The Project Gutenberg EBook of The Scribleriad and The Difference Between
Verbal and Practical Virtue, by Anonymous and Lord Hervey
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: The Scribleriad and The Difference Between Verbal and Practical Virtue
Author: Anonymous
Lord Hervey
Editor: A. J. Sambrook
Release Date: January 3, 2011 [EBook #34821]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK THE SCRIBLERIAD AND THE ***
Produced by Chris Curnow, Joseph Cooper and the Online
Distributed Proofreading Team at http://www.pgdp.net.
The Augustan Reprint Society
THE SCRIBLERIAD
(Anonymous)
(1742)
LORD HERVEY
THE DIFFERENCE BETWEEN
VERBAL AND PRACTICAL VIRTUE
(1742)
Introduction byA. J. SAMBROOK
PUBLICATION NUMBER 125
WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
University of California, Los Angeles
1967
GENERAL EDITORS
George Robert Guffey, University of California, Los Angeles
Earl Miner, University of California, Los Angeles
Maximillian E. Novak, University of California, Los Angeles
Robert Vosper, William Andrews Clark Memorial Library
ADVISORY EDITORS
Richard C. Boys, University of Michigan
James L. Clifford, Columbia University
Ralph Cohen, University of California, Los Angeles
Vinton A. Dearing, University of California, Los Angeles
Arthur Friedman, University of Chicago
Louis A. Landa, Princeton University
Samuel H. Monk, University of Minnesota
Everett T. Moore, University of California, Los Angeles
Lawrence Clark Powell, William Andrews Clark Memorial Library
James Sutherland, University College, London
H. T. Swedenberg, Jr., University of California, Los Angeles
CORRESPONDING SECRETARY
Edna C. Davis, William Andrews Clark Memorial Library
[Pg i]
Though they are never particularly edifying, literary quarrels may at times be educative. Always savage, attacks on Pope reached their lowest depths of scurrility in 1742, when, in addition to the usual prose and doggerel verse pamphlets, engravings were being circulated portraying Pope in a brothel—this on the basis of the story told in the notorious Letter from Mr. Cibber to Mr. Pope, dated 7 July 1742.[1] The Augustan Reprint Society has already reissued three of the anonymous Grub Street attacks made upon Pope in this busy year,[2] but the present volume is intended to complete the picture of the battle-lines by reprinting a verse attack launched from the court—by Hervey presenting himself as Cibber’s ally—and a verse defence that comes, in point of artistry, clearly from or near Grub Street itself.
Lord Hervey’s verses, The Difference between Verbal and Practical Virtue, were published between 21 and 24 August 1742, less than a week after the same author’s prose pamphlet (A Letter to Mr. C—b—r, On his Letter to Mr. P——.) which had compared the art of Pope and Cibber to Cibber’s advantage, and had roundly concluded that Pope was “a second-rate Poet, a bad Companion, a dangerous Acquaintance, an inveterate, implacable Enemy, nobody’s Friend, a noxious Member of Society, and a thorough bad Man.” In the course of the prose pamphlet Hervey had suggested that there was a certain incongruity between Pope’s true character and his assumed persona of the “virtuous man,” and this incongruity forms the main subject of his verse attack. Here Hervey finds examples of “the difference between verbal and practical virtue” in the lives of Horace, Seneca, and Sallust, before turning to lampoon Pope crossly and ineptly. The attack on Horace is well conceived for Hervey’s purpose and calculated to damage Pope who was in so many eyes, including his own, the modern heir of that ancient poet, but the straight abuse directed[Pg ii] against Pope’s person is sad stuff. Such lines as those on the “yelping Mungril” (p. 6) serve only to show how squarely the “well-bred Spaniels” taunt in the Epistle to Dr. Arbuthnot had hit its target. Hervey’s poem carried a prefatory letter headed “Mr. C—b—er to Mr. P.,” making out that Cibber had a hand in writing the poem itself. Coming so soon after Hervey’s Letter to Cibber, which had carried the markedly intimate subscription “With the greatest Gratitude and Truth, most affectionately yours,” this prefatory letter to the poem further emphasized Hervey’s firm and deliberate alliance with Cibber.
Evidently it was the strangeness of this alliance between the two opponents of Pope that struck the fancy of that unidentified “Scriblerus” whose “Epistle to the Dunces,” The Scribleriad, was published between 30 September and 2 October 1742. When Hervey was “affectionately yours” to Cibber, the two stood shoulder to shoulder so temptingly open to a single volley that the author of The Scribleriad could fairly claim, as Pope had claimed in the appendix to The Dunciad Variorum of 1729, that “the Poem was not made for these Authors, but these Authors for the Poem.” Hervey appears as “Narcissus,” the nickname Pope had used for him in The New Dunciad. A “late Vice-Chamberlain” (because he had been dismissed from that post in July 1742) still gorged with the fulsome dedication of Conyers Middleton’s Life of Cicero (1741), he is shown (pp. 11-13) rousing Cibber. Cibber’s situation, reclining on the lap of Dulness where he is found by Hervey, is taken from The New Dunciad, while his general Satanic role parallels Theobald’s in The Dunciad Variorum. This may reflect common knowledge that Pope was at work on revisions that would raise Cibber to the Dunces’ throne, but the belief that Cibber was King of the Dunces had been widespread from the date of his appointment as Poet Laureate.[3] The Scribleriad follows the general run of satires against Cibber—attacking his senile infatuation for Peg Woffington, his violently demagogic and chauvinistic Nonjuror (first acted in 1717 but still drawing an audience in 1741), his laureate odes and his frank commercialization of art.
Although the writer of The Scribleriad was obviously prompted by the example of The Dunciad and borrows many details from Pope,[Pg iii] his poem has very little of that mock-epic quality its title might lead a reader to expect. There are slight traces of parody of Virgil when, on page 16, Cibber appears as Aeneas (the character he was soon to assume in The Dunciad in Four Books) and the epicene Hervey is portrayed as a rejuvenated Sybil guiding the hero through a hell of duncery. There are hints of Paradise Lost too, when Cibber, Satan-like, undertakes his mission (p. 17) and the dunces, Belial-like, agree “they’re better in a cursed State,/Than to be totally annihilate” (p. 5). But “Scriblerus’” use of Virgil and Milton, unlike Pope’s, does not import some graver meaning into his poem; it provides him with neither a framework of moral symbols nor a continuous narrative thread.
The action is slight and its setting vague. Sometimes we are in a brothel, crowded with bullies, punks, lords, draymen and linkboys, and managed by Cibber (pp. 11-12) or by Dulness (p. 10). This setting, together with the claim that Cibber’s own muse is a prostitute (p. 8), serves as a retort to the Tom-Tit in the brothel story in Cibber’s Letter to Pope and to emphasize the element of literary prostitution in the activities of Cibber and his like. At other times the setting is a regular dunces’ club (pp. 9, 16) of the type chronicled in the pages of The Grub Street Journal. Towards the end of the poem it is an Assembly Room (p. 19) presided over by the Goddess of Puffs (a happy development of that more commonplace mythical figure “Fame,” Dulness’ handmaiden in The New Dunciad) who sets a test for the dunces and judges their performance. Only in this concluding episode can this rather shapeless poem (which certainly is neither the mock epic nor the epistle that its title-page promises) be assigned to any regular literary “kind.” This “kind” is that favorite of the seventeenth and early eighteenth centuries, the “Sessions Poem.”[4]
“Scriblerus’” account of the sessions of the dunces is more allusive and particularized than the rest of the poem and consequently calls for somewhat more detailed comment. The chief cases at the sessions embrace the pamphlet battle of summer 1742 and theatrical rivalry in the 1741-42 London season. Cibber’s contribution to the paper-war, the Letter to Pope (written according to Cibber “At the Desire of several Persons of Quality”), is[Pg iv] introduced at page 17 and consigned on page 19 to William Lewis its printer. Hervey stalks in “under VIRTUE’s Name” in a “borrow’d Shape” (p. 24), an allusion to the suggestion in the prefatory epistle to The Difference between Verbal and Practical Virtue that the poem was Cibber’s work. (The “horse him” on 25 of The Scribleriad refers to Cibber’s adaptation of Shakespeare’s Richard III.) Other pamphlets issued in August 1742 are mentioned on page 24—Sawney and Colley,[5] which “Scriblerus” calls “CLODDY’s Dialogue,” and A Blast upon Bays.[6]
Turning to the theatre, “Scriblerus” attacks all three major companies of the 1741-42 London season. He first introduces the two patented theatres, Drury Lane and Covent Garden, as rivals only in that debased dramatic form the pantomime. “The angry Quack” (p. 25) is John Weaver, dancing master at Drury Lane and author of Anatomical and Mechanical Lectures upon Dancing (1721), who claimed for himself[7] the credit of having originated pantomime upon the English stage. Weaver’s Orpheus and Eurydice at Drury Lane (1718) was hardly noticed, whereas John Rich had more recently bestowed “an ORPHEUS on the Town” (p. 25) to very different effect. Rich’s Orpheus and Eurydice: With the Metamorphoses of Harlequin had opened on 12 February 1740 at Covent Garden, where he was manager. With Rich himself as Harlequin, it was a wild success that season—remaining a regular and highly popular afterpiece through the 1741-42 season and later.
What The Scribleriad tells us of “Ambivius Turpio, the Stage ’Squire” (p. 26) suggests that he is to be identified with Charles Fleetwood, Esq.,[8] the wealthy, inexperienced amateur who managed Drury Lane (this even though the original Ambivius Turpio was an actor, while Fleetwood, apparently, was not). All managers were frequently involved in disputes over actors’ pay, but Fleetwood’s were the most notorious. It was the Drury Lane company that included “the contending POLLYS” (p. 27)—Mrs. Cibber and Mrs. Clive who had bitterly quarrelled in 1736 over who should play that role in The Beggar’s Opera. Fleetwood, like Rich, gave a play for the benefit of Shakespeare’s monument in Westminster Abbey.[9] What little that Fleetwood knew of management he might well have learned from his one-time under-manager Theophilus Cibber, the[Pg v] “young PTOLOMY” (p. 27) who, of course, had derived his knowledge from his “great Sire alone.”
The third theatre attacked in The Scribleriad is Goodman’s Fields. Its manager, Henry Giffard, had no patent, but contrived to evade the Licensing Act by the subterfuge of charging admission to a concert in two parts and then offering, “gratis” in the interval, a regular full-length play and afterpiece. The “City Wrath” (p. 26) arose from the fact that the theatre was inside the City boundaries and was thought to encourage vice; indeed, Sir John Barnard and his fellow aldermen managed to prevent it opening for the 1742-43 season and thereafter. Allusions in the poem are to the theatre’s highly successful 1741-42 season when Garrick sprang to fame as Cibber’s Richard III and also played Tate’s King Lear. On page 26 “Scriblerus” sneers at Garrick’s small stature,[10] and refers to the impropriety of including the figure of Cato in the décor at Goodman’s Fields.
Targets outside the three theatrical companies are chosen from among the obvious ones already attacked by Pope. Mrs. Haywood, who in 1742 had turned publisher under the sign of “Fame,” is shown (p. 21) appropriately enough as the first dunce to recognize the Goddess of Puffs. “The Chief of the translating Bards” (p. 23) is the aged and industrious Ozell, and his fellows include Theobald and Thomas Cooke (p. 24).[11] The satire extends to touch the Administration and the City, with references to Britain’s hitherto inactive part in the War of the Austrian Succession (p. 9) and to the manner in which stock-jobbers used false war news to aid their financial speculations (p. 4). It alludes to the “grand Debate” (p. 8) of the committee set up in March 1742 to consider charges of corruption against the deposed Walpole (created Lord Orford in February), which by the end of the summer had fizzled out, doubtless because so many members of the new government, including the numerous “Peers new-made” (p. 9), had shared Walpole’s peculations and wished to cover their tracks. When it hits at the King for his patronage of Cibber (p. 13), at the Queen for her ridiculous Merlin’s Cave and waxworks in Richmond Gardens (p. 16),[12] and at the Daily Gazeteer which, until Walpole’s fall, had been expensively subsidized from the government secret[Pg vi] service fund and had numbered among its journalists such highly placed statesmen as Walpole’s brother Horatio—then, The Scribleriad suggests, there is a general conspiracy between high ranks and low to encourage Dulness. The Hervey-Cibber alliance is merely the most recent manifestation of this conspiracy.
Although it so obviously arises immediately out of the pamphlet battle of summer 1742, The Scribleriad manages to range more widely in its satire than the anti-Pope lampoons it replies to. Further, it contrives to bring in Pope himself without degrading him to the level of his antagonists. This is done by mounting him on Pegasus and likening the dunces to curs (pp. 13-14), or comparing him to the sun whose warmth hatches out maggots (pp. 6, 29):
How many, who have Reams of Paper spoil’d,
Have often sleepless Nights obscurely toil’d,
And buried in their Eggs, like Silkworms, lay
’Till his warm Satire shew’d them Life and Day?
Here then, my Sons, is all your living Hope,
To be immortal Scriblers, rail at POPE.
The image, the attitude and the phrasing alike are borrowed from Pope, for The Scribleriad is highly derivative throughout. Only two or three times does “Scriblerus” improve at all upon the many hints he steals from Pope. I have already mentioned the Goddess Puffs, but other happy touches are to be found in a spirited travesty (pp. 16-17) of the opening lines from Ovid’s Metamorphoses, Book XIII:[13]
The Chiefs were sate, the Scriblers waited round
······
When he, the Master of the Seven-fold Face,
Rose gleaming thro’ his own Corinthian Brass.
Pope had written in The Dunciad Variorum, “The heroes sit; the vulgar form a ring” (II, 352), but one of the most memorable phrases in The Dunciad in Four Books of 1743—the ingeniously insolent “sev’nfold Face” (I, 244)—may well have been borrowed from The[Pg vii] Scribleriad. “Corinthian Brass” is good also, economically combining as it does a hit against Cibber’s effrontery and a hint of his sexual irregularities. Such strokes of wit are rare; The Scribleriad is the work of a writer who in skill is far closer to Grub Street than to Pope, but it may serve as “a voice from the crowd” to remind us that Pope had his humbler literary supporters.
The University
Southampton
[Pg viii]
1. The engravings are numbered 2571-2573 in F. G. Stephens, Catalogue of Prints and Drawings in the British Museum, Division 1—Satires (London, 1877), Vol. III, Part I. For lists of pamphlets attacking, and in some cases defending, Pope in 1742, see R. W. Rogers, The Major Satires of Alexander Pope (Urbana, 1955), pp. 150, 151 and C. D. Peavy, “The Pope-Cibber Controversy: A Bibliography,” in Restoration and Eighteenth Century Theatre Research, III (1964), 53, 54. For accounts of the Pope-Cibber quarrel see R. H. Barker, Mr. Cibber of Drury Lane (New York, 1939), pp. 204-220, and N. Ault, New Light on Pope (London, 1949), pp. 298-324.
2. Sawney and Colley and Blast upon Blast in Number 83 (1960), and The Blatant Beast in Number 114 (1965).
3. E.g., in The New Session of the Poets (The Universal Spectator, 6 Feb. 1731) the Goddess Dulness calls a session and awards the crown to Cibber.
4. See Hugh Macdonald, “Introduction,” A Journal from Parnassus (London, 1937) and A. L. Williams, “Literary Backgrounds to Book Four of the Dunciad,” PMLA, LXVIII (1953), 806-813.
5. See note 2 above.
6. An anti-Cibber work in prose. It is doubtful that “Scriblerus,” who thought this work did more harm than good to Pope’s cause, would have endorsed the British Museum catalogue’s attribution of it to Pope himself.
7. In The History of the Mimes and Pantomimes (1728).
8. Some account of Fleetwood may be found in R. W. Buss, Charles Fleetwood, Holder of the Drury Lane Theatre Patent (privately printed, 1915). There are hostile contemporary accounts of Fleetwood in Henry Carey’s epistle Of Stage Tyrants [(1735) reprinted in The Poems of Henry Carey, ed. F. T. Wood (1930)], in Charlotte Charke’s The Art of Management (1735), and in A Narrative of the Life of Mrs. Charlotte Charke, Youngest Daughter of Colley Cibber, Written by Herself (1735).
[Pg ix]9. Julius Caesar, on 28 April 1738. Rich offered Hamlet on 10 April 1739.
10. A lady once asked Foote, “Pray, Sir, are your puppets to be as large as life?” “Oh dear, Madam, no: not much above the size of Garrick.” See William Cooke, Memoirs of Samuel Foote (1805), II, 58.
11. Theobald never published his long promised translation of Aeschylus; but, by bracketing it with Cooke’s musical farce from Terence, The Eunuch, which was performed (Drury Lane, 17 May 1737), “Scriblerus” seems to imply that he did complete it.
12. The immediate target of this shaft was the waxwork show kept by Mrs. Salmon near St. Dunstan’s Church in Fleet Street, but the original “Merlin’s Cave” built for Queen Caroline in 1735 remained a standing jest into the 1740’s.
13. “Consedere duces et vulgi stante corona surgit ad hos clipei dominus septemplicis” (Met., XIII, 1-2). Dryden translates:
The Chiefs were set; the Soldiers crown’d the Field:
To these the Master of the seven-fold Shield
Upstarted fierce.
The text of this edition of The Scribleriad is reproduced from a copy in the Library of St. David’s College, Lampeter, and that of The Difference between Verbal and Practical Virtue from a copy in the British Museum.
[Pg 1]
THE
SCRIBLERIAD.
BEING AN
EPISTLE
TO THE
DUNCES,
On Renewing their
Attack upon Mr. POPE,
UNDER THEIR
Leader the LAUREAT.
By Scriblerus.
| No Author ever spares a Brother; Wits are Game Cocks to one another. | Gay. |
LONDON:
Printed for W. Webb, near St. Paul’s. 1742.
[Price Six-pence.]
[Pg 2]
[Pg 3]
THE
SCRIBLERIAD.
AN
EPISTLE
| The Wits are jarring, and the Witlings strive, To keep the dying Quarrel still alive; So shallow Gamesters, tho’ they nothing get, All blind the Dupe, and aid the sly Deceit. Attend, ye Scriblers! to your Leader’s Call, Good Sense condemn, and pointed Satire maul; Ye Dunces too! for ye not differ more Than Bluff and Wittol, or than Bawd and Whore: [Pg 4]High on the Pedestal of Rank and State, Mounts rich Sir Dunce, and seems to ape the Great; Whilst low beneath the wretched Scribler lies, And his Inscription unrewarded eyes; Equal are they, whom blund’ring Measures raise, And Bards who sasly censure, as they praise; The Statesman, well examin’d, will appear But Counterpart of his dear Gazetteer: Tho’ One in his gilt Chariot proudly rolls, Or heads in D——g-Room his Brother Tools— And Th’ other labours hard whate’er he says, Shining in Coffee-house with doubtful Phrase; Still restless in all Stations, pleas’d with none; For ever climbing, yet for ever down: Oft have we seen, that Noblemen have wrote, And Authors sometimes, strutting in lac’d Coat; But widely then from Nature’s Ends they err, And play the Farce quite out of Character. As well may pious Jobbers of the Alley Pretend the flying Troops of France to rally. [Pg 5]To proper Spheres, my Friends! yourselves confine! When Colley writes, a Dunce may praise each Line; Whether my Lord at Length, he views the Plan, Or sculks beneath a certain Gentleman; But if that Lord the Pen or Press invade, Rouse, rouse, ye Tribe! he’ll undermine your Trade, Tho’ not one brilliant Thought should hurt the whole, And ev’ry Verse be bad, or lame, or stole, Still, like a mad Dog, hunt th’ Usurper dead, Tho’ he for Fame, ye scribble to be fed; He stands condemn’d, who robs ye of your Bread. But if a Genius rise, whose pointed Wit Corrects your Morals, and all Tastes shall fit, Claim then the Privilege to be his Foes, Ye cannot shine, but when ye Worth oppose. When ye deny him Fame, ye fix your own, And to be satirized, is to be known. Some hold, they’re better in a cursed State, Than to be totally annihilate; [Pg 6]Thrice happy then, ye deathless, duncely Train! The Subjects of the higher Dunciad’s Strain. How many, who have Reams of Paper spoil’d, Have often sleepless Nights obscurely toil’d, And buried in their Eggs, like Silkworms, lay ’Till his warm Satire shew’d them Life and Day? Here then, my Sons, is all your living Hope, To be immortal Scriblers, rail at Pope. Snatch’d from Oblivion, there the Dunces soar, Tibbald their Monarch dubb’d, can ask no more, Nor less shall ye——now Colley gives the Word, Rouse up! and crowd into the next Record, Or, lost to Memory, no other Page Can possibly retrieve ye half an Age; And now the glad Occasion aptly calls, To break more Printers, and to spread more Stalls; To save your Names from Lethe, tho’ your Books Are doom’d the Prize of Fruiterers and Cooks. The Streams of Helicon once clearly flow’d, And Heav’n in their resplendent Bosom shew’d, [Pg 7]Whilst verdant Groves the sacred Mountain spread; Then Pegasus on Balms and Myrtles fed: Now blighted Thistles only crown the Top, Which Herds of young poetic Asses crop; And, choak’d with common Sew’rs, like Fleet-ditch Flood, Its sable Waters writhe along the Mud; Nor murm’ring wake, nor seem they quite asleep, Whilst Wits, like Water-rats, around them creep. If any shou’d attempt to cleanse your Streams, Or wake ye from your kind lethargic Dreams, Assert your Right, and render vain their Toil; Yours is the Filth, then join and guard your Soil! And lest ye’re diffident to aid the Cause, Not wholly yet broke loose from Reason’s Laws, View the strange Wonders of the present Times, Let Empires sleep, but hear the Fate of Rhimes. Let Pope lull all his Dunces with a Yawn, Wrapt in their Robes of P—ple or of L—wn, Whilst he shall leave one tatter’d Muse awake; That Muse his own and others Rest shall break. [Pg 8]A Prostitute, her Charms their Vigour lose, Now Colley keeps her, and she sups on Prose; But free and common, hack’d about the Town, Each of ye claim her! for she’s all your own. With him, unmov’d by Salary or Sack, She d——ns his Impotence of Brain and Back; That thus in Age he strains at Wit’s Embrace, And follows W—ff—n from Place to Place; But tho’ cold Prose to him she’ll only give, Ye, my pert Sons! who with more Ardour strive, May raise the bastard Issue of a Verse, To wear the wither’d Bays, or deck his Hearse. Now for six Months had O——d shook the State With grand Removals, and a grand Debate: Dunce elbow’d Dunce, each foremost wou’d advance, But backward fell, as in old Bayes’s Dance: When Dulness spread her pow’rful Yawn around, “And Sense and Shame, and Right and Wrong were drown’d, Enquiry ceas’d, and, touch’d by magic Wand, Ev’n Opposition’s self was at a Stand; [Pg 9]On well-oil’d Hinges creaks the Prison Gate, And Pains and Penalties will come too late. ’Twas Night’s high Noon at P—is and the H—ge, And Politics had died, but for poor P—gue; For why, “The Goddess bade Britannia sleep, “And pour’d her Spirit o’er the Land and Deep.” And now the Scriblers, motionless and mute, Sit down to count their Gains by the Dispute, To see on which Side Victory hath run; Like Mackbeth’s Witches, when the Mischief’s done, They tell ye, that the Battle’s lost and won: Contriving whom to greet, or whom disgrace, As Gazettes speak them in or out of Place; For Panegyrics drein their tilted Wit On Peers new-made, against the House shall sit, Or saucily appear before their Betters In sage Advice, or on an old Member’s Letters: Thus fate, they waiting the approaching Yawn, Wishing for Sleep till the next Sessions’ Dawn, [Pg 10]When the kind Goddess did her Jaws unclose, She snor’d aloud, and strait a Vapour rose, Unwholsome as the Damps a Collier meets Too often in his subterraneous Pits; For Dulness taints all round her where she breathes, As witness, Colley, thy dry blighted Wreaths: Nor cou’d the upward Gasp disperse the Steam, But from below disturb’d her Consort’s Dream; Yet from her downy Lap he started not, But mutter’d something thus—as loose of Thought; “He hurts not me—my Cæsar—Satire—dull, “Why all the World knows I’ve been long—a F—l; “But now—I’ll do’t—Yae—ough”—so said, he drops, Salutes his Queen’s Effulgence, and thus stops. The Throne where Dulness sate, maintaining Right, Resembled much some Monarch’s of the Night, Where gloomy Myrmidons and Punks resort, And snore on Benches round his ample Court. Both there and here, as in the busy World, Lords, Draymen, Linkboys, in Confusion hurl’d; [Pg 11]Beneath the Monarch, fond to be employ’d, Narcissus lay with too much Tully cloy’d; As Gluttons gorg’d at City Feasts too soon, Oft get their Naps before the rest lye down; Their heaving Stomachs turn’d at something tart, When others doze, oft make them wildly start: So he—“Why, what a Pax! who’d be a L—d, “If Worth and Merit only Praise afford? “I can’t be prais’d as Poet, Wit, or P——r, “But that dem’d Twick’nam Bard my Parts will jeer; “If I can’t write myself, here’s Colley shall; “I’ve often heard him swear—he’ll stand ’em all: “If he refuse me, I have still another, “I’ll hammer him conjointly with my B——r; “But sure the Laureat Harp must tune a Strain, “New mended by a late V——e C—mb—n; “For he, to give his Due unto the Devil, “Was always to us Folks of Fashion civil.” Resolv’d at once, he tweaks the Monarch’s Nose, The Monarch snor’d—new Streams from Dulness rose. [Pg 12]Close to his Ear he lays his dimpled Cheek, And in soft Accents speaks, or seem’d to speak, “Dear Laureate, rouse, the Enemy’s at Hand, “Another Dunciad travels round the Land, “Whence all the sole Proprietors of Trash, “Thy Friends and mine, most justly fear the Lash. Vain are his Efforts—yet again he tries, “Thy Odes!—oh save thy Odes!—dear Laureat rise; “If not for Odes—yet for Love’s Riddle wake— “Nor that?—thy Careless Husband’s then at Stake. All wou’d not do—his soft Distress preferr’d, Nor the great Mother, nor the Laureat heard; For on her Lap so daintily he lay, His Senses, breath’d into her, stole away; All Aims at a Recovery were vain, Till she vouchsaf’d to breathe them back again. “One gentle Imprecation more and then, “He cries, Farewel the Laureat and his Pen: “Thy Country calls, if thou resign’st thy Sense, “Yet rouse to be a Man of Consequence. [Pg 13]“Who calls thee Dunce, abuses too thy K—g, “Whose Praises, by thy Place, thou’rt bound to sing; “O! grant me Aid, assume the pleasing Task, “In thy Nonjuror’s fav’rite Name I ask. Thrice groan’d the Ompha, and in Thunder spoke, The Blast his Sense return’d, and Slumber broke; Nonjure! That Word alone unbinds the Charms, For Party-Dulness always sounds to Arms; Upstarts the Sire—“Mistake me not, he cries, “Whoever says I was asleep———he lies; “You know, my L—d, how I my Wits exert, “How always pleasing, and how always pert; “I know your Grief, before the Cause is told; “Then here my Pen in Readiness I hold. “Since by Desire I enter thus the Lists, “I vow Revenge—know, Colley ne’er desists: “Then I’ll pursue him with my latest Breath, “Nor drop this Pen ’till quite benum’d with Death. High on the Muses Pegasus Dan P—pe Mounts full of Spirit, nor vouchsafes to stoop, [Pg 14]But hears the Murmurs of the Dull upborn, Low empty Curses, or vain stingless Scorn; One Dash strikes all the mean Revilers down, As sure as Jove should swear by Acheron: Whether his Person be their standing Jest, Or his Religion suits their Libels best; Whether the Author forms his crude Designs, As the deserted Bookseller repines, Who, after all his Boasts, is tumbled by, And looks at D——ley with an evil Eye; Or if their standing Topics, Spleen and Spite, A Jesuit,——an Atheist,——Jacobite. In all their hard-strain’d Labours, squeez’d by Bits, Mark well the Triumph of these wou’d-be Wits; Like Village Curs, kick’d backward by the Steed, Their Noise and Yelping their Destruction breed; Or if the Rider smacks them with his Whip, ’Tis more t’ unbend the Lash, than make them skip: Yet still they rise and at it——Goddess hail! Who o’er thy Suns spread’st such a thick’ning Veil, [Pg 15]That Sense of Pain, as well as Shame, is lost, And you reward those best, who blunder most; For where are Honours, Places, Gifts bestow’d, But where thy Influence is most avow’d? Rest, while more modern Miracles I sing, Of Minor Dunces that from thee first spring; But all who Recreants thy Pow’r disclaim, And, Laureat-like, to Pertness change thy Name; And ye, her Sons, who’ve nothing else to do, Wait, if you please, the——Vision thro’: You, who in Manuscript your Works retale, And tag with Rhimes the latter Ends of Ale, But vow th’ ungrateful Age shall never see, In Print, how wond’rous wise and smart ye be; Or you, whose Muse has run you out of Breath, Or rode you like a Night-mare hagg’d to Death; Attend and learn from Dulness’ sleeping Shade, Another Goddess rises to your Aid. Pleas’d with the Vow, the glad submissive P—r, Thence leads the Monarch to a nobler Chair; [Pg 16]For why shou’d he at Dulness’ Footstool wait, Who knows so well to entertain with Prate; Some g—rt—r’d Dupes no nobler Titles boast, Than to have been the Objects of his Roast; For which they fill his Groupe, his Praises have, And shine like Salmon’s Dolls in Merlin’s Cave. The young Narcissus, whom (wou’d you believe, The Cornhill Priest, who never cou’d deceive) Had robb’d the Sibil of whate’er was sage, Or Good, or Wise, except her Gums and Age, Was the old Woman, tho’ in Youth renew’d, Who led Æneas when he H—ll review’d; Wrapt in the Steam that spread from Dulness’ Jaws, From her Posterior’s, perch’d, pert C——r draws, Conveys him to the Club—the Club despair, Till they the Snuff-box smell, and see the Chair. Then all the Dunciad d——n, and, grown elate, Prick up their Ears, and bray, “To the Debate! “The Chiefs were sate, the Scriblers waited round “The Board with Bottles, and with Glasses crown’d, [Pg 17]“When he, the Master of the Seven-fold Face, “Rose” gleaming thro’ his own Corinthian Brass, And thus—my L—s, we once again are met, Nor Sense hath robb’d us of a Vot’ry yet; Pleas’d, I the present Danger undertake, And gladly suffer, for my Country’s Sake; For I a prompt Alacrity agnize To be esteem’d or witty, smart or wise. This present War then with the Pope be mine; But one Thing beg, I, bending to your Shrine, Due Preference of Honour, Time and Place, And your Desires my Title Page to grace, He said and bow’d—a Whisper trill’d the Air Much as when C—mp—n wou’d have been L—d M—r. However, each assents, then forth he drew An Oglio Letter ready cook’d for View; Taste it had none; for, having long lain by, ’Twas lost like Camphire that doth quickly fly; But, as it never was in Print before, ’Twas new, they all believe, for Colley swore. [Pg 18]When one, as Deputy for all the rest, Thus, in due Form, their Advocate addrest. Great Laureat, thou whose yearly tuneful Notes Deafen the Court from Chappel-royal Throats, Oft has this Enemy to our Repose Wak’d us from Slumbers where we quiet doze, Reeking with Malice, and of Satire full, He neither lets us sin in quiet, or be dull: You too, with us, have his Attacks withstood, Have answer’d not, or wou’d not, if you cou’d; And to receive his Insults, in your Life, You offer’d him Release from all your Strife: So once did Cu—l, but he accepted not, As if ye both contemptible he thought; But sure this last Affront must give you Pain; Can you your usual Temper now retain? If this not rouse you, all our Hopes we’ll quit, And sue out Bankruptcy against your Wit: Therefore, as Monarch of the scribling Crew, This is a Debt to both our Int’rests due, For us he d—ns at once, in lashing you. [Pg 19]Let L—is then the happy Offspring rear, Tis safe, if once committed to his Care. He yields to their Intreaties, and then smil’d, The Goddess spread her Vapour round more mild, And strait a Form appear’d, like ancient Fame, Her Wings, her Trumpet, and her Robe the same, Each rous’d at once, and thought he grasp’d the Dame; But found ’twas all a Cloud or empty Space; No Substance, tho’ the Out-line they cou’d trace. And, thus disturb’d, a strange unsav’ry Fume Diffus’d itself around th’ Assembly Room: The Scent each mad’ning Brain did instant strike, All star’d, and thought it Fame, it look’d so like; Colley at once disclaim’d her—“For, says he, “I even Bread and Cheese prefer to thee; “The Smiles of Monarchs may no Comfort bring; “But then the Sack’s a wholsome pleasing Thing: “Had I won thee, I might have scap’d a Sneer, “And lost the twice One Hundred Pounds a Year. [Pg 20]“Then pray, dear Madam, if you please, be gone; “Come you a Spy to make our Counsels known?” When thus the Fantom——“Ye’re my Children all; “Thee, Colley, I my eldest Darling call; “Mistake not, I usurp no borrow’d Name, “And hate, as much as you, the Sound of Fame; “Tho’ I a Shadow on her Steps attend, “When she appears, my Empire’s at an End: “Your stern Antagonist draws Dulness right, “Daughter of Chaos, and eternal Night; “Wits boast their Pallas sprung from Brain of Jove; “We too had our Original above, “And claim the Heraldry of God-like Race, “Part of the Cloud Ixion did embrace; “Whence form’d in Aid of Dulness and her Train, “I oft her sinking Works in Air sustain; “And when they otherwise wou’d fall downright, “I waft them upwards to a second Flight: “So when the new-made Honours were confer’d “On all your earthly Recantation Herd, [Pg 21]“The Deities of Air, in Mirth and Sport, “Made me a Goddess, and allow’d a Court; “Long ye have known me—I o’er Puffs preside, “But ne’er, till now, appear’d in so much Pride. The whole Assembly to her Presence press, All own her, but, their Ignorance, confess, Was wholly owing to th’ inverted Dress: But both her Hands Eliza first uprear’d, Insisting only she the Pow’r rever’d: Oh make my Shop, she cries, thy fav’rite Shrine; You must, you shall, I have you on my Sign: All scold, and Indignation bent each Brow, None wou’d the other’s Privilege allow; When lo, a Youth of most distinguish’d Grace (Well known for pressing first in ev’ry Place, Whether he heads the Orders in the Pit, Or doth at B——n’s Judge of Boxing sit) Conspicuous mounts, and thus, in formal Speech, Begins——“Statesmen and Morals I impeach, [Pg 22]“Write Satires, and deny them for my own “In Advertisements, that I may be known; “Grant me thy Aid, great Goddess, but once more; “Not for myself alone I thee implore, “But for this Saint, who breathing now her last, “Wou’d fain retrieve Disreputation past. “If Gold you ask, long-hoarded Bags shall fly”— The Goddess smil’d, and puff’d it to the Sky. “Children, says she, Distinction should be made “To Scriblers, who are thus above the Trade; “For ye, who equal in all Prospects are, “To gain our Favour, we a Test prepare. “He that has oft’nest most disguis’d the Truth, “And render’d Sense and Reason quite uncouth; “Who Learning hath, by Artifice abus’d, “And by false Glasses vulgar Eyes amus’d; “Who seldom in his real Shape was seen, “For ever different to what h’ hath been; “Him for our royal Consort we select: “Begin—and Pertness all your Aims direct; [Pg 23]“And still to urge ye on to further Hope, “These Trophies wait the Man who lashes Pope. “The Wings from one of Mercury’s new Suits; “These grac’d his Cap, and these adorn’d his Boots; “But who shall mention Merit, or presume “To talk of Wit, him we forbid the Room.” Then first a Sage, of rev’rend hoary Years, The Chief of the translating Bards appears; And thus, in their Behalf—O pow’rful Maid! “Daily and nightly we invoke thy Aid; “In Pamphlets, numberless, have fully shown, “Nor Language dead or live to Sawney’s known; “Yet, spite of all the Methods we can try, “The silly World will yet his Homer buy: “But next we think”—the Goddess stopt them short! “All ye have done, but makes the Learned Sport; “To rail and call his Homer wretched Stuff; “To censure and condemn, is well enough; “But here’s the Curse on’t, ye’re such silly Elves “To shew the Diff’rence ye translate yourselves, [Pg 24]“Or T——ld else had, not five Years and more, “Hawk’d Æschylus about from Door to Door. “Terence’s Eunuch the same Fate partook, “Murder’d by merciless and mangling C——k. “But cease we this, the recent Matter try, “All who the present pidling Quarrel ply, “Stand forth”——In Party-colour’d Vest Cloddy appear’d, his Dialogue addrest, And swore he’d study’d Swift with so much Pains, He thought, at last, he’d gain’d his very Strains: The Piece perus’d, this Answer she return’d, “Obscenity, when dull, is always scorn’d; “And who puffs this, will, to his Sorrow, find “’Tis but a F—t will stink to all Mankind.” Blast claim’d the Prize, and said, he did deride The Poet, by appearing on his Side; The Goddess sent her Maid to kick him down, But e’er she rais’d her Foot, the Wretch was gone. Next, in a borrow’d Shape, by Clytus worn, In fierce theatric Battles hackt and torn, [Pg 25]A Wight stalkt in, and, under Virtue’s Name, On Horace, Salust, Seneca and Pope cry’d Shame; False English! baul’d he loud—the Goddess heard, And to the School-boys his Address preferr’d. He disappear’d, nor know we if he’s found, But horse him, horse him, dy’d in distant Sound. And now of ev’ry Sort came rushing in, Scriblers and Puffers, with a horrid Din; All who in various Occupations strive To keep their sev’ral Mist’ries alive, From Statesmen, who, for Coronets resign’d, To the Dutch Kettle, and the Window-Blind; But far above the rest, each Rival Stage The Favour of the Goddess wou’d engage; The angry Quack his Nostrums all forsakes, And, in Revenge, his Gallipots he breaks, ’Cause R—ch bestows an Orpheus on the Town, When he had, long before, run mad with one: Then Paper Wars, and long-ear’d Quarrels rise, And each the Goddess sues for fresh Supplies. [Pg 26]In spite of City Wrath and Aldermen, A Concert takes the Dregs of Drury-Lane: In pompous Stanzas they their Genius raise, And sound, in ev’ry Paper, their own Praise, From Rome and Death old surly Cato tear, To see the modern Liliputian lear, Greece is outdone, and learned Athens yields To the politer Stage of G———n’s-F—ds. Ambivius Turpia, the Stage ’Squire appear’d, The Nurse, who ev’ry modern Terence rear’d; A meagre Shade, quite uninform’d and wild, Yet still he flatter’d, smooth’d, and still he smil’d: Ne’er, but when frighten’d, cou’d he be sincere, And ne’er ap’d Honesty, but ’twas thro’ Fear; Revil’d, exploded on a rival Stage, To dull the Sting the Libellers engage; If double Pay is given them on his own, He smil’d Consent, and turns them on the Town. Then thus—Great Pow’r! thy darling Child behold, I’ve courted thee with Orders and with Gold, [Pg 27]This Scheme let the contending Pollys tell, This ev’ry Inns o’ Court Man knows full well. But mark, dear Goddess, this my Master-piece, Thus I revive the Arts of Rome and Greece; For Shakespear’s Monument I gave a Play, And stopp’d the starving Actors hard-got Pay, Yet bore I all the Praise and Puff away. Beasts graze the Plain, the Fishes skim the Sea, Cars are for Peers, Streets for Mechanics free; Thy Empire, Goddess, still hath been my Care, My Life’s a Puff, my Deeds, like Words, are Air. He spake, to grasp the Prize his Fingers stretch, As feeble Reeds spent Swimmers strive to catch; But finds himself pusht instantly away, And by young Ptolomy is kept at Bay. Give him the Prize, O Goddess, if thou durst, A Wretch beneath his lowest Puppets curst. The Claim he makes is owing to my Parts; I taught him Management, and all its Arts, [Pg 28]From my great Sire alone deriv’d, to me He gave it yet a living Legacy: In what theatric Region are unknown Our Puffs in ev’ry Bill, in ev’ry Paper shown? And where his short ones fail’d, I, better skill’d, The groaning Page with long Epistles fill’d: If Falsehood claims it, end the vain Dispute; ’Tis mine, avaunt, ye Puffers, and be mute; All Grubstreet tells——At this Conundrum rose, And thus—Fond Youth, no more thy Gifts expose; Tho’ the Foundation of this Art is Lies, Yet Truth is sometimes proper for Disguise: He who is always false, is ne’er believ’d, Who’s always honest, is sometimes deceiv’d; The Prize we’ll yield, prove it upon Record, That he or you e’er spoke but one true Word. Dismist—The Fantoms hover round the Place, And shew their Crimes in Mirrors to their Face? Each on the other gazing, ghastly stood, And wou’d have blush’d, or hid them, if they cou’d. [Pg 29]Then thus the Goddess—“Cease all further Strife, “Colley, thy Hand! I’m thine alone for Life; “Thine be the Prize, an Emblem of thy Wit, “Which tho’ not so, yet some will take for it: “But ’tis not long, ev’n me thou must forsake; “My last, my best, Advice then friendly take, “Dear Scriblers, all Adventurers in Wit, “Who scorn the Field of fell Debate to quit, “Howe’er he lash ye, still the War pursue, “Your Ignorance brings all his Wit to View; “The Insects hov’ring in the breezy Air “Shew th’ approaching vernal Season near; “The Maggot that in Sun-beams basking lies, “Tho’ the Heat scorch him, by that Heat he flies.” She spake, and then, unseen, unheard retir’d, Born in a Breath, she with a Sigh expir’d. |
FINIS.
(Just Publish’d, Price 6d.)
The Political Padlock, and the English Key. A Fable. Translated from the Italian of Father M——r S——ini, who is now under Confinement for the same in Naples, by Order of Don Carlos. With Explanatory Notes.
I grant all Courses are in vain,
Unless we can get in again:
The only Way that’s left us now,
But all the Difficulty’s How?
THE
DIFFERENCE
BETWEEN
VERBAL and PRACTICAL
VIRTUE.
| Dicendi Virtus, nisi ei, qui dicit, ea, de quibus dicit, percepta sint, extare non potest. Cic. |
WITH
A Prefatory Epistle from Mr. C—b—r to Mr. P.
| Sic ulciscar genera singula, quemadmodum à quibus sum provocatus. |
| Cic. post Redit. ad Quir. |
LONDON:
Printed for J. Roberts, near the Oxford-Arms in Warwick-Lane.
Mdccxlii.
Mr. C—b—r to Mr. P.
Have at you again, Sir. I gave you fair Warning that I would have the last Word; and by —— (I will not swear in Print) you shall find me no Lyar. I own, I am greatly elate on the Laurels the Town has bestow’d upon me for my Victory over you in my Prose Combat; and, encouraged by that Triumph, I now resolve to fight you on your own Dunghil of Poetry, and with your own jingling Weapons of Rhyme and Metre. I confess I have had some Help; but what then? since the greatest Princes are rather proud than asham’d of Allies and Auxiliaries when they make War in the Field, why should I decline such Assistance when I make War in the Press? And since you thought most unrighteously and unjustly to fall upon me and crush me, only because you imagin’d your Self strong and Me weak, as France fell upon the Queen of Hungary; if I like her (si parva licet componere magnis) by first striking a bold and desperate Stroke myself with a little Success, have encouraged such a Friend to me, as England has been to her, to espouse my Cause, and turn all the Weight of the War upon you, till you wish you had never begun it; with what reasonable and equitable Pleasure may I not pursue my Blow till I make you repent, by laying you on your Back, the ungrateful Returns you have made me for saving you from Destruction when you laid yourself on your Belly. I am, Sir, not your humble, but your devoted Servant; for I will follow you as long as I live; and as Terence says in the Eunuch, Ego pol te pro istis dictis & factis, scelus, ulciscar, ut ne impune in nos illus eris.
[Pg 1]
THE
DIFFERENCE
BETWEEN
Verbal and Practical VIRTUE
EXEMPLIFY’D,
In some Eminent Instances both Ancient and Modern.
| What awkard Judgments must they make of Men, Who think their Hearts are pictur’d by their Pen; That this observes the Rules which that approves, And what one praises, that the other loves. Few Authors tread the Paths they recommend, Or when they shew the Road, pursue the End: Few give Examples, whilst they give Advice, Or tho’ they scourge the vicious, shun the Vice; But lash the Times as Swimmers do the Tide, And kick and cuff the Stream on which they ride. [Pg 2]His tuneful Lyre when polish’d Horace strung, [a]And all the Sweets of calm Retirement sung, In Practice still his courtly Conduct show’d His Joy was Luxury, and Power his God; [b]With great Mæcenas meanly proud to dine, [c]And fond to load Augustus flatter’d Shrine; [d]And whilst he rail’d at Menas ill-got Sway, [e]His numerous Train that choak’d the Appian Way, His Talents still to Perfidy apply’d, Three Times a Friend and Foe to either Side. Horace forgot, or hop’d his Readers would, [f]His Safety on the same Foundation stood. That he who once had own’d his Country’s Cause, Now kiss’d the Feet that trampled on her Laws: That till the Havock of Philippi’s Field, Where Right to Force, by Fate was taught to yield, He follow’d Brutus, and then hail’d the Sword, Which gave Mankind, whom Brutus freed, a Lord: [Pg 3]Nor to the Guilt of a Deserter’s Name, Like Menas great (tho’ with dishonest Fame) Added the Glory, tho’ he shar’d the Shame. For whilst with Fleets and Armies Menas warr’d, Courage his Leader, Policy his Guard, Poor Horace only follow’d with a Verse That Fate the Freedman balanc’d, to rehearse; Singing the Victor for whom Menas fought, And following Triumph which the other brought. [g]Thus graver Seneca, in canting Strains, Talk’d of fair Virtue’s Charms and Vice’s Stains, And said the happy were the chaste and poor; Whilst plunder’d Provinces supply’d his Store, And Rome’s Imperial Mistress was his Whore. But tho’ he rail’d at Flattery’s dangerous Smile, A Claudius, and a Nero, all the while, With every Vice that reigns in Youth or Age, The Gilding of his venal Pen engage, And fill the slavish Fable of each Page. See Sallust too, whose Energy divine Lashes a vicious Age in ev’ry Line: [Pg 4]With Horror painting the flagitious Times, The profligate, profuse, rapacious Crimes, That reign’d in the degenerate Sons of Rome, And made them first deserve, then caus’d their Doom; With all the Merit of his virtuous Pen, Leagu’d with the worst of these corrupted Men; The Day in Riot and Excess to waste, The Night in Taverns and in Brothels past: [h]And when the Censors, by their high Controll, Struck him, indignant, from the Senate’s Roll, From Justice he appeal’d to Cæsar’s Sword, [i]And by Law exil’d, was by Force restor’d. [k]What follow’d let Numidia’s Sons declare, Harrass’d in Peace with Ills surpassing War; Each Purse by Peculate and Rapine drain’d, Each House by Murder and Adult’ries stain’d: Till Africk Slaves, gall’d by the Chains of Rome, Wish’d their own Tyrants as a milder Doom. If then we turn our Eyes from Words to Fact, Comparing how Men write, with how they act, How many Authors of this Contrast kind In ev’ry Age, and ev’ry Clime we find. Thus scribbling P—— who Peter never spares, Feeds on extortious Interest from young Heirs: [Pg 5]And whilst he made Old S—lkerk’s Bows his Sport, Dawb’d minor Courtiers, of a minor Court. If Sallust, Horace, Seneca, and He Thus in their Morals then so well agree; By what Ingredient is the Difference known? The Difference only in their Wit is shown, For all their Cant and Falshood is his own. He rails at Lies, and yet for half a Crown, Coins and disperses Lies thro’ all the Town: Of his own Crimes the Innocent accuses, And those who clubb’d to make him eat, abuses. But whilst such Features in his Works we trace, And Gifts like these his happy Genius grace; Let none his haggard Face, or Mountain Back, The Object of mistaken Satire make; Faults which the best of Men, by Nature curs’d, May chance to share in common with the worst. In Vengeance for his Insults on Mankind, Let those who blame, some truer Blemish find, And lash that worse Deformity, his Mind. Like prudent Foes attack some weaker Part, And make the War upon his Head or Heart. Prove his late Works dishonest as they’re dull; That try’d by Moral or Poetic Rule, The Verdict must be either Knave or Fool. [l]Whilst his false English, and false Facts combin’d, Betray the double Darkness of his Mind; [m]That Mind so suited to its vile Abode, The Temple so adapted to the God, [Pg 6]It seems the Counterpart by Heav’n design’d A Symbol and a Warning to Mankind: As at some Door we find hung out a Sign, Type of the Monster to be found within. From his own Words this Scoundrel let ’em prove Unjust in Hate, incapable of Love; For all the Taste he ever has of Joy, Is like some yelping Mungril to annoy And teaze that Passenger he can’t destroy. To cast a Shadow o’er the spotless Fame, Or dye the Cheek of Innocence with Shame; To swell the Breast of Modesty with Care, Or force from Beauty’s Eye a secret Tear; And, not by Decency or Honour sway’d, Libel the Living, and asperse the Dead: Prone where he ne’er receiv’d to give Offence, But most averse to Merit and to Sense; Base to his Foe, but baser to his Friend, Lying to blame, and sneering to commend: Defaming those whom all but he must love, And praising those whom none but he approve. Then let him boast that honourable Crime, Of making those who fear not God, fear him; When the great Honour of that Boast is such That Hornets and Mad Dogs may boast as much. Such is th’ Injustice of his daily Theme, And such the Lust that breaks his nightly Dream; That vestal Fire of undecaying Hate, Which Time’s cold Tide itself can ne’er abate, [Pg 7]But like Domitian, with a murd’rous Will, Rather than nothing, Flies he likes to kill. And in his Closet stabs some obscure Name, [n]Brought by this Hangman first to Light and Shame. Such now his Works to all the World are known, Who undeceiv’d, their former Error own; Whilst not one Man who likes his rhyming Art, Allows him Genius, or defends his Heart: But thus from Triumph snatch’d, and giv’n to Shame Lash’d into Penitence, and out of Fame. Since all Mankind these certain Truths allow, And speak so freely what so well they know; No wonder doom’d such Treatment to receive, That he can feel, and that he can’t forgive. Were I dispos’d to curse the Man I hate, Such would I wish his miserable Fate. Thus striving to inflict, to meet Disgrace, And wasted to the Ghost of what he was; And like all Ghosts which Men of Sense despise, Only the Dread of Folly’s coward Eyes. Thus would I have him despicably live, Himself, his Friends, and Credit to survive, Into Contempt from Reputation hurl’d, His own Detractor thro’ a scoffing World. |
FINIS.
The Augustan Reprint Society
WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
University of California, Los Angeles
Publications in Print
1948-1949
15. John Oldmixon, Reflections on Dr. Swift’s Letter to Harley (1712), and Arthur Mainwaring, The British Academy (1712).
16. Henry Nevil Payne, The Fatal Jealousie (1673).
17. Nicholas Rowe, Some Account of the Life of Mr. William Shakespear (1709).
18. Anonymous, “Of Genius,” in The Occasional Paper, Vol. III, No. 10 (1719), and Aaron Hill, Preface to The Creation (1720).
1949-1950
19. Susanna Centlivre, The Busie Body (1709).
20. Lewis Theobald, Preface to the Works of Shakespeare (1734).
22. Samuel Johnson, The Vanity of Human Wishes (1749), and two Rambler papers (1750).
23. John Dryden, His Majesties Declaration Defended (1681).
1950-1951
26. Charles Macklin, The Man of the World (1792).
1951-1952
31. Thomas Gray, An Elegy Wrote in a Country Churchyard (1751), and The Eton College Manuscript.
1952-1953
41. Bernard Mandeville, A Letter to Dion (1732).
1958-1959
77-78. David Hartley, Various Conjectures on the Perception, Motion, and Generation of Ideas (1746).
1959-1960
79. William Herbert, Third Earl of Pembroke, Poems (1660).
81. Two Burlesques of Lord Chesterfield’s Letters: The Graces (1774), and The Fine Gentleman’s Etiquette (1776).
1960-1961
85-86. Essays on the Theatre from Eighteenth-Century Periodicals.
1961-1962
93. John Norris, Cursory Reflections Upon a Book Call’d, An Essay Concerning Human Understanding (1690).
94. An. Collins, Divine Songs and Meditacions (1653).
96. Ballads and Songs Loyal to the Hanoverian Succession (1703-1761).
1962-1963
97. Myles Davies, [Selections from] Athenae Britannicae (1716-1719).
98. Select Hymns Taken Out of Mr. Herbert’s Temple (1697).
99. Thomas Augustine Arne, Artaxerxes (1761).
100. Simon Patrick, A Brief Account of the New Sect of Latitude-Men (1662).
101-102. Richard Hurd, Letters on Chivalry and Romance (1762).
1963-1964
103. Samuel Richardson, Clarissa: Preface, Hints of Prefaces, and Postscript.
104. Thomas D’Urfey, Wonders in the Sun; or, The Kingdom of the Birds (1706).
105. Bernard Mandeville, An Enquiry into the Causes of the Frequent Executions at Tyburn (1725).
106. Daniel Defoe, A Brief History of the Poor Palatine Refugees (1709).
107-108. John Oldmixon, An Essay on Criticism (1728).
1964-1965
109. Sir William Temple, An Essay Upon the Original and Nature of Government (1680).
110. John Tutchin, Selected Poems (1685-1700).
111. Anonymous, Political Justice (1736).
112. Robert Dodsley, An Essay on Fable (1764).
113. T. R., An Essay Concerning Critical and Curious Learning (1698).
114. Two Poems Against Pope: Leonard Welsted, One Epistle to Mr. A. Pope (1730), and Anonymous, The Blatant Beast (1740).
1965-1966
115. Daniel Defoe and others, Accounts of the Apparition of Mrs. Veal.
116. Charles Macklin, The Covent Garden Theatre (1752).
117. Sir Roger L’Estrange, Citt and Bumpkin (1680).
118. Henry More, Enthusiasmus Triumphatus (1662).
119. Thomas Traherne, Meditations on the Six Days of the Creation (1717).
120. Bernard Mandeville, Aesop Dress’d or a Collection of Fables (1704).
William Andrews Clark Memorial Library: University of California, Los Angeles
The Augustan Reprint Society
General Editors: George Robert Guffey, University of California, Los Angeles; Earl Miner, University of California, Los Angeles; Maximillian E. Novak, University of California, Los Angeles; Robert Vosper, William Andrews Clark Memorial Library
Corresponding Secretary: Mrs. Edna C. Davis, William Andrews Clark Memorial Library
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.
Correspondence concerning subscriptions 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. Manuscripts of introductions should conform to the recommendations of the MLA Style Sheet. The membership fee is $5.00 a year for subscribers in the United States and Canada and 30/— for subscribers in Great Britain and Europe. British and European subscribers should address B. H. Blackwell, Broad Street, Oxford, England. Copies of back issues in print may be obtained from the Corresponding Secretary.
PUBLICATIONS FOR 1966-1967
Henry Headley, Poems (1786). Introduction by Patricia Meyer Spacks.
James Macpherson, Fragments of Ancient Poetry (1760). Introduction by John J. Dunn.
Edmond Malone, Cursory Observations on the Poems Attributed to Thomas Rowley (1782). Introduction by James M. Kuist.
Anonymous, The Female Wits (1704). Introduction by Lucyle Hook.
Anonymous, Scribleriad (1742). Lord Hervey, The Difference Between Verbal and Practical Virtue (1742). Introduction by A. J. Sambrook.
Le Lutrin: an Heroick Poem, Written Originally in French by Monsieur Boileau: Made English by N. O. (1682). Introduction by Richard Morton.
ANNOUNCEMENTS:
The Society announces a series of special publications beginning with a reprint of John Ogilby, The Fables of Aesop Paraphras’d in Verse (1668), with an Introduction by Earl Miner. Ogilby’s book is commonly thought one of the finest examples of seventeenth-century bookmaking and is illustrated with eighty-one plates. The next in this series will be John Gay’s Fables (1728), with an Introduction by Vinton A. Dearing. Publication is assisted by funds from the Chancellor of the University of California, Los Angeles. Price to members of the Society, $2.50 for the first copy and $3.25 for additional copies. Price to non-members, $4.00.
Seven back numbers of Augustan Reprints which have been listed as out-of-print now are available in limited supply: 15, 19, 41, 77-78, 79, 81. Price per copy, $0.90 each; $1.80 for the double-issue 77-78.
THE AUGUSTAN REPRINT SOCIETY
William Andrews Clark Memorial Library
2520 CIMARRON STREET AT WEST ADAMS BOULEVARD, LOS ANGELES, CALIFORNIA 90018
Make check or money order payable to The Regents of the University of California.
Footnotes:
[a] Beatus ille qui procul negotiis, &c. Epod. 2. Cum magnis vixisse invita fatebirur usque invidia. Sat. 1. Lib. 2.
[b] Nunc quia Mæcenas tibi sum convictor. Sat. 6. Lib. 1.
——Tu pulses omne quod obstat
Ad Mæcenatem memori si mente recurras.
Hoc juvat, & melli est; ne mentiar. Sat. 6. Lib. 2.
[c] All his Works are full of Examples of Flattery to Augustus.
[d] Epod. 4. Mænas was a Freedman of Pompey the younger; and he deserted from him to Augustus, then back from Augustus to Pompey, and then from Pompey to Augustus again. This is in all the Histories. Appian. Dion.
[e] Et Appiam mannis terit. Epod. 4.
O sæpe mecum tempus in ultimum
Deducte, Bruto militiæ Duce.——
Tecum Philippos & celerem fugam
Sensi, relictâ non bene parmulâ
Cum fracta virtus, & minaces
Turpe solum tetigere mento. Hor. Ode. 7. B. 2.
[g] In his Seneca reus factus est multorum scelerum, sed præsertim quod cum Agrippinâ rem haberet, nec enim in hâc re solum, sed in plerisque aliis contra facere visus est quam Philosophabatur. Quum enim Tyrannidem improbaret, Tyranni præceptor erat: quumque insultaret iis qui cum principibus versarentur, ipse à Palatio non discedebat. Assentatores detestabatur, quum ipse Reginas coleret & libertos, ac Laudationes quorundam componeret. Reprehendebat divites is, cujus facultates erant ter millies sestertium: quique luxum aliorum damnabat quingentes tripodas habuit de ligno cedrino, pedibus eburneis, similes & pares inter se, in quibus cœnabat. Ex quibus omnibus ea quæ sunt his consentanea, quæque ipse libidinose fecit, facile intelligi possunt. Nuptias enim cum nobilissimâ atque illustrissimâ fœminâ contraxit. Delectabatur exoletis, idque Neronem facere docuerat etsi antea tanta fuerat in morum severitate ut ab eo peteret, ne se oscularetur, neve una secum cœnandi causa discumberet.
Vid. Dion. Excerpta per Xiphilinum, Lib. 61.
[h] Collegæ tamen, multos Nobilium, atque inter eos Crispum etiam Sallustium, eum, qui historiam conscripsit, Senatu ejicienti non repugnavit. Dion. Lib. 40.
[i] Ab his Sallustius (qui ut Senatoriam dignitatem recupararet tum Prætor factus erat) propemodum occisus. Dion. Lib. 42.
[k] Numidas quoque in suam potestarem Cæsar accepit, iisque Sallustium præfecit. Sallustius & pecuniæ captæ & compilatæ provinciæ accusatus, summam infamiam reportavit, quod quum ejusmodi libros composuisset, in quibus multis acerbisque verbis eos, qui ex provinciis quæstum facerent, notasset, nequaquam suis scriptis in agendo sterisset. Itaque etsi à Cæsare absolutus fuit, tamen suis ipsius verbis proprium crimen abunde quasi in tabulâ propositum divulgavit. Dion. L. 43.
[l] See at least a hundred and fifty Places in his late Works.
[m] In quo deformitas corporis cum turpitudine cerrabat ingenii; adco ut animus eius dignissimo domicilio inclusus videretur. Vel. Pat. L. 2. B. 69.
[n] See the Dunciad.
End of the Project Gutenberg EBook of The Scribleriad and The Difference
Between Verbal and Practical Virtue, by Anonymous and Lord Hervey
*** END OF THIS PROJECT GUTENBERG EBOOK THE SCRIBLERIAD AND THE ***
***** This file should be named 34821-h.htm or 34821-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/3/4/8/2/34821/
Produced by Chris Curnow, Joseph Cooper and the Online
Distributed Proofreading Team at http://www.pgdp.net.
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
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
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.