Being called upon for the original, he the next day produced a parchment, containing the same poem, in which he had written yprauncing, instead of ifrayning; but by some artifice he had obscured the Ms. so much, to give it an ancient appearance, that Mr.B. could not make out the word without the use of galls. —What follows from all this, but that C. found on examination that there was no such word as ifrayning, and that he substituted another in its place? In the same poem he at one time wrote locks— burlie— brasting— and kennest; at another, hairs— valiant— bursting— and hearest. Variations of this kind he could have produced without end. —These commentators deceive themselves, and use a language that for a moment may deceive others, by talking of one reading being found in the copy, and another in the original, when in fact all the Mss. that C. produced were equally originals. What he called originals indeed, were probably in general more perfect than what he called copies; because the former were always produced after the other, and were in truth nothing more than second editions of the same pieces[O].

[Footnote O: "Bie," which he wrote inadvertently in the tragedy of ELLA, instead of "mie," (onwhich Mr.B. has given us a learned dissertation)—— "Bie thankes I ever onne you wylle bestowe"—— is such a mistake as every man in the hurry of writing is subject to. By had probably occurred just before, or was to begin some subsequent line that he was then forming in his mind. Even the slow and laborious Mr. Capel, who was employed near forty years in preparing and printing an edition of Shakspeare, in a Catalogue which he presented to a publick library at Cambridge, and which he probably had revised for many months before he gave it out of his hands, has written "Bloody Bloody," as the title of one of Fletcher's Plays, instead of "Bloody Brother."]

The inequality of the poems which Chatterton owned as his own compositions, when compared with those ascribed to Rowley, has been much insisted upon. But this matter has been greatly exaggerated. Some of the worst lines in Chatterton's Miscellanies have been selected by Mr. Bryant to prove the point contended for; but in fact they contain the same even and flowing versification as the others, and in general display the some premature abilities[P]. —The truth is, the readers of these pieces are deceived insensibly on this subject. While they are perusing the poems of the fictitious Rowley, they constantly compare them with the poetry of the fifteenth century; and are ready every moment to exclaim, how much he surpasses all his contemporaries. While the verses that Chatterton acknowledged as his own, are passing under their eyes, they still recollect that they are the productions of a boy of seventeen; and are slow to allow them even that merit which they undoubtedly possess. "They are ingenious, but puerile; flowing, but not sufficiently correct." ——The best way of convincing the antiquarian reader of the merit of these compositions, would be to disfigure them with old spelling; as perhaps the most complete confutation of the advocates for the authenticity of what are called Rowley's poems would be to exhibit an edition of them in modern orthography. —Let us only apply this very simple test,— "handy-dandy let them change places," and I believe it would puzzle even the President of the Society of Antiquaries himself to determine, "which is the justice, and which is the thief;" which is the pretended ancient, and which the acknowledged modern.

[Footnote P: The observations on this subject, of the ingenious authour of the accurate account of Chatterton, in a book entituled Love and Madness, are too pertinent to be here omitted. "It may be asked why Chatterton's own Miscellanies are inferior to Rowley? Let me ask another question: Are they inferior? Genius, abilities, we may bring into the world with us; these rare ingredients may be mixed up in our compositions by the hand of Nature. But Nature herself cannot create a human being possessed of a complete knowledge of our world almost the moment he is born into it. Is the knowledge of the world which his Miscellanies contain, no proof of his astonishing quickness in seizing every thing he chose? Is it remembered when, and at what age, Chatterton for the first time quitted Bristol, and how few weeks he lived afterwards? Chatterton's Letters and Miscellanies, and every thing which the warmest advocate for Rowley will not deny to have been Chatterton's, exhibit an insight into men, manners, and things, for the want of which, in their writings, authors who have died old men, with more opportunities to know the world, (who could have less than Chatterton?) have been thought to make amends by other merits."— "In London (asthe same writer observes) was to be learned that which even genius cannot teach, the knowledge of life. Extemporaneous bread was to be earned more suddenly than even Chatterton could write poems for Rowley; and, in consequence of his employments, as he tells his mother, publick places were to be visited, and mankind to be frequented." —Hence, after "he left Bristol, we see but one more of Rowley's poems, The Ballad of Charitie, and that a very short one."]

Of this double transformation I subjoin a short specimen; which is not selected on account of any extraordinary spirit in the lines that precede, or uncommon harmony in those that follow, but chosen (agreeably to the rule that has been observed in all the former quotations) merely because the African Eclogue happens to be the first poetical piece inserted in Chatterton's acknowledged Miscellanies.

I. CHATTERTON in Masquerade.

NARVA AND MORED: AN AFRICAN ECLOGUE.

[From Chatterton's Miscellanies, p.56.]

"Recyte the loves of Narva and Mored, "The preeste of Chalmas trypell ydolle sayde. "Hie fro the grounde the youthful heretogs[a] sprunge, "Loude on the concave shelle the launces runge: "In al the mysterke[b] maizes of the daunce "The youths of Bannies brennynge[c] sandes advaunce; "Whiles the mole[d] vyrgin brokkyng[e] lookes behinde, "And rydes uponne the penyons of the winde; "Astighes[f] the mountaines borne[g], and measures rounde "The steepie clifftes of Chalmas hallie[h] grounde."

[Text Notes: a: Warriors. b: mystick. c: burning. d: used by Chatterton for soft or tender. e: panting. f: ascends. g: brow, or summit. h: holy.]

II. CHATTERTON Unmasked.

ECLOGUE THE FIRST.

[From Rowley's Poems, quarto, p. 391.]

"When England smoking from her deadly wound, "From her gall'd neck did twitch the chain away, "Seeing her lawful sons fall all around, "(Mighty they fell, 'twas Honour led the fray,) "Then in a dale, by eve's dark surcoat gray, "Two lonely shepherds did abruptly fly, "(The rustling leaf does their white hearts affray,) "And with the owlet trembled and did cry: "First Robert Neatherd his sore bosom struck, "Then fell upon the ground, and thus he spoke."

If however, after all, a little inferiority should be found in Chatterton's acknowledged productions, it may be easily accounted for. Enjoin a young poet to write verses on any subject, and after he has finished his exercise, show him how Shakspeare, Dryden, and Pope, have treated the same subject. Let him then write a second copy of verses, still on the same theme. This latter will probably be a Cento from the works of the authours that he has just perused. The one will have the merit of originality; the other a finer polish and more glowing imagery. This is exactly Chatterton's case. The verses that he wrote for Rowley are perhaps better than his others, because they contain the thoughts of our best poets often in their own words. The versification is equally good in both. Let it be remembered too, that the former were composed at his leisure in a period of near a year and a half; the latter in about four months, and many of them to gain bread for the day that was passing over him.

After his arrival in London, if his forgeries had met with any success, he would undoubtedly have produced ancient poetry without end; but perceiving that the gentleman in whom he expected to find at once a dupe and a patron, was too clear-sighted to be deceived by such evident fictions, and that he could earn a livelihood by his talents, without fabricating old Mss. in order to gain a few shillings from Mess. Barrett and Catcott, he deserted his original plan, and we hear little more of Rowley's verses.

With regard to the time in which the poems attributed to this priest were produced, which it is urged was much too short for Chatterton to have been the inventor of them, it is indeed astonishing that this youth should have been able to compose, in about eighteen months, three thousand seven hundred verses, on various subjects; but it would have been still more astonishing, if he had transcribed in that time the same number of lines, written on parchment, in a very ancient hand, in the close and indistinct manner, in which these poems are pretended to have been written, and defaced and obliterated in many places[Q]:— unless he had been endued with the faculty of a celebrated solicitor, who being desired a few years ago in the House of Lords to read an old deed, excused himself by saying that it was illegible, informing their lordships at the same time that he would make out a fair copy of it against the next day. Chatterton, Ibelieve, understood better how to make fair copies of illegible parchments, than to read any ancient manuscript whatsoever.

[Footnote Q: Let those who may be surprised at this assertion, recollect the wonderful inventive faculties of Chatterton, and the various compositions, both in prose and verse, which he produced after his arrival in London, in the short space of four months; not to mention the numerous pieces, which he is known to have written in the same period, and which have not yet been collected— Let them likewise examine any one of the defaced Mss. of the fifteenth century, in the Cotton Library, and see in what time they can transcribe a dozen lines from it.]

It is amusing enough to observe the miserable shifts to which his new editor is forced to have recourse, when he is obliged to run full tilt against matters of fact. —Thus Chatterton, we find, owned that he was the authour of the first Battle of Hastings; but we are not to believe his declaration, says Mr. Thistlethwaite, whose doctrine on this subject the reverend commentator has adopted. "Chatterton thought himself not sufficiently rewarded by his Bristol patrons, in proportion to what his communications deserved." He pretended, therefore, "on Mr. Barrett's repeated solicitations for the original [of the Battle of Hastings], that he himself wrote that poem for a friend; thinking, perhaps, that if he parted with the original poem, he might not be properly rewarded for the loss of it,[R]" —As if there was no other way for him to avoid being deprived of a valuable ancient Ms. but by saying that it was a forgery, and that he wrote it himself! —What, however, did he do immediately afterwards? No doubt, he avoided getting into the same difficulty a second time, and subjecting himself again to the same importunity from his ungenerous Bristol patrons, by showing them no more of these rarities? Nothing less. The very same day that he acknowledged this forgery, he informed Mr. Barrett that he had another poem, the copy of an original by Rowley; and at a considerable interval of time (which indeed was requisite for writing his new piece) he produced another BATTLE OF HASTINGS, much longer than the former; afair copy from an undoubted original. —He was again, without doubt, pressed by Mr.B. to show the original Ms. of this also; and, according to Mr. Thistlethwaite's system, he ought again to have asserted that this poem likewise was a forgery; and so afterwards of every copy that he produced. —Can any person that considers this transaction for a moment entertain a doubt that all these poems were his own invention?

[Footnote R: Chatterton's Poems, quarto, edit. Milles, p.458.

It was not without good reason that the editor was solicitous to disprove Chatterton's frank confession, respecting this poem; for he perceived clearly that the style, the colouring, and images, are nearly the same in this, and the second poem with the same title, and that every reader of any discernment must see at the first glance, that he who wrote the first Battle of Hastings was the authour of all the other poems ascribed to Rowley. —It is observable that Chatterton in the Battle of Hastings, No. 2, frequently imitates himself, or repeats the same images a second time. Thus in the first poem with this title we meet

——"he dying gryp'd the recer's limbe; "The recer then beganne to flynge and kicke, "And toste the erlie farr off to the grounde: "The erlie's squier then a swerde did sticke "Into his harte, a dedlie ghastlie wounde; "And downe he felle upon the crymson pleine, "Upon Chatillion's soulless corse of claie."

In the second Battle of Hastings are these lines:

"But as he drewe his bowe devoid of arte, "So it came down upon Troyvillain's horse; "Deep thro hys hatchments wente the pointed floe; "Now here, now there, with rage bleedinge he rounde doth goe. "Nor does he hede his mastres known commands, "Tyll, growen furiouse by his bloudie wounde, "Erect upon his hynder feete he staundes, "And throwes hys mastre far off to the grounde."

Can any one for a moment doubt that these verses were all written by the same person? ——The circumstance of the wounded horse's falling on his rider, in the first of these similies, is taken directly from Dryden's Virgil, n.X. v.1283. —Chatterton's new editor has artfully contrasted this passage of Dryden with the second simile, where that circumstance is not mentioned.]

Again:— We have the positive testimony of Mr. John Ruddall, anative and inhabitant of Bristol, who was well acquainted with Chatterton, when he was a clerk to Mr. Lambert, that the Account of the ceremonies observed at the opening of the Old Bridge, published in Farley's Journal, Oct. 1. 1768, and said to be taken from an ancient Ms., was a forgery of Chatterton's, and acknowledged by him to be such. Mr. Ruddall's account of this transaction is so material, that I will transcribe it from the Dean of Exeter's new work, which perhaps many of my readers may not have seen:— "During that time, [while C. was clerk to Mr.L.] Chatterton frequently called upon him at his master's house, and soon after he had printed the account of the bridge in the Bristol paper, told Mr. Ruddall, that he was the author of it; but it occurring to him afterwards, that he might be called upon to produce the original, he brought to him one day a piece of parchment about the size of a half-sheet of fool's-cap paper: Mr. Ruddall does not think that any thing was written on it when produced by Chatterton, but he saw him write several words, if not lines, in a character which Mr. Ruddall did not understand, which he says was totally unlike English, and as he apprehends was meant by Chatterton to imitate or represent the original from which this account was printed. He cannot determine precisely how much Chatterton wrote in this manner, but says, that the time he spent in that visit did not exceed three quarters of an hour: the size of the parchment, however, (even supposing it to have been filled with writing) will in some measure ascertain the quantity which it contained. He says also, that when Chatterton had written on the parchment, he held it over the candle, to give it the appearance of antiquity, which changed the colour of the ink, and made the parchment appear black and a little contracted[S]."

[Footnote S: See the new edition of Chatterton's poems, quarto, p.436, 437.]

Such is the account of one of Chatterton's intimate friends. And how is this decisive proof of his abilities to imitate ancient English handwriting, and his exercise of those abilities, evaded? Why truly, we are told, "the contraction of the parchment is no discriminating mark of antiquity; the blackness given by smoke appears upon trial to be very different from the yellow tinge which parchment acquires by age; and the ink does not change its colour, as Mr. Ruddall seems to apprehend." So, because these arts are not always completely successfull, and would not deceive a very skilful antiquary, we are to conclude, that Chatterton did not forge a paper which he acknowledged to have forged, and did not in the presence of Mr. Ruddall cover a piece of parchment with ancient characters for the purpose of imposition, though the fact is clearly ascertained by the testimony of that gentleman! —The reverend commentator argues on this occasion much in the same manner, as a well-known versifier of the present century, the facetious Ned Ward (and he too published a quarto volume of poems). Some biographer, in an account of the lives of the English poets, had said that "he was an ingenious writer, considering his low birth and mode of life, he having for some time kept a publick house in the City." "Never was a greater or more impudent calumny (replied the provoked rhymer); it is very well known to every body, that my publick house is not in the City, but in Moorfields." —In the name of common sense, of what consequence is it, whether in fact all ancient parchments are shrivelled; whether smoke will give ink a yellow appearance or not. It is sufficient, that Chatterton thought this was the case; that he made the attempt in the presence of a credible witness, to whom he acknowledged the purpose for which the manoeuvre was done. We are asked indeed, why he did not prepare his pretended original before he published the copy. To this another question is the best answer. Why is not fraud always uniform and consistent, and armed at all points? Happily for mankind it scarcely ever is. Perhaps (asMr. Ruddall's account seems to state the matter) he did not think at first that he should be called upon for the original: perhaps he was limited in a point of time, and could not fabricate it by the day that the new bridge was opened at Bristol. —But there is no end of such speculations. Facts are clear and incontrovertible. Whatever might have been the cause of his delay, it is not denied that he acknowledged this forgery to his friend Mr. Ruddall; conjuring him at the same time not to reveal the secret imparted to him. If this had been a mere frolick, what need of this earnest injunction of secrecy? —His friend scrupulously kept his word till the year 1779, when, as the Dean of Exeter informs us, "on the prospect of procuring a gratuity of ten pounds for Chatterton's mother, from a gentleman who sought for information concerning her son's history, he thought so material a benefit to the family would fully justify him for divulging a secret, by which no person living could be a sufferer."

I will not stay to take notice of the impotent attempts that Chatterton's new commentators have made to overturn the very satisfactory and conclusive reasoning of Mr. Tyrwhitt's Appendix to the former edition of the fictitious Rowley's Poems. That most learned and judicious critick wants not the assistance of my feeble pen: Non tali auxilio, nec defensoribus istis——. If he should come into the field himself (asI hope he will), he will soon silence the Anglo-Saxon batteries of his opponents.

The principal arguments that have been urged in support of the antiquity of the poems attributed to Rowley, have now, if I mistake not, been fairly stated and examined[T]. On a review of the whole, Itrust the reader will agree with me in opinion, that there is not the smallest reason for believing a single line of them to have been written by any other person than Thomas Chatterton; and that, instead of the towering motto which has been affixed to the new and splendid edition of the works of that most ingenious youth—— Renascentur qu jam cecidere— the words of Claudian would have been more "germane to the matter:"

————tolluntur in altum, Ut lapsu graviore ruant.

[Footnote T: I take this opportunity of acknowledging an error into which I have fallen in a former page (13), where it is said, that no instances are found in these poems of a noun in the plural number being joined to a verb in the singular. On a more careful examination I observe that C. was aware of this mark of antiquity, and that his works exhibit a few examples of this disregard to grammar. He has however sprinkled them too sparingly. Had these poems been written in the fifteenth century, Priscian's head would have been broken in almost every page, and I should not have searched for these grammatical inaccuracies in vain.]

Having, I fear, trespassed too long on the patience of my readers, in the discussion of a question that to many may appear of no great importance, Iwill only add the following serious and well-intended proposal. Ido humbly recommend, that a committee of the friends of the reverend antiquarian, Dr. Jeremiah Milles, Dean of Exeter, and the learned mythologist, Jacob Bryant, Esq., may immediately meet; —that they may, as soon as possible, convey the said Dr.M. and Mr.B. together with Mr. George Catcott, pewterer, and Mr. William Barrett, surgeon, of Bristol, and Dr. Glynn of Cambridge, to the room over the north porch of Redcliffe church, and that on the door of the said room six padlocks may be fixed:— that in order to wean these gentlemen by degrees from the delusion under which they labour, and to furnish them with some amusement, they may be supplied with proper instruments to measure the length, breadth, and depth, of the empty chests now in the said room, and thereby to ascertain how many thousand diminutive pieces of parchment, all eight inches and a half by four and a half, might have been contained in those chests; [according to my calculation, 1,464,578; —but I cannot pretend to be exact:] that for the sustenance of these gentlemen, alarge peck loaf may be placed in a maund basket in the said room, having been previously prepared and left in a damp place, so as to become mouldy, and the words and figures Thomas Flour, Bristol, 1769, being first impressed in common letters on the upper crust of the said loaf, and on the under side thereof, in Gothick Characters, Thomas Wheateley, 1464 (which Thomas Wheateley Mr. Barrett, if he carefully examines Rowley's PURPLE ROLL[V], will find was an auncyent baker, and "did use to bake daiely for Maister Canynge twelve manchettes of chete breade, and foure douzenne of marchpanes;" and which custom of impressing the names of bakers upon bread, Ican prove to be as ancient as the time of king Edward IV., from Doomsday-book, William de Wircestre, Shakspeare, and other good antiquarians, as also from the Green and Yellow Rolls, now in Mr. B's custody)[X]:— that a proper quantity of water may be conveyed into the forementioned room in one of Mr. Catcott's deepest and most ancient pewter plates, together with an ewer of Wedgwood's ware, made after the oldest and most uncouth pattern that has yet been discovered at Herculaneum;— that Dr. Glynn, if he shall be thought to be sufficiently composed (ofwhich great doubts are entertained), be appointed to cut a certain portion of the said bread for the daily food of these gentlemen and himself; and that, in order to sooth in some measure their unhappy fancies, he may be requested, in cutting the said loaf, to use the valuable knife of Mr. Shiercliffe (now in the custody of the said Dr.G), the history[Y] of which has so much illustrated, and so clearly evinced the antiquity of the poems attributed to Thomas Rowley. And if in a fortnight after these gentlemen have been so confined, they shall be found to be entirely re-established in their health, and perfectly composed, Irecommend that the six locks may be struck off, and that they all may be suffered to return again to their usual employments.

[Footnote V: ROWLEY's Purple Roll, Mr. Bryant very gravely tells us, it yet extant in manuscript in his own hand-writing. "It is (headds) in two parts; one of the said parts written by Thomas Rowley, and the other by Thomas Chatterton."]

[Footnote X: A learned friend, who, by the favour of Mr. Barrett, has perused the YELLOW ROLL, informs me, that Rowley, in a treatise dated 1451, and addressed "to the dygne Maister Canynge," with the quaint title, DE RE FRUMENTARIA, (chap. XIII. Concernynge Horse-hoeing Husbandrie, and the Dryll-Ploughe) has this remarkable passage: "Me thynketh ytt were a prettie devyce yffe this practyce of oure bakerres were extended further. Imervaile moche, our scriveynes and amanuenses doe not gette lytel letters cutt in wood, or caste in yron, and thanne followynge by the eye, or with a fescue, everyche letter of the boke thei meane to copie, fix the sayde wooden or yron letters meetelie disposed in a frame or chase; thanne daube the frame over with somme atramentous stuffe, and layinge a thynne piece of moistened parchment or paper on these letters, presse it doune with somme smoothe stone or other heavie weight: by the whiche goodlye devyce a manie hundreth copies of eche boke might be wroughte off in a few daies, insteade of employing the eyen and hondes of poore clerkes for several monthes with greate attentyon and travaile."

This great man, we have already seen, had an idea of many of the useful arts of life some years before they were practised. Here he appears to have had a confused notion of that noble invention, the printing-press. To prevent misconstruction, Ishould add, that boke in the above passage means manuscript, no other books being then known; In other parts of his works, as represented by Chatterton, he speaks of Mss. as contradistinguished from books; but in all those places it is reasonable to suppose some interpolation by Chatterton, and those who choose it, may read book instead of manuscript; by which this trivial objection to the authenticity of these pieces will be removed, and these otherwise discordant passages rendered perfectly uniform and consistent.

This valuable relick shows with how little reason the late Mr. Tull claimed the merit of inventing that useful instrument of husbandry, the drill-plough.

I make no apology for anticipating Mr. Barret on this subject; as in fact these short extracts will only make the publick still more desirous to see his long-expected History of Bristol, which I am happy to hear is in great forwardness, and will, Iam told, contain a full account of the YELLOW ROLL, and an exact inventory of Maistre William Cannynge's Cabinet of coins, medals, and drawings, (among the latter of which are enumerated many, highly finished, by Apelles, Raphael, Rowley, Rembrant, and Vandyck) together with several other matters equally curious. —It is hoped that this gentleman will gratify the publick with an accurate engraving from a drawing by Rowley, representing the ancient Castle of Bristol, together with the square tower ycleped the DONGEON, which cannot fail to afford great satisfaction to the purchasers of his book, as it will exhibit a species of architecture hitherto unknown in this country; this tower (aswe learn from unquestionable authority, that of the Dean of Exeter himself,) "being remarkably decorated [on paper] with images, ornaments, tracery work, and crosses within circles, in a style net usually seen in these buildings." —Chatterton, as soon as ever he heard that Mr. Barrett was engaged in writing a History of Bristol, very obligingly searched among the Rowley papers, and a few days afterwards furnished him with a neat copy of this ancient drawing.]

[Footnote Y: This very curious and interesting history may be found in Mr. Bryant's Observations, &c. p.512. The learned commentator seems to have had the great father of poetry in his eye, who is equally minute in his account of the sceptre of Achilles. See Il.I. v.234. He cannot, however, on this account be justly charged with plagiarism; these co-incidences frequently happening. Thus Rowley in the 15th century, and Dryden in the 17th, having each occasion to say that a man wept, use the same four identical words— "Tears began to flow."]

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University of California, Los Angeles The Augustan Reprint Society Publications in Print



The Augustan Reprint Society

WILLIAM ANDREWS CLARK MEMORIAL LIBRARY

University of California, Los Angeles

Publications in Print

1948-1949

15. John Oldmixon, Reflections on Dr. Swift's Letter to Harley (1712), and Arthur Mainwaring, The British Academy (1712). [25091]

16. Henry Nevil Payne, The Fatal Jealousie (1673). [16916]

17. Nicholas Rowe, Some Account of the Life of Mr. William Shakespear (1709). [16275]

18. Anonymous, "Of Genius," in The Occasional Paper, Vol. III, No.10 (1719), and Aaron Hill, Preface to The Creation (1720). [15870]

1949-1950

19. Susanna Centlivre, The Busie Body (1709). [16740]

20. Lewis Theobald, Preface to the Works of Shakespeare (1734). [16346]

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). [InPreparation]

1958-1959

77-78. David Hartley, Various Conjectures on the Perception, Motion, and Generation of Ideas (1746).

1959-1960

79. William Herbert, Third Earl of Pembroke, Poems (1660). [InPreparation]

81. Two Burlesques of Lord Chesterfield's Letters: The Graces (1774), and The Fine Gentleman's Etiquette (1776). [InPreparation]

1960-1961

85-86. Essays on the Theatre from Eighteenth Century Periodicals.

1961-1962

93. John Norris, Cursory Reflections Upon a Book Call'd, An Essay Concerning Human Understanding (1690).

94. An. Collins, Divine Songs and Meditacions (1653). [InPreparation]

96. Ballads and Songs Loyal to the Hanoverian Succession (1703-1761).

1962-1963

97. Myles Davies, [Selections from] Athen Britannica (1716-1719).

98. Select Hymns Taken Out of Mr. Herbert's Temple (1697).

99. Thomas Augustine Arne, Artaxerxes (1761).

100. Simon Patrick, A Brief Account of the New Sect of Latitude-Men (1662).

101-102. Richard Hurd, Letters on Chivalry and Romance (1762).

1963-1964

103. Samuel Richardson, Clarissa: Preface, Hints of Prefaces, and Postscript. [InPreparation]

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). [InPreparation]

106. Daniel Defoe, A Brief History of the Poor Palatine Refugees (1709).

107-108. John Oldmixon, An Essay on Criticism (1728). [InPreparation]

1964-1965

109. Sir William Temple, An Essay Upon the Original and Nature of Government (1680).

110. John Tutchin, Selected Poems (1685-1700). [InPreparation]

111. Anonymous, Political Justice (1736).

112. Robert Dodsley, An Essay on Fable (1764).

113. T. R., An Essay Concerning Critical and Curious Learning (1698).

114. Two Poems Against Pope: Leonard Welsted, One Epistle to Mr. A. Pope (1730), and Anonymous, The Blatant Beast (1742). [21499]

1965-1966

115. Daniel Defoe and others, Accounts of the Apparition of Mrs. Veal.

116. Charles Macklin, The Covent Garden Theatre (1752). [InPreparation]

117. Sir Roger L'Estrange, Citt and Bumpkin (1680). [InPreparation]

118. Henry More, Enthusiasmus Triumphatus (1662).

119. Thomas Traherne, Meditations on the Six Days of the Creation (1717).

120. Bernard Mandeville, Aesop Dress'd or a Collection of Fables (1704). [InPreparation]



William Andrews Clark Memorial Library: University of California, Los Angeles

THE AUGUSTAN REPRINT SOCIETY

General Editors: George Robert Guffey, University of California, Los Angeles; Earl Miner, University of California, Los Angeles; Maximillian E. Novak, University of California, Los Angeles; Robert Vosper, William Andrews Clark Memorial Library

Corresponding Secretary: Mrs. Edna C. Davis, William Andrews Clark Memorial Library

The Society's purpose is to publish reprints (usually facsimile reproductions) of rare seventeenth and eighteenth century works. All income of the Society is devoted to defraying costs of publication and mailing.

Correspondence concerning subscriptions in the United States and Canada should be addressed to the William Andrews Clark Memorial Library, 2520 Cimarron St., Los Angeles, California. Correspondence concerning editorial matters may be addressed to any of the general editors. Manuscripts of introductions should conform to the recommendations of the MLA Style Sheet. The membership fee is $5.00 a year for subscribers in the United States and Canada and 30/- for subscribers in Great Britain and Europe. British and European subscribers should address B.H. Blackwell, Broad Street, Oxford, England. Copies of back issues in print may be obtained from the Corresponding Secretary.

PUBLICATIONS FOR 1966-1967

HENRY HEADLEY, Poems (1786). Introduction by Patricia Meyer Spacks.

JAMES MACPHERSON, Fragments of Ancient Poetry (1760). Introduction by John J. Dunn. [8161]

EDMOND MALONE, Cursory Observations on the Poems Attributed to Thomas Rowley (1782). Introduction by James M. Kuist. [Present Text]

Anonymous, The Female Wits (1704). Introduction by Lucyle Hook. [InPreparation]

Anonymous, The Scribleriad (1742). LORD HERVEY, The Difference Between Verbal and Practical Virtue (1742). Introduction by A.J. Sambrook. [InPreparation]

Le Lutrin: an Heroick Poem, Written Originally in French by Monsieur Boileau: Made English by N.O. (1682). Introduction by Richard Morton.

ANNOUNCEMENTS:

The Society announces a series of special publications beginning with a reprint of JOHN OGILBY, The Fables of Aesop Paraphras'd in Verse (1668), with an Introduction by Earl Miner. Ogilby's book is commonly thought one of the finest examples of seventeenth-century bookmaking and is illustrated with eighty-one plates. The next in this series will be JOHN GAY'S Fables (1728), with an Introduction by Vinton A. Dearing. Publication is assisted by funds from the Chancellor of the University of California, Los Angeles. Price to members of the Society, $2.50 for the first copy and $3.25 for additional copies. Price to non-members, $4.00.

Seven back numbers of Augustan Reprints which have been listed as out-of-print now are available in limited supply: 15, 19, 41, 77-78, 79, 81. Price per copy, $0.90 each; $1.80 for the double-issue 77-78.

THE AUGUSTAN REPRINT SOCIETY

William Andrews Clark Memorial Library

2520 CIMARRON STREET AT WEST ADAMS BOULEVARD, LOS ANGELES, CALIFORNIA 90018

Make check or money order payable to THE REGENTS OF THE UNIVERSITY OF CALIFORNIA.

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Errata

As noted above, errors in the primary text (Cursory Observations) were left as printed except when the error was unambiguous.

Introduction:

viz. ... words [viz...words] But for the moment any answers [ansers] He means, Ibelive, [spelling unchanged: quoted material] has led scholars to miss the significance [sifnificance] his ridicule of "respectable characters" [riducule] "written" [spelled as shown, though reference is to "writtten"] 12. The only ... and 3245 (22-25 Dec., against both). [close parenthesis missing]

Title Page: and JACOB BRYANT, Esq; [semicolon as shown]

Main Text: Long as a mast, and upright as a bolt—" [close quote missing] Le douzty Artours dawes [text unchanged: some editions read "Be douzty"] Wherefore he would set up in higth [text unchanged: error for "hight"?] Arrestynge my sight towarde the zodiake [Arrectynge] [printed with "ct" ligature instead of "st"] Mr. Bryant and the Dean of Exeter [period (full stop) missing] ... and closes it with an Alexandrine. [close quote may belong here] His noble soul came rushing from the wound—" [close quote missing] "And tears began to flow;" [quotation reformatted to match rest of text: printed as part of following paragraph, without indent] undoubtedly writtten by one person [unchanged: see Introduction, Note 18] by Nestor in Troilus and Cressida Mr. Mason's Elfrida and Caractacus [both printed as shown: should be Troilus and Cressida, Elfrida and Caractacus.] are only to traced in [text unchanged: missing "be"?] he invented one[M]. [period (full stop) missing] display the some premature abilities [text unchanged: error for "same"?] serious and well-intended proposal [and and] being remarkably decorated [remakably]

Advertising: the other more approved SCOTTISH BALLADS [BALLLADS]

THE END