The Project Gutenberg eBook of Mundus Foppensis: The Fop Display'd
    
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world 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. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.

Title: Mundus Foppensis: The Fop Display'd

Dubious author: John Evelyn

Release date: July 25, 2011 [eBook #36841]
                Most recently updated: January 7, 2021

Language: English

Credits: Produced by Colin Bell, Joseph Cooper, Carol Ann Brown,
        and the Online Distributed Proofreading Team at
        https://www.pgdp.net


*** START OF THE PROJECT GUTENBERG EBOOK MUNDUS FOPPENSIS: THE FOP DISPLAY'D ***




Produced by Colin Bell, Joseph Cooper, Carol Ann Brown,
and the Online Distributed Proofreading Team at
https://www.pgdp.net









       Mundus Foppensis:
             OR, THE
          Fop Display'd.
              BEING
      The Ladies VINDICATION,

  In Answer to a late Pamphlet, Entituled,
      Mundus Muliebris: Or, The Ladies
       Dressing-Room Unlocked, _&c._

             In Burlesque.

  Together with a short SUPPLEMENT
  to the _Fop-Dictionary_: Compos'd for the
  use of the Town _Beaus_.

  _Prisca juvent alios; Ego me nunc denique natum,
     Gratulor hæc ætas moribus apta meis.
  Non quia nunc terra lentum subducitur aurum
     Lectaque diverso littore Concha venit.
  Sed quia cultus adest, nec nostros mansit in Annos,
     Rusticitas Priscis illa superstes avis._

  _Ovid_ de Arte Amandi. _Lib. 3._

  _London,_ Printed for John Harris at the Harrow
              in the _Poultry_, 1691.




ADVERTISEMENT


There is newly published _The Present State of Europe_; or, _The
Historical and Political Mercury_: Giving an Account of all the publick
and private Occurrences that are most considerable in every Court, for
the Months of _August_ and _September_, 1690. With curious _Reflections_
upon every State. To be continued Monthly from the Original, published
at the _Hague_ by the Authority of the States of _Holland_ and
_West-Friesland_. Sold by John Harris at the Harrow in the _Poultrey_.

There is newly published _A plain Relation of the late Action at Sea_,
between the _English_ and _Dutch_, and the _French_ Fleets, from _June_
22th. to _July_ 5th. last: With _Reflections_ thereupon, and upon the
Present State of the Nation, _&c._

Written by the Author of the _Reflections upon the last Years
Occurrences_, &c. _London_, Printed for John Harris at the Harrow in the
_Poultrey_, Price 1 _s._




  THE
  PREFACE.


Ladies,

_In the Tacker together of Mundus Muliebris, As it was a very great
Piece of ill Manners, to unlock your Dressing-Rooms without your Leave,
so was it no less indecent in him to expose your Wardrobes to the World,
especially in such a Rhapsody of Rhime Doggeril as looks much more like
an Inventory than a Poem; however, he has only pilfer'd away the Names
of your Varieties without doing ye any other Mischief; for there is
nothing to be found in all his Index, nor his Dictionary neither, but
what becomes a Person of Quality to give, and a Person of Quality to
receive; and indeed, considering how frail the mortal Estates of mortal
Gentlemen are, it argues but a common Prudence in Ladies to take
Advantage of the Kindness of their Admirers_; to make Hay while the Sun
shines; _well knowing how often they are inveigl'd out of their
Jointures upon all Occasions: Besides, it is a_ _general Desire in Men,
that their Ladies should keep Home, and therefore it is but reasonable
they should make their Homes as delightful as it is possible; and
therefore this Bubble of an Inventory is not to be thought the Effect of
general Repentance, among your Servants and Adorers, but the capricious
Malice of some Person envious of the little Remunerations of your
Kindnesses for being disbandded from your Conversation; little indeed,
considering the Rewards due to your Merits, otherwise it would be the
greatest Injustice upon Earth for the Men to think of reforming the
Women before they reform themselves, who are ten times worse in all
respects, as you will have sufficient to retort upon them when you come
by and by to the Matter._

_But to shew that it is no new thing for Ladies to go gay and gaudy, we
find in Ovid, that the Women made use of great Variety of Colours for
the Silks of which they made their Garments, of which the chiefest in
request among them were Azure, Sea-green, Saffron colour, Violet, Ash
colour, Rose colour, Chesnut, Almond Colour, with several others, as
their Fancy thought fit to make choice; nor were they deny'd the Purple
in Grain, overlaid with Pearl, or embroider'd with Gold: Nor_ _was it a
strange thing for the Roman Women to die their Hair Yellow, as an
augmentation to their Beauty; nor did the severity of the times at all
oppose it, but rather allow'd it. Now, says Ovid, The Manner of dressing
is not of one sort, and therefore let every Lady choose what best
becomes her; first consulting her Looking-glass. And soon after, he
confesses that there were not more Leaves upon a large Oak, not so many
Bees in Hybla, nor so many wild Beasts ranging the Alps as he could
number differences of dressing Ladies. He tells ye how Laodamia drest to
set off a long Face. How Diana drest when she went a Hunting: And how
Iole was carelessly drest when she took Alcides Captive in the Dangles
of her Tresses: So that it is no such new thing for the Women of this
Age to desire rich and splendid Ornaments. And why their Grandmothers,
and Great Grandmothers confin'd themselves to their Nuptial Kirtles,
their Gowns and Petticoats that lasted so many Anniversaries; their
Virginals for Musick, and their Spanish Pavans, and Sellingers Rounds
for Recreation, after their long poring upon Tent-stitch, 'tis not a
farthing Matter for our Ladies to enquire: 'Twas their Misfortune they
knew no better; but because they_ _knew no better, 'tis no Argument that
our Ladies should be ty'd to their obsolete Examples: For the
Alterations of Times and Customs alter the Humors and Fashions of an
Age, and change the whole Frame of Conversation. Juno is by the Poets
trick'd up in Vestments embroidered with all the Colours of the
Peacocks; and no question the Poets spoke with Relation to the Gallantry
of the Women of those times. And who so gaudy as Madam Iris in the Skie,
and therefore said to be chief Maid of Honour to Jupiter's Wife. I could
give ye an Account of the Habits of Venus, and the Graces, which the
Poets adapting to the Modes of those Times, plainly demonstrates, that
the Ladies were no less curious in those days than now._

_So then, Ladies, for your comfort be it spoken, here's only a Great Cry
and little Wool; while the Unlocker of your Dressing-Rooms brings us a
long Bedroll of hard Names to prove that you make use of a great deal of
Variety to set forth and grace your Beauty, and render your Charms more
unresistable, and that you love to have your Closets splendidly and
richly furnish'd: Heavens be prais'd, he lays nothing Criminal to your
Charge; but only puts ye in mind of a Chapter in Isaiah, of which_ _you
are not bound to take much notice, in regard his mistaking the 6. for
the 3: may secure ye there is little heed to be given to his Divinity._

_But on the other side it makes me mad to hear what the Devil of a Roman
Satyr Juvenal speaks of his own Sex; for tho' he makes Women bad enough,
he makes it an easier thing to meet with Prodigies and Monsters, than
Men of Sense and Vertue._

  Should I behold in _Rome_, that Man, _says he_,
  That were of spotless Fame, and Life unblam'd;
  More than a Wonder it would be to me,
  And I that Monster would compare to damn'd:
  Two-headed Boy, with double Members born,
  Or Fish, by Plow turn'd up, where lately Corn
  In fertile Acres grew; or Fole by Mule
  Brought forth, as Heaven would Nature over-rule:
  No less amaz'd, than if a stoney Showre
  Should from the Skie upon the Pavement pour;
  Or that some Swarm of Bees, ascending higher
  Than usually, should cluster on the Temple Spire;
  Or that some rapid and impetuous Stream,
  Should roll into the Sea, all Bloud, or Cream.

_Heavens! how many Wonders do's Juvenal make at the sight of an Honest
Man in his time; and yet when he has spoken as bad as he could of_ _the
Women, we find no such severe Expressions of his upon the Female Sex.
Now Ladies if good Men are so scarce, what need you care what Fools and
bad Men say. 'Tis true it must be acknowledg'd a hard Censure upon Men;
but it was a Man that said it; and therefore it makes the better for the
Feminine Gender. Well, Ladies, you may be pleas'd to make what use of it
you think fit, as being that which will certainly defend ye against all
the Picklocks of your Dressing-Rooms for the future; besides the Liberty
which Ovid, an Authentick Author, gives ye, to make use of what Dresses,
what Ornaments, what Embellishments you please, according to the Mode
and Practice of those times, under one of the best Rulers of the Roman
Empire, and far more antient than when your Grandmothers and Great
Grandmothers spun Flax, and bespittl'd their Fingers._




             THE
         Fop Display'd;

              OR,

     The Ladies VINDICATION:

          In ANSWER to

  The Ladies Dressing-Room Unlock'd, _&c._


  Fain wou'd I, Ladies, briefly know
  How you have injur'd Bully _Beau_;
  That he thus falls, with so much noise,
  Upon your Trinkets, and your Toys?
  Something was in't; for I protest t' ye,
  He has most wonderfully drest ye:
  Nor has his Wrath spar'd ye an inch,
  To set ye out in Pedlars French;
  And all his Readers to possess,
  That Women conjure when they dress:
  Malicious _Beau_-Design, to make
  The Ladies Dressing-Room to speak
  Hard Words, unknown to all their Gransires;
  The Language like of Necromancers.
  Heavens! must Men still be at th' Mercies
  Of new _Medeas_, and new _Circes_;
  Not working by the fatal Powers
  Of old inchanting Herbs and Flowers;
  But by the Magick of their Garments,
  Conspiring to renew our Torments?
  I'll not believe the venomous Satyr,
  It cannot be in Ladies Nature,
  So amiable, sweet, and active,
  To Study Magical Attractive;
  As if they Wanted Help of _Endor_,
  Their Graces more Divine to render.
  Rather we think this _Jargonry_
  Beyond the Skill of Doctor Dee:
  Hell's Preacher, _Phlegyas,_ from below,
  Call'd up, and hous'd in carnal _Beau_;
  With wicked Hells _Enthusiasm_,
  Between each Sex to make a _Chasm_;
  For _Virgil_, never tax'd of Nonsense;
  Nor yet provok'd, to injure Lady
  Brings in the same infernal Rabbi,
  Among the Damn'd, disturb'd in Conscience;
  And stirr'd with like Satyrick Rage,
  Against the Females of that Age.
    Ingratefull Rhimer! thus to vex
  The more refin'd and lovely Sex,
  By acting like officious Novice,
  Informer in the Devil's _Crown-Office_,
  If we mayn't rather take him for
  Some busie, bold Apparator,
  In Satan's Commons Court of Arches,
  By his more Feminine Researches:
  Tho' what if many a tainted Whore
  Tormented him before his hour,
  'Twas mean Revenge, howe'er, to fall
  On the whole Sex in general;
  'Cause 'twas his ill luck still to light
  On Ware unsound, for want of Wit.
    What if the Ladies will be brave,
  Why may not they a Language have
  To wrap their Trinkets up in Mystery?
  Since Men are much more blam'd in History,
  For tying up their Slipper peaks
  With Silver Chains, that reach'd their Necks.
  Was't not, d'ye think, a pleasant sight,
  To see the smiling Surgeon slit
  The swelling Figs, in Bum behind,
  Caught by misusing of his Kind?
  But Women, only for being quaint,
  To signifie the Things they want
  By proper Names, must be reproach'd;
  For wanton, foolish, and debauch'd;
  Yet Learning is no Crime to Ladies,
  And Terms of Art are still where Trade is.
  Printers speak Gibb'rish at their Cafes;
  And Weavers talk in unknown Phrases;
  And Blacksmith's 'Prentice takes his Lessons
  From Arabick (to us) Expressions:
  Why then mayn't Ladies, in their Stations,
  Use novel Names for novel Fashions?
  And is not _Colbertine_, God save us,
  Much nearer far than _Wevus mavus_;
  A sort of Cant, with which the young
  Corrupted once their Mother Tongue:
  Is such a Bumpkin Cant as that
  Fit for an Age where only what
  Is brisk and airy, new refin'd,
  Exalts the Wit, and clears the mind?
  No ladies, no; go on your way;
  Gay Cloaths require gay Words, we say.
    When Art has trimm'd up Head-Attire,
  Fit for a Nation to admire;
  And Head and Ornament are well met,
  Like Amazonian Plume and Helmet;
  To call that by a vulgar Name,
  Would be too mean, and th' Artist shame;
  Call it a _Septizonimum_, or _Tiara_;
  Or what you please, that's new and rare-a.
  May not the Head, the Seat of Sense,
  Name it's own Dress, without Offence?
  The Roman Ladies, you are told,
  Wore such a Head-Attire of old;
  And what if _Juvenal_ were such a Satyr,
  The Roman Ladies to bespatter;
  Tell _Juvenal_, he was a Fool,
  And must not think to _England_ rule:
  Why should her Jewels move my Spleen;
  Let her out-dazle _Egypt_'s Queen:
  It shows that Gold the Pocket lines,
  Where such illustrious Glory shines;
  And there's a sort of Pride becomes
  The Pomp of Dress, as well as Rooms.
  I would not for the world be thought
  To pick a hole in Ladies Coat;
  Because they make it their Delight,
  To keep their Bodies trim and tite.
  What though the Names be new, and such
  As borrow from the French and Dutch?
  Or strain'd from the Italian Idiom,
  Rather from hence I take the Freedom,
  To praise their Care, thus to enrich
  And fructifie our barren Speech,
  We owe to their Vocabulary,
  That makes our Language full and airy,
  Enlarging _Meige_'s Dictionary.
  Where things want Names, Names must be had:
  Shall Lady cry to Chamber-maid,
  Bring me my Thing there, for my head;
  My Thing there, quilted white and red;
  My Thing there for my Wrists and Neck;
  'Tis ten to One the Maids mistake;
  Then Lady cries, The Devil take
  Such cursed Sots; my tother Thing;
  Then 'stead of Shoes, the Cuffs they bring.
  'Slife--Lady crys, if I rise up,
  I'll send thee to the Devil to sup;
  And thus, like _Babel_, in conclusion,
  The Lady's Closet's all Confusion;
  When as if Ladies name the Things,
  The Maid, whate'er she bid her, brings;
  Neither is Lady chaf'd with Anger,
  Nor Bones of Maiden put in danger.
    Sure then 'twas some ill-natur'd _Beau_,
  To persecute the Ladies so;
  For peopling, of their own accords,
  _Phillip's English World of Words_:
  A _Beau_ more cruel than the _Goths_,
  Thus to deny the Women Cloaths:
  As if to theirs the rich Additions
  Were Heathen Rites, and Superstitions;
  Or else, as if from _Picts_ descended,
  He were with Women's Cloaths offended;
  And spite of cold, or heat of air,
  He lov'd to see Dame Nature bare.
  Their Shoes and Stays, he says, are tawdry,
  Not fit to wear 'cause of th' Embroidry.
  For Petticoats he'd have e'm bare-breech'd,
  From _India_ 'cause the Stuffs are far-fetch'd.
  Their Points and Lace he damns to Hell;
  Corruptions of the Common-Weal.
  The vain Exceptions of Wiseacres,
  Fit to goe herd among the Quakers;
  And talk to _Maudlin_, in close Hood,
  Things that themselves ne'er understood.
  Now let us then the _Beau_ survey,
  Has he no Baubles to display:
  There's first the _Dango_, and the _Snake_,
  Those _Dildoes_ in the Nape of Neck;
  That dangle down behind, to shew
  Dimensions of the _Snake_ below:
  'Tis thick, and long; but pizzl'd at th' end,
  And would be thought the Woman's Friend:
  Yet they who many times have try'd,
  By _Dango_ swear the _Snake_ bely'd.
  Then th' insignificant _Knee-Rowl_,
  A mere _Whim-wham_, upon my Soul;
  For that 'twas never made, I fear,
  To save the Master's Knees at Prayer:
  Which being worn o'th' largest size,
  That Man _Rolls_ full, the Bully cries.
  A Term of Art for Knees Concinnity,
  Beyond the Sense of School-Divinity.
    What _Beau_ himself would so unman,
  To ride in scandalous Sedan?
  A Carriage only fit for Midwives,
  That of their Burthens go to rid Wives;
  Unless to hide, from Revelation,
  Th' Adulterer's haste to Assignation.
    What Dunces are our Tonsors grown,
  Where's their Gold Filings in an Amber Box,
  To strew upon their Masters Locks,
  And make 'em glitter in the Sun?
  Sure English _Beaus_ may out-vie _Venus_,
  As well as _Commodus_, or _Gallienus_.
  'Twas Goldilocks, my lovely Boy,
  Made _Agamemnon_ ruine _Troy_.
    I could produce ye Emperours
  That sate in Womens Dress whole hours,
  Expos'd upon the publick Stage
  Their Catamites, Wives by Marr'age.
    Your old Trunk-hose are laid aside,
  For what-d'-ye-call-em's Tail to hide;
  So strait and close upon the Skin,
  As onely made for Lady's Eyne;
  To see the shape of Thighs and Groin:
  Hard case _Priapus_ should be so restrain'd,
  That had whole Orchards at command.
  Yet these are Toys, in Men, more wise,
  To Womens innocent Vanities.
  While soft Sir _Courtly Nice_ looks great,
  With the unmortgag'd Rents of his Estate:
  What is the Learning he adores,
  But the Discourse of Pimps and Whores?
  She who can tye, with quaintest Art,
  The spruce Cravat-string, wins his Heart;
  Where that same Toy does not exactly sit,
  He's not for common Conversation fit.
  How is the Barber held Divine,
  That can a Perriwig _Carine_!
  Or else _Correct_ it; which you please;
  For these are _Terms_ too, now-a-days,
  Of modern Gallants to entice
  The Barber to advance his Price:
  For if a Barber be not dear,
  He must not cover Coxcomb's Ear.
    Bless us! what's there? 'tis something walks,
  A piece of Painting, and yet speaks:
  Hard Case to blame the Ladies Washes,
  When Men are come to mend their Faces.
  Yet some there are such Women grown,
  They cann't be by their Faces known:
  Some wou'd be like the fair _Adonis_;
  Some would be _Hyacinthus_ Cronies;
  And then they study wanton use
  Of Spanish Red, and white Ceruse;
  The only Painters to the Life,
  That seem with Natures self at strife;
  As if she only the dead Colours laid,
  But they the Picture perfect made.
  What _Zeuxis_ dare provoke these Elves,
  That to out-doe him paint themselves?
  For tho' the Birds his painted Grapes did crave,
  These paint and all Mankind deceive.
  This sure must spend a World of Morning,
  More than the Ladies quick adorning;
  They have found out a shorter way,
  Not as before, to wast the day;
  They only comb, wash hands and face,
  And streightway, with a comely Grace,
  On the admired _Helmet_ goes,
  As ready rigg'd as their lac'd Shoes.
  Far much more time Men trifling wast,
  E'er their soft Bodies can be drest;
  The Looking-Glass hangs just before,
  And each o'th' Legs requires an hour:
  Now thereby, Ladies, hangs a Tale,
  A Story for your Cakes and Ale.
  A certain _Beau_ was lately dressing,
  But sure, e'er he had crav'd Heavens Blessing;
  When in comes Friend, and finds him laid
  In mournfull plight, upon his Bed.
  Dear _Tom_, quoth he, such a Mischance
  As ne'er befell the Foes of _France_;
  Nay, I must tell thee, _Fleury_ Battel
  Was ne'er to _Europe_ half so fatal;
  For by I know not what ill luck,
  My Glass this Morn fell down and broke
  Upon my Shin, just in my Rolling;
  Now is not this worth thy condoling?
  See Stocking cut, and bloody Shin,
  Besides the Charge of healing Skin.
  'Twas the only Kindness of my Fate,
  It mist the solid Piece, my Pate.
    Ladies, this was ill luck, but you
  Have much the worser of the two;
  The World is chang'd I know not how,
  For Men kiss Men, not Women now;
  And your neglected Lips in vain,
  Of smugling _Jack_, and _Tom_ complain:
  A most unmanly nasty Trick;
  One Man to lick the other's Cheek;
  And only what renews the shame
  Of _J._ the first, and _Buckingham_:
  He, true it is, his Wives Embraces fled
  To slabber his lov'd _Ganimede_;
  But to employ, those Lips were made
  For Women in _Gomorrha_'s Trade;
  Bespeaks the Reason ill design'd,
  Of railing thus 'gainst Woman-kind:
  For who that loves as Nature teaches,
  That had not rather kiss the Breeches
  Of Twenty Women, than to lick
  The Bristles of one Male dear _Dick_?
    Now wait on _Beau_ to his _Alsatia_,
  A Place that loves no _Dei Gratia_;
  Where the Undoers live, and Undone,
  In _London_, separate from _London_;
  Where go but Three Yards from the street,
  And you with a new Language meet:
  _Prig_, _Prigster_, _Bubble_, _Caravan_,
  _Pure Tackle_, _Buttock_, _Purest pure_.
  _Sealers_, _Putts_, _Equipp_, and _Bolter_;
  _Lug out_, _Scamper_, _rub_ and _scowre_.
  _Ready_, _Rhino_, _Coal_, and _Darby_,
  _Meggs_, and _Smelts_, and _Hoggs_, and _Decus_;
  _Tathers_, _Fambles_, _Tatts_ and _Doctors_,
  _Bowsy_, _Smoaky_, _Progg_, and _Cleare_,
  _Bolter_, _Banter_, _Cut a shamm_;
  With more a great deal of the same.
  Should _Saffold_ make but half this Rattle,
  When Maidens visit his O-racle,
  They'd take him for some Son of _Cham_,
  Calling up Legion by his Name,
    Add but to this the Flanty-Tant
  Of Fopling Al-a-mode Gallant;
  Why should not _Gris_, or _Jardine_,
  Be as well allow'd as _Bien gaunte_;
  _Cloaths_ is a paltry Word _Ma foy_;
  But Grandeur in the French _Arroy_.
  _Trimming_'s damn'd English, but _le Grass_
  Is that which must for Modish pass.
  To call a Shoe a Shoe, is base,
  Let the genteel _Picards_ take Place.
  Hang _Perriwig_, 'tis only fit
  For Barbers Tongues that ne'er spoke Wit;
  But if you'd be i'th' Fashion, choose
  The far politer Term, _Chedreux_
  What Clown is he that proudly moves,
  With on his hands what we call Gloves?
  No Friend, for more refin'd converse
  Will tell ye they are _Orangers_.
  So strangely does _Parisian_ Air
  Change English Youth, that half a year
  Makes 'em forget all Native Custome,
  To bring French Modes, and _Gallic_ Lust home;
  Nothing will these Apostates please,
  But _Gallic_ Health, and French Disease.
  In French their Quarrels, and their Fears,
  Their Joys they publish, and their Cares;
  In French they quarrel, and in French
  _Mon coeur,_ they cry, to paltry Wench.
    Why then should these Extravagants
  Make such Rhime-doggeril Complaints
  Against the Ladies Dressing-Rooms,
  And closets stor'd with rich Perfumes?
  There's nothing there but what becomes
  The Plenty of a fair Estate:
  Tho' Chimney Furniture of Plate,
  Tho' Mortlake Tapestry, Damask-Bed;
  Or Velvet all Embroidered;
  Tho' they affect a handsome store,
  Of part for State, of usefull more;
  They're Glories not to be deny'd
  To Women, stopping there their Pride;
  For such a Pride has nothing ill,
  But only makes them more genteel.
  Should Nature these fine Toys produce,
  And Women be debarr'd the use?
  These are no Masculine Delights;
  Studies of Books for Men are sights;
  A Stable with good Horses stor'd,
  And Payment punctual to their Word:
  Proportion these things to my Wishes,
  Let Women take the Porcelan Dishes;
  The Toylet Plates gilt and embost,
  With all the rest of little cost;
  Such small Diffusion feeds the Poor,
  While Misers hoard up all their store.
    Our Satyr then was one of those
  Who ne'er had Wealth at his dispose;
  Or being sped to live in Plenty,
  Posted to find his Coffers empty;
  Addicted all to sport and Gaming,
  And that same Vice not worth the naming;
  Till deeply dipp'd in Us'rers Books,
  And over-rid by Cheats and Rooks,
  The _Mint_ becomes his Sanctuary,
  Where not of his past Errors weary,
  But aged grown, and impotent,
  Alike in Purse and Codpiece spent,
  He _Cynic_ turns, in _Kings-Bench_ Tub,
  And vents the Froth of Brewers Bub:
  Where we will leave him melancholly,
  Bewailing Poverty, and Folly.




  A Short _Supplement_ to the _Fop-Dictionary_,
  so far as concerns the present Matter.



            _Adieu donce me Cheres._
  Farewell my dear Friends.

                    _Arroy._
  A Suit of Cloaths.

            _To adjust a Man's self._
  That is, to dress himself.

                    _Beau._
  A Masculine French Adjective, signifying fine but now naturaliz'd
  into _English_ to denote a sparkish dressing Fop.

                _Beaux Esprits._
  A Club of Wits, who call'd themselves so.

                  _Bachique._
  A Drinking Song or Catch.

         _The Brilliant_ of Language.
  Sharpness and wittiness of Expression.

              _A Brandenburgh._
  A Morning Gown.

            _To Carine a Perriwig._
  That is, to order it.

                  _Chedreux._
  A Perriwig.

                  _Correct._
  The same as Carine.

                 _Deshabille._
  Undrest, or rather in a careless Dress.

                 _En Cavalier._
  Like a Gentleman.

                   _Esclat._
  Of Beauty, or the Lustre of Beauty.

                   _Eveille._
  I observ'd her more _Eveille_ than other Women;
  that is, more sprightly and airey.

                    _Equipt._
  That is, well furnish'd with Money and Cloaths.

              _Gaunte Bien Gaunte._
  Modish in his Gloves.

                    _Grossier._
  The World is very _Grossier_; that is, very dull, and
  ill bred.

               _Levee and Couchee._
  Is to attend a Gentleman at his rising or going to
  Bed.

                   _Le Grass._
  The furniture of a Suit.

                   _Orangers._
  The Term for Gloves scented with Oranges.

                   _Picards._
  Shoes in downright English.

                 _Pulvillio._
  Sweet Powder for the Hair.

                   _Rolls._
  A sort of Dress for the Knees, invented as some say by the Roman
  Catholicks, for the conveniency of Kneeling, but others ascribe the
  lucky Fancy to Coll. S----.

                  _A Revoir._
  Till I see you again.

                  _Surtout._
  The great Coat which covers all.

  For the rest you are referr'd to the Dilucidations
  of the _Alsatian_ Squire.


                    FINIS.




Transcriber's notes:

Other editions of Ovid's 'de Arte Amandi' quoted on the title page use
the words 'terræ' for 'terra' and 'litore' for 'littore.' Those words are
presented here as printed. Spelling was not changed, except for 'thtng'
to 'thing' ... it is no new thing for Ladies ...







*** END OF THE PROJECT GUTENBERG EBOOK MUNDUS FOPPENSIS: THE FOP DISPLAY'D ***


    

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S. copyright
law 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™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. 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™ 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™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™
electronic works

1.A. By reading or using any part of this Project Gutenberg™
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™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
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™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law 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™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ 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™ 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™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than 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™ License must appear
prominently whenever any copy of a Project Gutenberg™ 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 in the United States and most
    other parts of the world 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. If you
    are not located in the United States, you will have to check the laws
    of the country where you are located before using this eBook.
  
1.E.2. If an individual Project Gutenberg™ electronic work is
derived from texts not protected by U.S. copyright law (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™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ 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™ 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™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.

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™ 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™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(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™ 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™ 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™ electronic works
provided that:

    • You pay a royalty fee of 20% of the gross profits you derive from
        the use of Project Gutenberg™ works calculated using the method
        you already use to calculate your applicable taxes. The fee is owed
        to the owner of the Project Gutenberg™ 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™
        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™
        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™ works.
    

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ 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
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
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™ trademark, and any other party distributing a Project
Gutenberg™ 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 MERCHANTABILITY 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™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
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™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ 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™’s
goals and ensuring that the Project Gutenberg™ 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™ 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 information page at www.gutenberg.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. 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 business office is located at 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread
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 www.gutenberg.org/donate.

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: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,
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.