr. Wood (London, 1723); however, neither omission need be significant. A third possibility is Thomas Walters, claimed by Anthony à Wood as the true author of William Bedloe's tragedy, The Excommunicated Prince (1679); but I have found nothing beyond the fact he was an author to connect him with PdT, nor any evidence that either he or Thomas Wood spent the years 1681-1682 otherwise than accumulating time for their degrees at Oxford.
Monash University
BIBLIOGRAPHICAL NOTE
This facsimile of Poeta de Tristibus (1682) is reproduced from a copy (*PR3291/P795) in the William Andrews Clark Memorial Library.
POETA DE TRISTIBUS:
OR, THE
Poet's Complaint.
A
POEM
In Four CANTO'S.
Ovid de Trist.
Parve, nec invideo, sine me Liber ibis in Urbem: Hei mihi! qụ——
LONDON,
Printed for Henry Faitborne and John Kersey, at the Rose in St. Paul's Church-Yard. 1682.
Courteous Reader,
The following Poem was presented me about a year ago; and (as it appears by the Author's Epistle to me) was designed only for my Private Divertisement: But numerous Draughts being dispers'd abroad, by the Unworthiness of a Gentleman I Trusted it withal, I was more easily perswaded to Publish the Original, to prevent the Inconveniencies of a Surreptitious Copy, which, without my Allowance, was designed for the Press.
The Author being out of England, I would not venture to set his Name to it; nor have I presumed thus far, without extraordinary regret; not that I know any other Reason that enforces[Pg x] a concealment, besides that it was sent to me with such a Bond. I am sure no particular Person can pretend to any distaste; and Satyr on general Subjects was ever Allowable, Religion and Government only excepted.
But I must Confess, that in the Third Part of this Poem, there were some Capital Letters which began the Names of certain Poets of this Age, but them I have so altered, lest any Offence should be given, that by them I am sure no Discovery can be made. I will no longer detain you from your better Divertisement in the following Poem; which, if you have any good Nature, you cannot chuse but favour, especially if you carry along with you those several Circumstances which in the way will offer themselves to you in the Author's behalf.
Farewel.
SIR,
My Obedience to your desire so happily concentring with my Inclination to this Subject, has in less than a fortnight's space produc'd what here you see. To you I need not make any Apology for its Artless Habit, who very well know my want of years, and a necessary Experience in the Ages humour; nor can you reasonably expect any extraordinary strokes from one whose thoughts are divided between so many various Afflictions; since Ovid himself, when Condemn'd to Banishment, was forc'd to resign that Spirit of Poetry, which animated all his Works, besides that of his De Tristibus. Besides, I must desire your Patience to observe, that (the Verse I use being a kind of Doggrel) it is but Natural that now and then it should run harsh and rugged; nor do I believe I have done amiss by forcing my self sometimes to be so very plain and familiar. As for the Rhyme and Measure, though perhaps they may not always answer the strictest Law, yet I do not think it worth the while to make any excuse for that, being faults so inconsiderable, that they are seldom reflected on, but by the meanest sort of Criticks, who want judgment to discern the Intrigues of Humour and Invention, which are the Principal Ingredients of a Poem, and which I must needs confess are here extreamly deficient: For as this little Poem was written extempore, so it presumes to kiss your hand in its[Pg xii] Native unpolish'd shape, not having the least thought or word of it Corrected; for to Morrow being the time we design to take Shipping, I had not so much leisure as to Transcribe it.
I must Confess, it seems unnatural, that one who pretends to the Title of a Poet, should endeavour, as I have done, to disparage his own Profession. However, the Poets of this Age, whom it most concerns, I hope will not take it unkindly of me, since doing thus, I only follow the Example they have given me; for in that short time of my Residence in London, among all the Poets I was in Company with, I heard little else besides their Complaints, and unmerciful damnings both of the Times and one another. Neither have I seen a Modern Play but either began or ended in the same Tune. Some few of which I have, for Example-sake, here presumed to quote.
In the Prologue to Aurenzebe.
In the Epilogue to the Libertine.
In the Epilogue to Monsieur Rogooe.
In the Prologue to Theodosius; Or the Force of Love.
In the Prologue to the Unhappy Favourite; or the Earl of Essex.
In the Epilogue to the same Play.
And a little after.
Now I do not blame these Ingenuous Gentlemen for inveighing against the thing to which they owe their Ruin; nor were it to any purpose to endeavour to conceal a Truth so generally taken notice of: For who is Ignorant of this, that a Man, in all Professions, except that of Poetry, may with Honour advance a Livelihood? But that (though it may be sometimes found proper for the Divertisement of those few who have leisure to read it) was ever known to be most unprofitable to the Authors; for few or none have been Advanced by it, though many have been hindred by this Art of Versifying, from making their Fortune otherwise in the World. Yea, this Profession is grown so Vile and abject, that whereas others count it an Ho[Pg xv]nour to be stiled Physicians, Barristers, or the like; these are offended with the very Name of Poet: And that with good Reason too, since Poetry only glories in Disguising the Truth; for which cause it begins to be Banished even from Theatres, to which alone it was Destinated; and Prose is now come in request, being prefer'd for its Gracefulness and Naturalness above it: By which means this Art is in danger to be confin'd to the Corners of Streets; to serve only for Songs and Ballads. Hence it was that Ovid was so severely Punished by his Father, to make him leave off this Art, which proved so unlucky to him, that he became of a Rich Roman Knight, a Miserable Exile among Barbarians. Hence Plato was pleased to Banish it out of his imaginary Common-Wealth. And Philip, the first Christian Emperour, denied them those Immunities which he granted to all others. Numerous Instances of this Nature offer themselves to my Pen, but I must take care not to stretch my Epistle too far, for fear you should Reflect on it, what was formerly said on Sir William D'avenant's Preface before his Gondibert,
However, I must not neglect to desire this one Favour of you, that after you have taken the pains to peruse these undigested Lines, you would be pleased to bestow on them a Funeral Fire; or if you apprehend that Sentence to be too severe, I do most earnestly beg of you to keep them Secret to your self, without shewing them to your trustiest Friend, at least, with my Name[Pg xvi] to them. It were superfluous now to engage you not to convey them to the Censorious World through the Press, since that, and more was already by the precedent Caution imply'd; besides, the Opinion I have of your Candour, is better grounded, than to admit of any such Jealousie.
I will now only add my most hearty Thanks for all your Favours, particularly for the Piece of Gold I Received inclosed in your last Letter; and had some others of my Relations proved as kind to me as your self, or had I in my own Countrey met with encouragement any way sutable to my Endeavours, I had not in this Passion shaken hands with it. But now I am in hast to be gone, yet will for ever remain,
Dearest Cousin!
Your assured, Faithful Friend,
and most Humble Servant.
Dated at Dover the Tenth
day of January, 1680/1.
POETA DE TRISTIBUS:
OR, THE
Poet's Complaint.
A
POEM.
FINIS.
PRESS VARIANTS
AND
NOTES
Copies collated: Clark (CLC); Trinity College, Cambridge, H. 6. 939 (CT1) and H. 10. 286 (CT2); British Museum (L); Folger (WF1); Folger/Luttrell (WF2).
Sheet B—Outer Forme.
Uncorrected: CT1, CT2, L, WF1.
Corrected: CLC, WF2.
B4v, 0x2113 7. Paragraph indentation supplied.
Sheet B—Inner Forme.
Uncorrected: CLC, CT1, WF1.
Corrected: CT2, L, WF2.
B4r, 0x2113 1. Chymsts] Chymists
Sheet C—Inner Forme.
Uncorrected: CT1, CT2, CLC
Corrected: L, WF1, WF2.
C3v, 0x2113 15. Peruque] Perruque
C4r, 0x2113 13. Crevat] Cravat
These notes are of necessity selective and are chiefly concerned with the identification of persons. No attempt has been made to indicate the complex textual relationships of the two versions. Where detailed evidence for identifications is not given, the reader is referred to the article mentioned above.
Title-page. Parve ... qụ-. Ovid, Tristia, I, i, 1-2.
A2v-A3v. The authors of the extracts are Dryden, Shadwell, Lacy, Lee, and Banks. The Banks extract is unlikely to have been in print for more than a few weeks at the time PdT was published. The corresponding list in PC is called "Quotations" and contains twenty-three passages of which only two reappear in PdT.
A4r: 15-16. Philip, the first Christian Emperour. Marcus Julius Philipus, c. 204-249.
P. 2: 21-22. Yet ... Liberty. The press regained its liberty through the expiry of the Licensing Act in 1679. This passage does not occur in PC and may be one of the "Ingenious Person's" additions to PdT.
P. 3: 28. Cris-cros-row. I.e., Christ-cross-row. The alphabet with a cross before it as represented in horn books.
P. 4: 4. Honourable stabs. Perhaps a reference to the attack on Dryden in Rose Alley on 16 December 1679, which was popularly attributed to various honorable persons satirized in Mulgrave's An Essay upon Satyr.
P. 4: 9-10. Tho' ... Bays. Cf. John Aubrey on the funeral of Samuel Butler on 27 September 1680:
About 25 of his old acquaintance at his Funerall. I myself being one of the eldest, helped to carry the Pall. His coffin covered with black Bayes. (Brief Lives, ed. O. L. Dick [London, 1958], p. 47.)
P. 6: 7. As Tonnellers catch Partridge. A tunnel was a kind of net used by bird-catchers.
P. 6: 21-22. As ... go. Cf. Donne's "A Lame Begger," The Satires, Epigrams and Verse Letters, ed. W. Milgate (Oxford, 1969), p. 51.
P. 6: 27. BARBARA. The opening word of a mnemonic used in expressing the moods of the syllogism.
P. 7: 21. Lab'ring Muses. PC has "tab'ring" (i.e., playing on tabors), a fairly clear case of lectio difficilior.
P. 10: 6. How a curst Broker met a Poet. The earlier part of the description seems to be hinting at the distresses of John Banks, who was reduced to poverty after two of his plays met censorship trouble; however, the closing section on pp. 16-17 is clearly meant to refer to Wycherley. It is possible that this is another of the "Ingenious Person's" additions. Indeed it would have to be as Wycherley's troubles did not begin until after the date given for the departure of the Poeta.
P. 10: 21. White-Fryers. The sanctuary area on the city side of the Temple: Shadwell's Alsatia.
P. 12: 1-2. half ... Temple-Bar. I.e., Whitefriars.
P. 12: 26. Being Tragedy, and writ in Rhimes. Dryden abandoned rhyme with All for Love (1677). Cf. Elkanah Settle's complaint in the preface to Ibrahim (licensed 4 May 1676): "Another misfortune the Play had, that it was written in Rhime, a way of writing very much out of Fashion...."
P. 16: 9. Where Bread and Cheese he said he'ld buy. This detail has some resemblance to a circumstance in Shiels and Cibber's[Pg 37] account of the death of Otway, which may derive from a mistaken belief that he was the subject of the passage. See R. G. Ham, Otway and Lee (New Haven, 1931), p. 214.
P. 16: 14. One who would play at six-pence gleek. The index of extravagance at gleek seems to have advanced alarmingly in the course of the seventeenth century. Jonson in The Devil is an Ass (V, ii, 31) specifies three-pence; however, Shadwell in 1680 was already foreseeing a shilling (Works, ed. M. Summers, IV, 60).
P. 16: 15. Creswel's. The famous bawdy house, finally closed down in 1681.
P. 16: 16. Locket's. An ordinary at Charing-Cross mentioned in many Restoration comedies.
P. 16: 21. the Royal Theatre. Presumably the Theatre Royal, Drury Lane, although the term could equally well be meant for the theatre at Whitehall.
P. 17: 7. the briskest of our Crew. Probably Dryden, although the description has some problematical features. The fact that the poet is a rhymer and connected with the Duke's house rules out most other possibilities.
P. 19: 1. Will have a Poet at their tail. Possibly Otway. In PC (pp. 2-3), a shorter version of the description is combined with lines from the "Dryden" portrait—the one piece of evidence for the truncation theory:
P. 20: 2. Channel-row. The scene of this canto is Arthur Prior's Rhenish house in Channel-row near Whitehall.
P. 20: 19. A. as 'tis first in th' Alphabet. In view of his exalted station, wealth, and Whiggish company, it is probably safe to identify "A" with Charles Sackville, Sixth Earl of Dorset, who is known as a habitué of Prior's wineshop through the stories of his encouragement of the owner's nephew Matthew. However, most details would apply equally well—in his own mind at least—to another prominent patron of the day, John Sheffield, Earl of Mulgrave. In this connection, it is interesting to note that Mulgrave's account at Child's bank records a payment of £20/—/—made on 14 May 1683 to a Thomas Wood. The name was, naturally, a common one.
P. 21: 28. And wounds it too with its own Sting. Presumably a reference to Dorset's "On Mr. Edward Howard upon his British Princes" or Mulgrave's "An Essay upon Satyr." Both poems may be found in the first volume of the Yale Poems on Affairs of State series (ed. George deForrest Lord [New Haven, 1963]).
P. 22: 3. Next unto A. B. took his place. Sir George Etherege. The opening lines anticipate Dean Lockier's comment recorded by Spence that "he was exactly his own Sir Fopling Flutter" which may on the other hand be derived from it. See Joseph Spence, Observations, Anecdotes, and Characters of Books and Men, ed. James M. Osborn (Oxford, 1966), p. 281.
P. 22: 17. For you must know he's kept by a Miss. Frederick Bracher has pointed out in a letter that Etherege was closely connected at this time with the circle of the Duchesse de Mazarin. See James Thorpe's note on "A Song on Basset," The Poems of Sir George Etherege (Princeton, 1963), pp. 85-87.
P. 22: 25. Heroick C. Elkanah Settle.
P. 23: 7. Cadem——. William Cademan, Settle's principal publisher.
P. 23: 23. But if you speak one word of's Chumb. Probably William Buller Fyfe, an Oxford friend who had assisted Settle with his first play, Cambyses. Fyfe was dead by the time the play reached the stage and Settle was criticized for bringing it out under his own name only.
P. 23: 26. D. the brisk lack-latine Poet. Thomas Shadwell. The accusation that he knew no Latin was repeated by Dryden in The Vindication of the Duke of Guise (1683) and is denied with characteristic stridency by Shadwell in The Tenth Satyr of Juvenal (1687). The accusation that his plays were partly written by others is made by Dryden in Mac Flecknoe ("But let no alien Sedley interpose") and is present by implication in Rochester's reference in "Timon" to "Shadwell's unassisted former Scenes...." Shadwell began his career as the collaborator of the aged Duke of Newcastle and acknowledges Sedley's help in his best comedy, A True Widow (1678). He was on good terms with Rochester, Dorset, and Buckingham and addressed dedications to the two last. The references to Horace and Lucretius allude to the preface to The Humorists and the opening scene of The Virtuoso, respectively.
P. 24: 14. Angling for single Money in a Shoe. This line from the Epilogue to The Libertine (1676) is quoted in context in the Author's Epistle. It also appears on the title-page of PC.
P. 27: 14. Whetstone-Whore. A reference to Whetstone Park, a street at the North end of Lincoln's Inn Fields. The name was subsequently changed to Whetstone St., but has since reverted,[Pg 40] perhaps under the liberalizing influences of its principal present-day occupants, The New Statesman and the Olivetti typewriter company.
P. 30: 12-17. To ... pick'd. The reference is apparently to one of the "posture artists" of Moorfields, another brothel district; however, there may also be an allusion intended to an incident in the Duke's playhouse on 23 June 1679, when John Churchill, the future Duke of Marlborough, attempted to cane Betty Mackerell, an orange girl, and was thrashed in his turn by Thomas Otway. See Ham, Otway and Lee, pp. 112-115.
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145-146. Thomas Shelton, A Tutor to Tachygraphy, or, Short-writing, 1642, and Tachygraphy, 1647. Introduction by William Matthews.
147-148. Deformities of Dr. Samuel Johnson, 1782. Introduction by Gwin J. Kolb and J. E. Congleton.
149. POETA DE TRISTIBUS: or, the Poet's Complaint, 1682. Introduction by Harold Love.
150. Gerard Langbaine, Momus Triumphans: or, the Plagiaries of the English Stage [A New Catalogue of English Plays], 1687. Introduction by David Rodes.
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PUBLICATIONS IN PRINT
1948-1949
16. Henry Nevil Payne, The Fatal Jealousie (1673).
18. Anonymous, "Of Genius," in The Occasional Paper, Vol. III, No. 10 (1719), and Aaron Hill, Preface to The Creation (1720).
1949-1950
19. Susanna Centlivre, The Busie Body (1709).
20. Lewis Theobald, Preface to the Works of Shakespeare (1734).
22. Samuel Johnson, The Vanity of Human Wishes (1749), and two Rambler papers (1750).
23. John Dryden, His Majesties Declaration Defended (1681).
1951-1952
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120. Bernard Mandeville, Aesop Dress'd or a Collection of Fables (1704).
1966-1967
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124. Anonymous, The Female Wits (1704).
125. Anonymous, The Scribleriad (1742). Lord Hervey, The Difference Between Verbal and Practical Virtue (1742).
1967-1968
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135. Sir John Hill, Hypochondriasis, a Practical Treatise (1766).
136. Thomas Sheridan, Discourse ... Being Introductory to His Course of Lectures on Elocution and the English Language (1759).
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140. A Learned Dissertation on Dumpling (1726) and Pudding Burnt to Pot or a Compleat Key to the Dissertation on Dumpling (1727).
141. Selections from Sir Roger L'Estrange's Observator (1681-1687).
142. Anthony Collins, A Discourse Concerning Ridicule and Irony in Writing (1729).
143. A Letter From A Clergyman to His Friend, With An Account of the Travels of Captain Lemuel Gulliver (1726).
144. The Art of Architecture, A Poem. In Imitation of Horace's Art of Poetry (1742).
Publications of the first fifteen years of the Society (numbers 1-90) are available in paperbound units of six issues at $16.00 per unit, from the Kraus Reprint Company, 16 East 46th Street, New York, N.Y. 10017.
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Transcriber's Notes:
Obvious spelling and typos corrected in the prose. Poetry lines corrected to image
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