The Project Gutenberg EBook of Two Poems Against Pope, by Leonard Welsted and Anonymous and Joseph V. Guerinot 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: Two Poems Against Pope One Epistle to Mr. A. Pope and the Blatant Beast Author: Leonard Welsted Anonymous Joseph V. Guerinot Release Date: January 9, 2008 [EBook #24199] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK TWO POEMS AGAINST POPE *** Produced by Louise Hope, David Starner, Suzanne Lybarger and the Online Distributed Proofreading Team at http://www.pgdp.net [Transcriber’s Note: This text uses utf-8 (unicode) file encoding. If the apostrophes and quotation marks in this paragraph appear as garbage, make sure your text reader’s “character set” or “file encoding” is set to Unicode (UTF-8). You may also need to change the default font. As a last resort, use the latin-1 version of the file instead. Other than footnotes and anchors, bracketed text is in the original.] The Augustan Reprint Society TWO POEMS AGAINST POPE: _ONE EPISTLE_ _TO MR. A. POPE_ Leonard Welsted (1730) _THE BLATANT BEAST_ Anonymous (1740) _INTRODUCTION_ by JOSEPH V. GUERINOT [Decoration] Publication Number 114 William Andrews Clark Memorial Library University of California, Los Angeles 1965 GENERAL EDITORS Earl R. Miner, _University of California, Los Angeles_ Maximillian E. Novak, _University of California, Los Angeles_ Lawrence Clark Powell, _Wm. Andrews Clark Memorial Library_ ADVISORY EDITORS Richard C. Boys, _University of Michigan_ John Butt, _University of Edinburgh_ 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_ James Sutherland, _University College, London_ H. T. Swedenberg, Jr., _University of California, Los Angeles_ CORRESPONDING SECRETARY Edna C. Davis, _Clark Memorial Library_ INTRODUCTION I. _One Epistle To Mr. Pope_, complained Pope to Bethel, “contains as many Lyes as Lines.” But just for that reason it is not, as Pope also says in the same letter, “below all notice.”[1] _The Blatant Beast_, published twelve years later, is another attack on Pope almost as compendious and quite as virulent. They are here presented to the modern student of Pope as good examples of their kind. The importance of the pamphlet attacks on Pope for a full understanding of his satiric art is universally admitted, but the pamphlets themselves were cheap and ephemeral, and copies are now rare and not easily come by. Both in the comprehensiveness of their charges and in the slashing hatred which informs them (however feeble the verse), _One Epistle_ and _The Blatant Beast_ offer as fair a sample as any two such pamphlets can of the calumny, detraction, and critical misunderstanding Pope endured, for the most part patiently, from the publication of his _Essay on Criticism_ to the year of his death. “Welcome for thee, fair Virtue! all the past,” (_Epistle to Arbuthnot_, l. 358) he exclaimed in his role as Satirist. It was this public proclamation of Virtue that confused and enraged the Dunces. We have again learned to read satire as something quite other than an expression of personal malice and misanthropy. What the present pamphlets amply testify to is that most of the Dunces were no more able to read satire properly than were Pope’s nineteenth-century critics. They were, as Pope quite properly kept pointing out, very bad writers and very dull men. The _ethos_ of the satiric _persona_ was something they could not understand. Although some of the Dunces knew their classics well and although all of them, we may presume, read the Roman satirists, one did not, typically, in Grub Street consult one’s Horace with diurnal hand; one consulted the public. Literature to them was sold. They were not deeply concerned about absolute standards of right and wrong, about works of imagination which justify an entire civilization, about the problem of tradition and the individual talent. Accordingly, they explained satire, with the only vocabulary they had, as the expression of ingratitude, purely personal malice, and demonic pride, the product of a diseased heart and a misshapen body. It would be misleading to suggest a narrow definition of Pope’s Dunces. Some were critics of worth, such as Dennis and Gildon; some were not despicable minor poets, such as Welsted and Cooke. But if we leave these aside, as well as his aristocratic enemies, Lady Mary and Lord Hervey, some valid generalizations emerge. The very persistency of the Dunces’ attacks on Pope (I have located over one hundred and fifty published during Pope’s lifetime) and the large number of anonymous pamphlets that we cannot definitely ascribe to anyone Pope ever mentioned suggest that the Battle of the Dunces is best seen economically and sociologically. They were, for the most part, hack-writers, who were attempting the commercialization of literature that Pope recognized and deplored. Since they were authors to be let, they were neither fastidious about standards of taste nor filled with reverence for the Word. Yet Pope had succeeded in doing what they could not do--he had made himself a moderately rich man entirely by writing poetry. No theme recurs more insistently and suggestively in Popiana than Pope’s wealth. Faced with the nasty fact that if one wrote well enough, there was a public to support one, they could only accuse Pope monotonously of venality and avarice. In all of this there is a strong element of class antagonism. The Dunces were middle-class and Whiggish, their spirit capitalist. Pope, though middle-class by birth, was aristocratic in his sympathies, Tory in a loose sense, and firmly anti-Walpole. Perhaps verse satire is essentially aristocratic. Perhaps wit is, too. Certainly they never seem at home in a middle-class society. Wit comes to savor of indecency and blasphemy; satire in its incessant defence of moral value and centers of order comes to seem the expression of an arrogant disdain and a disquieting unease. His poise and verbal brilliance and hieratic commitment to the venerable tradition of classical and Christian ethical thought set the Satirist coolly apart from the _profanum vulgus_. Had Pope never mentioned one of the Dunces, although they would have done so less frequently, they would still have cried out against him. II. _One Epistle To Mr. A. Pope, Occasion’d By Two Epistles Lately Published_ appeared, according to the _Daily Journal_, on 28 April 1730.[2] Pope’s mention of it in Appendix II to _The Dunciad A_, his “List of Books, Papers, and Verses, in which our Author was abused” which is our best guide to Popiana, is somewhat confusing and made more difficult because the first part dates from 1729, the second from 1735: “_Labeo_, A Paper of Verses written by Leonard Welsted. [1729 a-d], which after came into One Epistle, and was publish’d by James Moore. 4to. 1730. Another part of it came out in Welsted’s own name in 1731, under the just Title of _Dulness and Scandal_, fol. [1735a].”[3] The _Labeo_ reference is mysterious. Pope in his note on Welsted to _The Dunciad A_ II.293 had said in a sentence omitted in all editions from 1735a, “The strength of the metaphors in this passage is to express the great scurrility and fury of this writer, which may be seen, One day, in a Piece of his, call’d (as I think) _Labeo_.”[4] Since no _Labeo_ has ever turned up, it seems reasonable to conclude with Fineman that, though Welsted may have toyed with the idea of writing one, “he either never did enough with it to warrant its publication, or discarded it entirely in favor of writing the collaborative _One Epistle to Mr. Pope_ that appeared in 1730. Naturally, he would not broadcast his plans, and as a result the enemy camp continued to believe--or at any rate, to say--that Welsted would retaliate with a _Labeo_.”[5] This was in 1729; by 1735 Pope had realized no _Labeo_ would appear and deciding, apparently on no evidence, that it had been incorporated into Welsted’s _One Epistle_ and _Of Dulness and Scandal_ (1732), made the appropriate changes in _The Dunciad_. Pope did not at first realize that _One Epistle_ was by Welsted. It had been announced as early as 1 Feb. 1729 in _The Universal Spectator_ “as the due Chastisement of Mr. Pope for his _Dunciad_, by James Moore Smythe, Esq; and Mr. Welsted.” The poem must have been circulated privately before publication at least by October, 1729 at which time Pope believed it to be Lady Mary’s, since we find Lady Mary writing to Dr. Arbuthnot twice in October 1729 denying Pope’s accusation that she had written it.[6] There is no evidence that she was not telling the truth, but on 21 May 1730 _The Grub-Street Journal_ reported that Lady Mary had “some hand in the piece.” Like most Pope attacks, the poem was published anonymously. The preface, a defence of the Dunces, is, with probably intentional ambiguity, written in the first person singular but ends by referring to “the Writers of the following Poem” (p. viii). One hand seems responsible for the preface, but we can only conclude that a Dunce collaborating with other Dunces produced the poem. Four days after its publication Pope wrote to Broome that it was “by James Moore and others,” and a few weeks later wrote to Bethel that “James Moore own’d it but was made by three others, and he will disown it whenever any man takes him for it.”[7] It was Moore Smythe who was attacked in _The Grub-Street Journal_ for several months as the poem’s chief author.[8] A letter from Welsted to Dodington, however, shows that though the poem was a collaborative effort and though others may have made suggestions and additions, Welsted felt himself responsible for the poem.[9] In 1735 Pope attributed _One Epistle_ finally to Welsted, with Moore Smythe as publisher, and in 1737 _The Memoirs of Grub-Street_ said of Moore Smythe that he “reported himself author” of _One Epistle_, “but was only a publisher; it being written by Mr. Welsted and others.”[10] As to the “others” we should remember Mallet’s caution that it would be vain, To guess, ere _One Epistle_ saw the light, How many brother-dunces club’d their mite.[11] Welsted himself had begun his quarrel with Pope with an attack on _Three Hours after Marriage_, that amusing and much-abused play, in _Palaemon To Caelia at Bath; Or, The Triumvirate_ (1717). Pope is said to have collaborated with Gay not only in _Three Hours_, a play “so lewd,/ Ev’n Bullies blush’d, and Beaux astonish’d stood” (Second Edition, p. 11), but in _The Wife of Bath_ and _The What D’Ye Call It_. Welsted also hits at _God’s Revenge Against Punning_, the _First Psalm_, praises Tickell, and finds Pope’s versification flat. All of these charges (except the one that Pope collaborated in _The Wife of Bath_) had appeared in print before, but Pope was to remember _Palaemon To Caelia_ and include it in a note to _The Dunciad A_ II.293, where it is neatly described as “meant for a Satire on Mr. P. and some of his friends.” In 1721 Welsted’s name appears in the title of a pamphlet containing an attack on Pope’s Homer, _An Epistle To Mr. Welsted; And A Satyre on the English Translations of Homer_, by that engagingly inept Dunce, Bezaleel Morrice. In 1724 in the “Dissertation concerning the Perfection of the English Language” prefixed to his _Epistles, Odes, &c._, Welsted quoted (not quite correctly) and criticized Pope’s “And such as _Chaucer_ is, shall _Dryden_ be” (p. x). The anonymous author of _Characters of The Times_ (1728) thought that Welsted would have been spared Pope’s abuse if he had not in his “Dissertation” “happen’d to cite a low and false line from Mr. P[o]pe for the meer Purpose of refuting it, without seeming to know, or care who was the Author of it” (p. 24).[12] In the _Peri Bathous_ Pope included Welsted as a didapper and an eel. Pope then put him into _The Dunciad_ in II.293-300 and, more memorably, in III.163-166: Flow Welsted, Flow! like thine inspirer, Beer, Tho’ stale, not ripe; tho’ thin, yet never clear; So sweetly mawkish, and so smoothly dull; Heady, not strong, and foaming tho’ not full. Unable to leave well enough alone, Welsted continued his attack on Pope with _One Epistle_ and then again in January 1732 with _Of Dulness and Scandal_, which ran to three editions. The half-title of _One Epistle_ had promised that it was to be continued, and the writer of the preface had said that he intended “in the preface to the next Epistle ... to state several Matters of Fact, in Contradiction to the Notes of the _Dunciad_” (p. viii). _Of Dulness and Scandal_, however, has no preface and is an independent attack. Its main charge is Pope’s ingratitude to the Duke of Chandos as shown in the _Epistle to Burlington_, a famous charge frequently to be repeated,[13] but it claims as well that a lady named Victoria died as a result of reading Pope’s Homer and attacks once more _The Rape of the Lock_ and the _First Psalm_. In February 1732 Welsted published his last attack on Pope, _Of False Fame_, in which he attacks _Windsor Forest_, _The Rape of the Lock_, Pope’s edition of Shakespeare, _The Dunciad_, and the _Epistle to Burlington_. Pope then mentioned him in the _Epistle to Arbuthnot_, at first in l. 49, although he altered this to “Pitholeon,” and then in l. 375, where most twentieth-century college students first meet his name. The charges in _One Epistle_ are unusually comprehensive, but almost none of them is original. To help the reader to evaluate the more important, the following notes may be helpful. The denial in the preface of Pope’s statement that no one is attacked in _The Dunciad_ “who had not before, either in Print or private Conversation, endeavour’d something to his Disadvantage” (p. v) is a reference to _The Dunciad_, p. 203, where, however, conversation is not mentioned. This sentence of Pope’s annoyed many of the Dunces.[14] What the preface says about Swift and Arbuthnot and the _Peri Bathous_ (p. vii) may well be true.[15] Welsted’s charge that Pope wrote the Prologue to _Cato_ and then “the Play decried” (p. 12) is simply Dennis’s old charge first made in _A True Character of Mr. Pope (1716)_ and repeated in _Remarks Upon ... the Dunciad_ (1729) that Pope had teased Lintot into publishing Dennis’s attack on _Cato_. The charge rests only on Dennis’s authority.[16] The obscenity of _The Rape of the Lock_ was an old story.[17] So was the notorious _First Psalm_.[18] Welsted’s attacks on the _Pastorals_, the Homer, the _Peri Bathous_, and _The Dunciad_ are simply the commonplaces of Popiana. The charge that he libeled Addison only after the great man’s death is also familiar[19] (Welsted seems to have been the first, though, to mention the libel on Lady Mary) and long since disproved by Sherburn and Ault. That Pope was a plagiarist is an idea that turns up constantly.[20] Welsted’s other charges are more interesting. He seems to be the only Dunce who objected (p. 12) to Pope’s mentioning Bishop Hoadly in _The Dunciad A_ II.368. It may just possibly be true that Gildon was dismissed by Buckingham because of Gildon’s dislike of Pope (p. 22).[21] The most curious of the charges is that Pope, ... from the Skies, propitious to the Fair, Brought down _Caecilia_, and sent _Cloris_ there. (p. 11) Welsted apparently means that Pope debased St. Cecilia in his _Ode for Musick on St. Cecilia’s Day_ and glorified a suicide in his _Elegy to the Memory of an Unfortunate Lady_. He is not saying, as did _The Life of the late Celebrated Mrs. Elizabeth Wisebourn_ (1721), that the heroine of the _Elegy_ died of her unrequited love for Pope. Pope’s note to l. 375 of the _Epistle to Arbuthnot_ accusing Welsted of having “had the Impudence to tell in print, that Mr. _P._ had occasion’d a Lady’s death, and to _name_ a person he never heard of” refers not to Cloris but to Victoria in Welsted’s _Of Dulness and Scandal_ who died from reading Pope’s _Illiad_.[22] The _Grub-Street Journal_ for 21 May 1730 invited “any Person of Credit and Character to stand forth and attest any of the following Facts....” That the late Duke of Buckingham paid any Pension to Charles Gildon, which he took from him since his acquaintance with Mr. P. That the present Archbishop of Canterbury hath past any Censure on Mr. P. That Mr. F[ento]n and he ever were at distance on variance with each other. That the Rev. Mr. Br[oo]me ever asserted or complain’d, he was not gratify’d with a competent Sum for his Share in the Odyssey; nay did not own that he thought himself highly paid. That Mr. Addison or any other but Mr. P. writ, or alter’d, one line of the Prologue to Cato. Who will name any young Writer, allow’d to have Merit, that hath been personally discourag’d by him; or who hath not received either actual Services, or amicable Treatment from him? III. _The Blatant Beast_ appeared in December 1742, according to _The London Magazine_; its authorship remains unknown. Pope had published _The New Dunciad_ in March 1742, and Cibber had published his famous _A Letter From Mr. Cibber, To Mr. Pope_ in July. Five other pamphlets attacking Pope appeared in August, obviously capitalizing on the Cibber attack. _The Blatant Beast_ is pro-Cibber, of course, but it criticizes specifically only a few lines from _The New Dunciad_. The writer’s chief interest is in a general attack. The criticisms of the Shakespeare, of _Three Hours_ and the _Epistle to Burlington_, and of Pope’s plagiarism are perfectly conventional. More interesting is the accusation (p. 6) that Pope wrote (as, of course, he did) his Homer on the backs of personal letters. Also interesting is the reference to Pope’s inscription on the Shakespeare monument in Westminster Abbey (p. 5). Pope was, with several others, responsible for the Latin inscription; it does not seem that he had anything to do with the lines from _The Tempest_ IV. i. 152-156, which were added several months later. These lines are given in the first note to _The Dunciad B_ I. and, in slightly different form, in _The Gentleman’s Magazine_, XI, 276. The last line reads, “Leave not a wreck behind.” Pope’s version of the lines in both his 1725 and 1728 editions of Shakespeare (Griffith 149 and 210) does not commit the errors of the inscription and prints, “Leave not a rack behind!”[23] The bantering note about the monument which begins _The Dunciad B_ may have been prompted by this passage in _The Blatant Beast_ as well as by the comment of Theobald which Sutherland refers to. But it is the shrill personal abuse of Pope’s deformity and moral obliquity, The Morals blacken’d when the Writings scape; The libel’d Person, and the pictur’d Shape (_Epistle to Arbuthnot_, ll. 353-353) which is most impressive. The writer shows a talent for invective, but there is a good deal of evidence that he was well-read in other Pope attacks. The phrase, Pope’s “Mountain Shoulders,” (p. 5) recalls Pope’s “Mountain Back” in _The Difference Between Verbal and Practical Virtue_, p. 5, published in August 1742. The image of the wasp (pp. 6, 10) had appeared in Hervey’s and Lady Mary’s _Verses Address’d to the Imitator Of ... Horace_ (1733), p. 7,[24] as had the metaphor of Pope as Satan (pp. 5-6) with which _The Blatant Beast_ opens.[25] Pope had already been pictured as a mad dog (p. 7) in _The Metamorphosis_ (1728), attributed by Pope to Smedley and one of the least pleasant of the pamphlets. Pope as Aesop’s toad bursting with spleen (p. 12) had been used in _Codrus_ (1728), p. 12, attributed by Pope to Curll and Mrs. Thomas. Cibber’s prevention of Pope from peopling the isle with Calibans (p. 9) is a reference, of course, to Cibber’s famous anecdote about rescuing Pope in the bawdy-house; but in _Mr. Taste, The Poetical Fop_ (1732) where Pope figures as the monkey-like poetaster Taste, the servant-maid who was to have married him is delighted the marriage is broken off, “for fear our children should have resembled Baboons, Ha, ha, ha!” (p. 73). Stern anti-sentimentalists sometimes point out that we react too squeamishly to the abuse of Pope’s deformity. I doubt it myself. The eighteenth century was probably a coarser and more outspoken age than ours, but scurrilous attacks on the physical appearance of distinguished poets do not otherwise seem to have been a prominent feature of the Augustan literary scene. It is hoped that both these pamphlets will prove useful to those who have little first-hand knowledge of what his enemies said of Pope and will help to warn the novice of the fatal ease with which we can read “with but a Lust to mis-apply,/ Make Satire a Lampoon, and Fiction, Lye” (_Epistle to Arbuthnot_, ll. 301-302). _One Epistle_ was reprinted by John Nichols in his edition of _The Works in Verse and Prose of Leonard Welsted_ (London, 1787). Nichols normalizes the text, spells out several names in full, and adds several unimportant notes. It is here reproduced from the copy in the Sterling Library, Yale University. _The Blatant Beast_ has never been reprinted and is reproduced from the copy in the Huntington Library. _Hunter College_ NOTES TO THE INTRODUCTION 1. Pope to Bethel, 9 June 1730, _The Correspondence of Alexander Pope_, ed. George Sherburn (Oxford, 1956), III, 114. 2. Robert W. Rogers, _The Major Satires of Alexander Pope_ (Urbana, 1955), p. 139. The two epistles of the title are Edward Young’s _Two Epistles To Mr. Pope_ which had appeared in January 1730 and which praised Pope warmly. See _One Epistle_, p. 22. 3. _The Twickenham Edition of the Poems of Alexander Pope_, General Editor, John Butt, 6 vols. (London, 1939-1961), W, 211-212. Citations from Pope’s poetry in my text are from this edition. 4. Savage in _An Author To Be Lett_ (1729), which appeared nine days after _The Dunciad A_, says, “I have extracted curious Hints to assist _Welsted_ in his new Satire against _Pope_, which was once (he told me) to have been christen’d _Labeo_. ’Tis yet an Embrio, and there are divers Opinions about the Birth of it” (pp. 5-6). He seems clearly to have been Pope’s informant about the unpublished _Labeo_. See Richard Savage, _An Author To be Lett_, ed. James Sutherland, The Augustan Reprint Society, Number 84 (Los Angeles, 1960), p. ii. For Labeo see Persious 1. 4. 5. Daniel Fineman, _Leonard Welsted, Gentleman Poet of the Augustan Age_ (Philadelphia, 1950), p. 190. 6. _Correspondence_, III, 59-60 and n. 7. _Ibid._, III, 106, 114. Dr. Arbuthnot, for the abuse he received in the poem, is reported to have flogged Moore Smythe (_ibid._, III, 106, n. 2, and 114, n. 1) 8. For a convenient summary of these references from 14 May to 23 July 1730 see James T. Hillhouse, _The Grub-Street Journal_ (Durham, N.C., 1928), pp. 58-63. On 14 May 1730 it printed a letter supposedly by Moore Smythe in which he says of himself and his collaborators in _One Epistle_, “we ... call our selves _Gentlemen_ which sure no body will deny, because one of is the Son of an _Alehouse-keeper_ Thoms Cooke?, one the Son of a _Foot-man_, and one the Son of a ____.” 9. Fineman, p. 192. 10. Hillhouse, p. 64, n. 19. 11. David Mallet, _Of Verbal Criticism_ (1733), p. 14. He added the note: “See a Poem published some time ago under that title, said to be the production of several ingenious and prolific heads; One contributing a simile, Another a character, and a certain Gentleman four shrewd lines wholly made up of Asterisks.” 12. See also Pope’s quotation from the “Dissertation” in _The Dunciad A_, p. 26. 13. For the Duke’s protestation against Welsted’s attack see George Sherburn, “‘Timon’s Villa’ and Cannons,” _The Huntington Library Bulletin_, VIII (1935), 140. 14. See, for example, Giles Jacob’s _The Mirrour_ (1733), p. 6, although oddly enough Jacob (like Welsted) had begun the quarrel with his _The Rape of the Smock_ (1717). 15. _Twickenham_, V. xvi. For _The Progress of Dulness_ (pp. vi-vii) see _ibid._ xvii., n. 2; xxi-xxii. 16. See the full discussion in George Sherburn, _The Early Career of Alexander Pope_ (Oxford, 1934), pp. 105-106. 17. See _Twickenham_, II. 90, n. 1. 18. See, _inter alia_, _A Letter from Sir J____ B____ to Mr. P_____ (1716), p. 1; _The Female Dunciad_ (1728), p. 4; and the careful discussion in Norman Ault, _New Light on Pope_ (London, 1949), pp. 156-162. 19. See _Cythereia_ (1723), pp. 92-93; _Characters of The Times_ (1728), p. 29. 20. See Eliza Haywood, _Memoirs Of The Court of Lilliput_ (1727), p. 17; _A Collection Of Several Curious Pieces_ (1728), pp. 4, 6; James Ralph, _Sawney_ (1728), pp. 5-8. 21. See _Twickenham_, V. 440-441. 22. See Daniel A. Fineman, “The Case of the Lady ‘Killed’ by Alexander Pope,” _MLO_, XII (1951), 137-149. Sutherland in his continuation of Pope’s note confuses the two charges. 23. For the debate over the Latin inscription see _Twickenham_, VI. 395-396, and _The Gentleman’s Magazine_, XI, 105. 24. See Pope’s note to l. 319 of the _Epistle to Arbuthnot_. 25. Dennis, as far back as 1716, in _A True Character of Mr. Pope_, pp. 10-11, had used the metaphor. So had _An Epistle To the Egregious Mr. Pope_ (1734), pp. 15-16. * * * * * * * * * [Transcriber’s Note: The consecutive title pages are as in the original, as are the lines of closely spaced asterisks in the poem. Format of notes reproduces the original as closely as possible. Long notes, marked with lower-case letters (a-l), were collected at the end of the text. Footnotes are here shown between stanzas. Markers are unchanged, except where a symbol has been doubled (**, ††) because it occurs twice in one stanza.] ONE E P I S T L E TO Mr. _A. P O P E_, Occasion’d By Two Lately Publish’d. [To be Continued.] ONE E P I S T L E TO Mr. _A. P O P E_, Occasion’d By Two Epistles Lately Published. _Spiteful he is not, tho’ he writ a Satire, For still there goes some Thinking to Ill-Nature._ DRYDEN. _L O N D O N_: Printed for J. ROBERTS, in _Warwick-Lane_. [Price One Shilling.] [Decoration] THE PREFACE. _The indecent Images, and the frequent and bad Imitations of the Classics in the _Dunciad_, have occasioned several just Observations upon so new and coarse a Manner of Writing: I shall wave this Topic at present, and only regard the most plausible Insinuation in Favour of this Author; which is, that he never begun an Attack upon any Person, who had not before, either in Print or private Conversation, endeavour’d something to his Disadvantage._ _This Assertion is by no means true, as I shall immediately shew; if it were true, it might indeed bear some Weight, but however with this Distinction, that the Reports of private Conversation, brought to him by such Emissaries, as belong to him, are not always to be believed, and that no Attack in Print upon a Man’s Poetical Character, ought to be repaid by Lampoon and Virulence upon the Moral Character of his Antagonist: Every Person has a Right to determine upon the Talents of Writers, particularly of one, who appears in Publick only to gratify the two worst Appetites, that disgrace Human Nature, I mean Malice and Avarice; and sure no Man deserves a violent Injury to his Reputation, as a Gentleman, because perhaps at a Distance of several Years since he might have said, that Mr. _Pope_ had nothing in him Original as a Writer, that Mr. _Tickel_ greatly excelled him in his Translation of _Homer_, and many of his Contemporaries in other Branches of Writing, and that he is infinitely inferior to Mr. _Phillips_ in Pastoral: And yet such Arguments or Apologies as these have been used by himself, or his Tea-Table Cabals, for calling Gentlemen Scoundrels, Blockheads, Gareteers, and Beggars,: If he can transmit them to Posterity under such Imputations, he is a bad Man; if he cannot, he is a bad Writer: I believe, that he would rather suffer under the first Character, than the last: But before I have done with him, I will make a very strict Inquiry into both._ _In the mean time I shall shew the Reader, in general, the Falshood of his main Pretence, that he has meddled with no one, that had not before hurt him, and in this View, tho’ I should be ashamed of being too serious in a Controversy of this Sort, I think it proper to acquaint the Town with the original Design of the _Dunciad_, and the real Reasons of its Production. This Piece, which has been honour’d by Booksellers of Quality, contains only the Poetical Part of Dulness, extracted from a Libel, call’d, _The Progress of it_, and which included several other Branches of Science, and perhaps some of those Gentlemen, who have in the warmest Manner asserted the Cause of the _Dunciad_, might have seen a Publication of a Work, upon the Death of this Writer, in which no past Friendship could have screen’d them from Lampoon for any Pretences to excel in any Science whatever: It appears, therefore, that he was teaz’d into a Publication of these Cantos, which regarded the Writers of the Age, by some Attacks, that were made upon him about that Time: We must refer to a Miscellany of Poems published by Him and _Swift_, to which is prefix’d, _An Essay on the Profund_, to consider if those Attacks were justifiable; Mr. Dean _Swift_ never saw the _Profund_, till made publick, and Dr. _Arburthnot_, who originally sketch’d the Design of it, desired that the Initial Letters of Names of the Gentlemen abused might not be inserted, that they might be _A_ or _B_, or _Do_ or _Ro_, or any thing of that Nature, which would make this Satire a general one upon any dull Writers in any Age: This was refused by _Pope_, and he chose rather to treat a Set of Gentlemen as Vermin, Reptiles, _&c._ at a Time when he had no Provocation to do so, when he had closed his Labours, finish’d his great Subscriptions, and was in a fashionable Degree of Reputation: Several Gentlemen, who are there ranked with the dullest Men, or dullest Beasts, never did appear in Print against him, or say any thing in Conversation which might affect his Character: Some Replies, which were made to the _Profund_, occasioned the Publication of the _Dunciad_, which was first of all begun with a general Malice to all Mankind, and now appears under an Excuse of Provocations, which he had received, after he himself had struck the first Blow in the above-mentioned Miscellanies._ _I cannot indeed say much in Praise of some Performances, which appear’d against him, and am sorry that Voluntiers enter’d into the War, whom I could wish to have been only Spectators: But the Cause became so general, that some Gentlemen, who never aim’d at the Laurel, grew Poets merely upon their being angry: A Militia, in Case of publick Invasion, may perhaps be thought necessary, but yet one could always wish for an Army of regular Troops: I should not have touched upon this Circumstance, but to obviate some Imputations, which he had suggested, of my Writing several Pieces, which I never heard of, till I saw them with the rest of the Town: But these Suggestions shall be considered in the Preface to the next Epistle, in which, among other Things, I intend to state several Matters of Fact, in Contradiction to the Notes of the _Dunciad_, particularly as they concern the Writers of the following Poem._ [Decoration] [Decoration] One E P I S T L E to Mr. _A. P O P E_, Occasion’d By Two Lately Publish’d. If noble _B----m_, (a) in Metre known, With Strains has grac’d thee, humble as thy own; Who (b) _G--l--n_’s Dullness did for thine discard, A better Critick, for as bad a Bard! Not unregarded let this Tribute be, Tho’ humble, just; well-bred, tho’ paid to Thee. _Parnassian_ Groves, and _Twick’nam_ Fountains, say, What Homage to the Bard shall _Britain_ pay! The Bard! that first, from _Dryden’s_ thrice-glean’d Page, Cull’d his low Efforts to Poetic Rage; Nor pillag’d only that unrival’d Strain, But rak’d for Couplets * _Chapman_ and _Duck-Lane_, Has sweat each Cent’ry’s Rubbish to explore, And plunder’d every Dunce that writ before, Catching half Lines, till the tun’d Verse went round, Complete, in smooth dull (c) Unity of Sound; Who, stealing Human, scorn’d Celestial Fire, And strung to _Smithfield_ Airs the † _Hebrew_ Lyre; Who taught declining (d) _Wycherley_ to doze O’er wire-drawn Sense, that tinkled in the Close, To lovely _F----r_ impious and obscene, To mud-born _Naiads_ faithfully unclean; Whose raptur’d Nonsense, with Prophetick Skill, First taught that Ombre, which fore-ran Quadrille; Who from the Skies, propitious to the Fair, Brought down _Cæcilia_, and sent ** _Cloris_ there, Censur’d by _W--ke_, by _A------ry_ blest, Prais’d _Sw----t_ in Earnest, and sung Heav’n in Jest, Here, mov’d by Whim, and there by Envy stung, Would flatter _Ch----s_, or would libel ‡ _Y----ge_, By _F----n_ left, by Reverend Linguists hated, Now learns to read the _Greek_ he once translated. [Footnote *: A Translator of _Homer_.] [Footnote †: Burlesque of the first _Psalm_, more profest than _Sternbold’s_.] [Footnote **: See Verses, in _P--pe_’s Poems, to the Memory of an unfortunate young Lady.] [Footnote ‡: _Sir W. Y._] Oh say, to him what Trophies shall be rais’d, That unprovok’d will strike, and fawn unprais’d! Each fav’rite Toast who marks, or rising Wit, To sketch a Satire, that in Time may fit; Still hopes your Sun-set, while he views your Noon, And still broods o’er the closely-kept Lampoon; The lurking Presents o’er the Tomb he paid, And thus atton’d our _British Virgil_’s Shade, A Mushroom * Satire in his Life conceal’d, Since chang’d to Libel, and in Print reveal’d; Who lets not † Beauty base Detraction ’scape, And mocks Deformity with _Æsop_’s Shape; Who _Cato_’s Muse with faithless Sneers belied, The Prologue father’d, and the Play decried, On ‡ _H----y_’s learned Page, dull-sporting trod, Betray’d his Patrons, and lampoon’d his God; Translator, Editor, could far out-go In _Homer_ _Ogleby_, in _Shakespeare_ _R----_ O! how burlesqu’d, great _Dryden_, is thy Strain, When little _Alexander_ ‖ _slays the Slain_! [Footnote *: Libel on Mr. _Addison_ in _P--pe_ and _Sw--t_’s Miscellanies.] [Footnote †: Lady _M. W. M._] [Footnote ‡: Lord B----p of _Salisbury_.] [Footnote ‖: See _Dryden_’s Ode on St. _Cæcilia_’s Day. ------Fought all his Battles o’er again; ------And thrice he _slew the Slain_.] On, mighty Rhimer, haste new Palms to seize, Thy little, envious, angry Genius teize; Let thy weak wilful Head, unrein’d by Art, Obey the Dictates of thy flatt’ring Heart; Divide a busy, fretful Life between Smut, Libel, Sing-song, Vanity, and Spleen; With long-brew’d Malice warm thy languid Page, And urge delirious Nonsense into Rage; Let bawdy Emblems, now, thy Hours beguile; Now, Fustian Epic, aping _Virgil_’s Stile; To _Virgil_ like, to _Indian_ Clay as _Delf_, Or _Pulteney_, drawn by _Jervase_, to Herself: Rheams heap’d on Rheams, incessant, mayst thou blot, A lively, trifling, pert, one knows not what! Form thy light Measures, nimbler than the Wind, Whilst heavy lingring Sense is left behind; With all thy Might pursue, and all thy Will, That unabating Thirst, to scribble still, Giv’n at thy Birth! the Poetaster’s Gust, False and unsated as the Eunuch’s Lust! Illustrious Fops, mean time, o’er-rate thy Lays, And blooming Critics, as they spell thee, praise: Blest Coupleteer! by blooming Critics read, At Toilets _ogled_, and with Sweetmeats fed: See, lisping Toilers grace thy _Dunciad_’s Cause, And scream their witty Scavenger’s Applause, While powder’d Wits, and lac’d Cabals rehearse Thy bawdy _Cento_, and thy _Bead-roll_ Verse; Gay, bugled Statesmen on thy Side debate, And libel’d Blockheads court thee, tho’ they hate. * * * * * * * * * * * * * * Fools of all Kinds their Suffrages impart, The Fools of Nature, and the Fools of Art. These in thy threadbare Farce shall Beauties show, Shall praise thy ribald Mirth, and maudlin Woe; Praise ev’n thy imitating _Chaucer_’s Tales, And call that merry * Temple, Fame’s _Versailles_: Thy ‡ Shepherd-Song with Rapture they shall see, Which rivals _Philips_, as _Banks_ rivals _Lee_; Thy † _Guernsey_ and _Barbados_ Wreath shall own, Where _Durfey_ ne’er was read, nor _Settle_ known; That Wreath, that Name, which thro’ both Worlds is gone, Which Doctor (e) _Y----_ applauds, and _Prestor John_. [Footnote *: Temple of Fame by _P----_] [Footnote ‡: _P----pe_’s Pastorals.] [Footnote †: See the Original Preface to the _Dunciad_.] Lo! as _Anchises_, to the Goddess-born, So I the Worthies, that thy Page adorn, Point out to Thee.----See ‖ here * * * * * * * * * * * * * * * * * * * * * * * * * The Prelate! next, exil’d by cruel Fates, Who plagues all Churches, and confounds all States; With Treasons past perplex’d, and present Cares; A Fop in Rhime, and Bungler in Affairs. * * * * * * * * * * * * * * And here! a Groupe of Brother Quill-men see, Co-witlings all, and Demi-bards like Thee; Such whom the Muse shall pass with just Disdain, Nor add one Trophy to thy mottly Train: But Quack _Arb----t_ shall Oblivion blot, That puzzling, plodding, prating, pedant _Scot_! The grating Scribler! whose untun’d Essays Mix the _Scotch_ Thistle with the _English_ Bays, By either _Phœbus_ pre-ordain’d to Ill, The Hand prescribing, or the flattering Quill, Who doubly plagues, and boasts two Arts to kill! [Footnote ‖: The Characters left out here may perhaps be inserted in some future Edition of this Poem.] ’Midst this vain Tribe, that aid thy setting Ray, The Muse shall view, but spare ill-faced _G--y_: Poor (f) _G--y_, who loses most when most he wins. And gives his Foes his Fame, and bears their Sins; Who more by Fortune than by Nature curst, Yields his best Pieces, and must own _Thy_ worst. Thus prop’d, thy Head with _Grub-street_ Zephyrs tainted, By (g) _Rich_ recorded, and by _J----_ painted; _J----!_ who so refin’d a Rake is reckon’d, He breaks all (h) _Sinai_’s Laws, except the Second: Thus prais’d, thus drawn, t’extend thy Projects try, Leave the _Blue * Languish_, and the Crimson Sigh; Leave the gay Epithets that Beauty crown, White ** _Whitylinda_, and _Brownissa_ Brown; Forget awhile (i) _Belinda_ and the Sun; Forget the _Fights of Stand_, and Flights of Run: No more let _Ombre_’s Play inspire thy Vein, Nor strow with Captive Kings the † _Velvet Plain_; Omit awhile the _Silver Peal_ to ring, } Nor talk dulcissant, nor mellifluous sing, } Nor _hang suspended_, nor _adherent cling_. } But haste to mount Immortal Envy’s Throne, To crush all Merit, that disputes thy own; For thou wert born to damp each rising Name, And hang, like Mildews, on the Growth of Fame; Fame’s fairest Blossoms let thy Rancour blast, Bane of the modern Laurel, like the past; While stupid Riot stands in Humour’s Place, And bestial Filth, Humanity’s Disgrace, Low Lewdness, unexcited by Desire, And all great †† _Wilmot_’s Vice, without his Fire. [Footnote *: The Phrases distinguished here in _Italics_, are truly quoted from _P----pe_; and the others in Company with them, ought to be in no other Company.] [Footnote **: See _Dunciad_. _Nigrina_ Black.] [Footnote †: Here a Card Table; in _P--pe_, a Field of Grass.] [Footnote ††: _Wilmot_, Earl of _Rochester_.] At length, when banish’d _Pallas_ shall withdraw, And Wit’s made Treason by the _Popian_ Law; When minor Dunces cease, at length, their Strife, And own thy Patent to be dull for Life; By Tricks sustain’d, in Poet-craft compleat, Retire triumphant to thy _Twick’nam_ Seat; That Seat! the Work of (k) half-paid drudging _Br----me_, And call’d by joking _Tritons_, _Homer_’s Tomb: There to stale, stol’n, stum Crambo bid adieu, And sneer the Fops, that thought thy Crambo new; There, like the _Grecian_ Chief, on whom thy Song Has well reveng’d unhappy _Priam_’s Wrong; Waste, in thy hidden Cave, the Festive Day, With mock _Machaon_, and _Patroclus G----_ _Sleep_, (l) _Sleep in Peace_ the Works, for _Wapping_ born! No more thy Cuckoo Note shall wake the Morn; In Ease, and Avarice, and aukward State, _The Fool of Fortune_, shalt thou hail thy Fate; Slumbring in Quiet o’er Lampoons half writ, Which, ripe in Malice, only wait for Wit. So when _Vanessa_ yielded up her Charms, The blest _Cadenus_ languish’d in her Arms; High, on a Peg, his unbrush’d Beaver hung, His Vest unbutton’d, and his God unsung; Raptur’d he lies; Deans, Authors are forgot, _Wood_’s Copper Pence, and _Atterbury_’s Plot; For her he quits the Tythes of _Patrick_’s Fields, And all the Levite to the Lover yields. [Decoration] [Decoration] NOTES On the Foregoing POEM. (a) _If Noble _B------m_,_ The late Duke of _Buckingham!_ who made that fine Alteration of the Tragedy of _Julius Cæsar_ from _Shakespeare_, and who is said by Mr. _Pope_ to have bestow’d the finest Praise upon _Homer_ that he ever received, in the following Lines; Read _Homer_ once, and you need read no more; For all Things else will be so mean and poor, Verse will seem Prose: Yet often on him look, And you will never need another Book. D---- of B----’s Essay on Poetry. He has also printed a Copy of Verses in Praise of _Pope_, which were returned by another in Praise of his Grace. There is so great a Similitude in the Stile of these Writers, that the Reader, I think, need not doubt their Sincerity in admiring each other. ’Tis great Delight to laugh at some Mens Ways; But ’tis much greater to give Merit Praise. D---- of B----. _Sheffield_ approves, consenting _Phœbus_ bends, And I and Malice from this Hour, am Friends. Pope. (b) _Who _G------n_’s Dulness------_ _Charles Gildon_, dismiss’d from the D----’s Pension and Favour, on Account of his Obstinacy in refusing to take the Oaths to _P--pe_’s Supremacy. (c) _Smooth dull Unity of Sound._ _P--pe_’s Reputation for versifying is a vulgar Error, founded only on discreet Theft: Half a Line from Mr. _Dryden_’s _Conquest of Mexico_, and another from his Translation of _Virgil_, have seemingly made tolerable Music, when join’d in his Works; but Music of the _Morocco_ Kind, which has but one Note. (d) _Who taught declining _Wycherley_------_ Mr. _Wycherley_ subscribed to a Compliment (some say, before his Death) upon _P--pe_’s Pastorals, in which he says, his _Arcadia speaks the Language of the Mall_, but does not explain, whether he means at Noon or Night. I do not agree with what Mr. _Wycherley_ is supposed to have writ of him, but I do with what he certainly said of him, _viz._ _That he was not able to make a Suit of Cloaths, but could perhaps turn an old Coat._ (e) _Which Doctor _Y------__ The Reverend Doctor _Edward Young_, who, in this Quarrel of the great contending Powers in Poesy, has been courted by all Sides: But some late Incidents give a Suspicion, that he has privately acceded to the _Treaty of Twickenham_. (f) _Poor _G----_, who loses most----_ Mr. _Gay_, not thought to be the entire Author of the _Beggar’s Opera_, and ordered to own _Three Hours after Marriage_. (g) _By _Rich_ recorded------_ _Gilbert Pickering Rich._ A great Admirer of _P--pe_, eminent for his Translation of _Horace_, which can be equall’d by nothing but _P--pe_’s translating of _Homer_. He concludes the first Ode by giving (_sublimi feriam sidera vertice_) in these Words; I’ll bound, I’ll spring, I’ll strike the weaken’d Pole, I’ll knock so hard, I’ll knock thro’ it a Hole. (h) _------Breaks all _Sinai_’s Laws except the Second._ Second Commandment: “Thou shalt not make the Likeness of any Thing in Heaven above, or on the Earth beneath, or the Waters under the Earth.” (i) _Forget awhile _Belinda_ and the Sun._ In the _Rape of the Lock_, _Belinda_ and the Sun are very often said to be very much alike, which occasion’d two Lines in Praise of that Poem, written by a Friend of Mr. _Pope_; Here, like the Sun, _Belinda_ strikes the Swain, In the same Page like the same Sun again. Monsieur _Boileau_, speaking of the Poetasters of his Nation, in a Poem to the King, makes this Comparison the Consummation of Dulness; _Et enfin te compare au Solœil._ And in the End he compares your Majesty to the Sun. (k) _------Half-paid drudging _B----me_._ The Reverend Mr. _B----me_, who translated a great Part of _Homer_, and construed the Rest: _N.B. A half-paid Poet_ is oftentimes the Occasion of an _unpaid Taylor_. (l) _Sleep, Sleep in Peace------_ These Lines are a Parody of a famous Passage in the Tragedy of _Phædra_ and _Hyppolitus_. Sleep, Sleep in Peace, ye Monsters of the Wood: No more my early Horn shall wake------ _So when bright _Venus_ yielded up her Charms, The blest _Adonis_ languish’d in her Arms; His idle Horn on flagrant Myrtle hung, His Arrows scatter’d, and his Bow unstrung; Obscure in Covert lay his dreaming Hounds, And bay’d the fancy’d Boar with feeble Sounds: For nobler Sports he quits the savage Fields, And all the Hero to the Lover yields._ FINIS. [Decoration] * * * * * * * * * [Transcriber’s Note: Footnotes are here shown between stanzas. The labels (a, b, c) are unchanged.] The _BLATANT-BEAST._ a POEM. What is that Blatant-Beast? Then he reply’d. It is a Monster bred of hellish Race, Then answered he, which often hath annoy’d Good Knights and Ladies true, and many else destroy’d. SPENCER’s Fairy Queen, Book VI. Canto I. No Might, no Greatness in Mortality Can Censure ’scape: Back-wounding Calumny The whitest Virtue strikes. What King so strong, Can tye the Gall up in sland’rous Tongue? SHAKESPEAR. [Decoration] _LONDON:_ Printed for J. ROBINSON, at the _Golden Lyon_ in _Ludgate-street_. MDCCXLII. [Decoration] The _BLATANT-BEAST_ a POEM. Beauty, the fondling Mother’s earliest Pray’r, Nature’s kind Gift to sweeten worldly Care. Beauty the greatest Extasy imparts, Steals thro’ our Eyes, and revels in our Hearts; Adds Lustre to a Crown, gives Weight to Sense, The Orator assists in Truth’s Defence. The very Fool our Hearts resistless warms, And while we curse the Tongue, the Figure charms. If Beauty be the Subject of our Praise, A rude, mishapen Lump Contempt must raise. When _Lucifer_ with Angels held first Place, Seraphic Beauty sparkled in his Face. By Pride and Malice tempted to rebel, Vengeance pursu’d him to the lowest Hell: Not sulph’rous Lakes suffic’d, nor dreary Plains; Deformity was join’d t’ improve his Pains. Paint then the Person, and expose the Mind, Who rails at others, to his own Faults blind. Sly _Sancho_’s Paunch, meagre _Don Quixot_’s Love, The Satyr and the Ridicule improve. So when fam’d _Butler_ wou’d Rebellion paint, He lasht the Traitor and the Mimic Saint. Sir _Hudibras_ he sung; the crumpled Wight, Contempt and Laughter ever will excite. The Blatant-Beast once more has broke his Chains, Disperses Falshoods, and remorseless reigns. Scornful of all thy Verses dare design, (Where useless Epithets crowd ev’ry Line,) The Blatant-Beast shall be afresh pursu’d, Nor cease my Labours till again subdu’d. Distorted Elf! to Nature a Disgrace, Thy Mind envenom’d pictur’d in thy Face; Malice with Envy in thy Breast combines, And in thy Visage grav’d those ghastly Lines. Like Plagues, like Death thy ranc’rous Arrows fly, At Good and Bad, at Friend and Enemy. To thy own Breast recoils the erring Dart, Corrupts thy Blood, and rankles in thy Heart. There swell the Poisons which thy Breast distend, And with the Load thy Mountain Shoulders bend. Horrid to view! retire from human Sight, Nor with thy Figure pregnant Dames affright. Crawl thro’ thy childish Grot, growl round thy Grove, A Foe to Man, an Antidote to Love. In Curses waste thy Time instead of Pray’r, (a) And with thy Breath pollute the fragrant Air. There doze o’er _Shakespear_; then thy Blunders fell (b) At mighty Price; this Truth let _Tonson_ tell. Then frontless intimate, (oh perjur’d Bard!) Thy Labours were bestow’d without Reward. On that immortal Author wreak thy Spite, (c) And on his Monument thy Nonsense write. Should _Theobald_ thy presumptuous Errors shew, Be thou to _Theobald_ an invet’rate Foe. _Cibber_ shall foremost in thy Satyrs stand; His Plays succeed, and thine was justly damn’d. But _Colley_ call him, when thou would’st declame; Great is the Jest that lies in _Colley_’s Name. [Footnote a: It is surely allowable to treat a Man after this manner who abuses all others, and to make this just Reflexion, since in his new _Dunciad_ he not only calls _Mummius_ a Fool, but uses this filthy Expression--who stinks above the Ground.] [Footnote b: See this farther explained in the ingenious Dialogues of _Sawney_ and _Colley_.] [Footnote c: Tho’ he was informed that Wreck was improper, yet he was resolv’d it should be inscrib’d, because the Nonsense was in his Edition of _Shakespear_.] Beware all ye, whom he as Friends carest, How ye entrust your Secrets to his Breast. (a) On Backs of Letters was his _Homer_ wrote, All your Affairs disclos’d to save a Groat. He valu’d not to whom he gave Offence; He sav’d his Paper, tho’ at your Expence. [Footnote a: When he sent his _Homer_ to his Acquaintance for their Emendations, it was written on the Back of the Letters of his Correspondents, whether of Business, Complement or Secrecy. A shameful Instance of Avarice and Treachery!] But shall a low-born Wretch the best traduce, And call it Poetry, because Abuse? The Heav’n-born Muse, by Truth and Justice sway’d, To false Aspersions ne’er vouchsafes her Aid. When unprovok’d, not vengeful Wasps molest, Nor dart their Stings, when undisturb’d their Nest. Thy Muse, by _Virgil_’s Harpies taught to write, Scatters her Ordure in her screaming Flight; Sacred Religion and her Priests defames, And against Monarchs saucily exclames. (a) The Fathers, of our Church the surest Guides, As a poor Pack of Punsters she derides. But chief O _Cam!_ and _Isis!_ dread her Frown, (b) Chain’d to the Footstool of the Goddess’ Throne. No Order, no Degree escapes her Rage, And dull, and dull, and dull swells ev’ry Page. Thirsty, she Poison draws from ev’ry Flow’r, Like Satan, seeks whom next she may devour. [Footnote a: _Vide_ Notes on the new _Dunciad_.] [Footnote b: Goddess of Dullness.] So have I seen a Dog distracted roam; He bites, he snaps at all, disgorging Foam. The frighten’d Passenger the Danger flies, And sees the Poison flashing from his Eyes. Till some stout Dray-man dashes out his Brains, And his corrupted Blood the Kennel stains. Thy Notes pedantic shall no more engage; _Arbuthnot_’s Wit enlivens not the Page. Thy Muse, that Prostitute abandon’d Jade, Now flounders in the Mire without _Swift_’s Aid. Thy base Invectives Men no more regard; With just Disdain thy Scare-Crow Muse is heard. So when the latent Seeds their Fruits display, And gain fresh Vigour from a genial Ray: The careful Hind a monst’rous Figure frames; From various Rags unwonted Terror streams. The feather’d Choristers in Flocks retreat, And at a Distance view the tempting Bait. At length grown bold, they perch upon his Head, And with their Meute bedawb what late they fled. _B-ns-n_ abuse for raising _Milton_’s Bust, And impiously molest learn’d _Johnston_’s Dust. Religious, he the Psalms in _Latin_ sung, From hence the Malice of the Deist sprung. While with a just Derision we survey, Thy wretched Epitaph on poor _John Gay_. Had _Peter_, _Charters_ thee with Gold supply’d, _Peter_ and _Charters_ had been deify’d. But ev’ry Lord, each gen’rous Friend implore, And by Subscriptions meanly swell thy Store. When to the Town by sordid Int’rest led, Mump for a Dinner, flatter for a Bed. Then to thy Grot retire, indulge thy Spite, And rail at those who for Subsistence write. Summon thy Rags, invoke thy scurril Muse, With keenest Malice _Addison_ abuse. Sculking, the Scandal privately disperse, (a) Then own in Prose the Baseness of thy Verse. [Footnote a: He writ a vile Lampoon on Mr. _Addison_, and then in a Preface owns, he deserves Respect from every Lover of Learning.] So e’re _Arachne_ to her Cell repairs, Insidiously she weaves her glewy Snares. Sullen, she meditates on Deaths to come, And meliorates the Poison in her Womb. (b) Should hapless _Clarion_ thither take his Flight, He falls her Prey, mindful of ancient Spite. [Footnote b: _Vide_ _Spencer_’s Fate of the Butterfly.] With Malice swoll’n, Pride, Envy, Avarice, Ingratitude attends this Train to Vice. Yet one remains untold; with Lust endu’d, Behold the Fribler lab’ring to be lewd. Kind _Cibber_ interpos’d, forbad the Banns, He’d peopled else this Isle with _Calibans_. (a) The noble _Timon_, in thy waspish Strains, A Proof of thy Ingratitude remains. Courteous to all, munificent, humane, Subject of others Praise, to thee of Pain. Exalted far above thy groveling State, The Object of his Pity, not his Hate. He smiles at Scandal so unjustly thrown, And at thy Malice he disdains to frown. [Footnote a: _Vide_ a Poem on Taste.] Thus oft we see a currish, Mungrel Crew, A stately Mastiff eagerly pursue. They swarm around, they yelp, they snarl, they grin, Bold in Appearance, timerous within: With such mean Foes he deigns not to engage, But lifts his Leg, and pisses out their Rage. How dar’st thou, Peasant, give thy Pen this Loose? Becomes it thee thus madly to traduce? The Great, the Low, the Virtuous, and the Base, Alike are grown thy Subject of Disgrace. Safe in thy Weakness, thou defi’st a Foe; E’en (b) _Cibber_’s Cudgel scorn’d to stoop so low. The Mercy of the Law restrains thy Fears; _Coventry_’s Act secures thy Nose and Ears. Yet there remains, to fill thy Soul with Care, A Blanket to curvet thee in the Air. [Footnote b: _Vide_ _Cibber_’s Letter to _Pope_.] O wretched Life consum’d in restless Pains, Where Dread of Punishment incessant reigns! Poor Self-Tormentor! in whose gloomy Breast The Vulture dwells, inhospitable Guest. Be to my Foe no greater Curse assign’d! Than a malignant Heart and envious Mind. Thrice happy he! that’s with Good Nature blest, Love of his Species rules his tender Breast; Nor there confin’d: The Brute Creation share His kind Beneficence and gen’rous Care. No base malicious Thoughts his Peace annoy: Are others happy? he partakes their Joy. Chearful and innocent the Day he spends, And Silver Sleep his quiet Nights attends. But thou, a Stranger to this Peace of Mind, Search where thou may’st conspicuous Merit find: There strive to blacken with thy utmost Art, And rail the more, the greater the Desert. Is there a Man, an Honour to the Age, Unsully’d by the keenest Party-rage; By Vice untainted; who, from early Youth, Firmly adher’d to Honour, Justice, Truth; Whom no unruly Passions e’re cou’d blind, Nor ruffle his Serenity of Mind; His Country’s Good, the Patriot’s noblest View, Unbrib’d, unaw’d, does stedfastly pursue; Polite in Manners, and rever’d his Sense, And long in Senates fam’d for Eloquence; But if to these Endowments of the Mind, A graceful Figure happily is join’d, Then flows thy Gall, then raves thy half-form’d Clay, Then frets thy putrid Carcass to Decay. So when the croaking Toad the Ox beheld, His envious Heart with Indignation swell’d. Vainly the Reptil thought he could extend His bloated Form, and Nature’s Error mend. He drew his Breath; he swell’d--he burst; he dy’d A Victim to his Arrogance and Pride. _FINIS._ * * * * * * * * * The Augustan Reprint Society WILLIAM ANDREWS CLARK MEMORIAL LIBRARY University of California, Los Angeles PUBLICATIONS IN PRINT [Where available, Project Gutenberg e-text numbers are shown in brackets.] 1948-1949 16. Nevil Payne, _Fatal Jealousy_ (1673). [16916] 17. Nicholas Rowe, _Some Account of the Life of Mr. William Shakespeare_ (1709). [16275] 18. “Of Genius,” in _The Occasional Paper_, Vol. III, No. 10 (1719); and Aaron Hill’s Preface to _The Creation_ (1720). [15870] 1949-1950 22. Samuel Johnson, _The Vanity of Human Wishes_ (1749) and two _Rambler_ papers (1750). [13350] 23. John Dryden, _His Majesties Declaration Defended_ (1681). [15074] 1950-1951 26. Charles Macklin, _The Man of the World_ (1792). [14463] 1951-1952 31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751); and _The Eton College Manuscript_. [15409] 1952-1953 41. Bernard Mandeville, _A Letter to Dion_ (1732). 1954-1955 49. Two St. Cecilia’s Day Sermons (1696, 1697). 52. Pappity Stampoy, _A Collection of Scotch Proverbs_ (1663). [7018] 1958-1959 75. John Joyne, _A Journal_ (1679). 76. André Dacier, _Preface to Aristotle’s Art of Poetry_ (1705). 1959-1960 80. [P. Whalley], _An Essay on the Manner of Writing History_ (1746). 83. _Sawney and Colley_ (1742) and other Pope Pamphlets. 84. Richard Savage, _An Author to be lett_ (1729). 1960-1961 85-6. _Essays on the Theatre from Eighteenth-Century Periodicals_. 90. Henry Needler, _Works_ (1728). 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). 95. _An Essay on the New Species of Writing Founded by Mr. Fielding_ (1751). 96. _Hanoverian Ballads_. 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). 101-2. 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). 107-8. John Oldmixon, _An Essay on Criticism_ (1728). William Andrews Clark Memorial Library: University of California, Los Angeles The Augustan Reprint Society GENERAL EDITORS EARL MINER University of California, Los Angeles MAXIMILLIAN E. NOVAK University of California, Los Angeles LAWRENCE CLARK POWELL Wm. Andrews Clark Memorial Library _Corresponding Secretary_: Mrs. Edna C. Davis, Wm. 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, 2205 West Adams Boulevard, Los Angeles, California. Correspondence concerning editorial matters may be addressed to any of the general editors. 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 1964-1965 JOHN TUTCHIN, _Selected Poems_ (1685-1700). Introduction by Spiro Peterson. SIR WILLIAM TEMPLE, _An Essay upon the Original and Nature of Government_ (1680). Introduction by Robert C. Steensma. T. R., _An Essay Concerning Critical and Curious Learning_ (1698). Introduction by Curt A. Zimansky. ANONYMOUS, _Political Justice. A Poem_ (1736). Introduction by Burton R. Pollin and John W. Wilkes. _Two Poems Against Pope_: LEONARD WELSTED, _One Epistle to Mr. A. Pope_ (1730); ANONYMOUS, _The Blatant Beast_ (1740). Introduction by Joseph V. Guerinot. ROBERT DODSLEY, _An Essay on Fable_ (1764). Introduction by Jeanne K. Welcher and Richard Dircks. THE AUGUSTAN REPRINT SOCIETY William Andrews Clark Memorial Library 2205 WEST ADAMS BOULEVARD, LOS ANGELES, CALIFORNIA 90018 Make check or money order payable to THE REGENTS OF THE UNIVERSITY OF CALIFORNIA. * * * * * * * * * * * * * * Errata (added by transcriber): Editor’s Introduction in which our Author was abused [_Text reads “was / was” at line break. It is assumed that this error was not present in the original text, since the editor does not include a (sic) or similar notation_] probably intentional ambiguity [international] it being written by Mr. Welsted and others.[10] [_” missing_] Pope’s _Illiad_.[22] [_spelling unchanged_] The writer shows a talent for invective, [invenctive] Editor’s Introduction: Footnotes the Son of a ____. [_here and later, the text uses lowlines in place of dashes_] One Epistle: Preface Gareteers, and Beggars,: If he can [_punctuation unchanged_] Dr. _Arburthnot_, who originally sketch’d the Design [_spelling unchanged_] Blatant-Beast BEAUTY, the fondling Mother’s earliest [_’ invisible_] A rude, mishapen Lump Contempt must raise. [_spelling unchanged_] Augustan Reprint Society 22. ... and two _Rambler_ papers (1750) [_final . added_] End of the Project Gutenberg EBook of Two Poems Against Pope, by Leonard Welsted and Anonymous and Joseph V. Guerinot *** END OF THIS PROJECT GUTENBERG EBOOK TWO POEMS AGAINST POPE *** ***** This file should be named 24199-0.txt or 24199-0.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/2/4/1/9/24199/ Produced by Louise Hope, David Starner, Suzanne Lybarger 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 F3. 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, is 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.