Chapter 2

CHAP. 1.

_Of the Pastoral Language in general_.

I must here premise, that I intend not here a full and compleat Discourse on the Pastoral Language; for that would take up a Volume. But I would recommend it to some other Hand; for I know nothing that would be more acceptable to the Letter'd World than an Enquiry into the Nature of the _English_ Language.

But there is no Dialect or Part of our Language so little understood, as that which relates to Pastoral; nor none (not even the Sublime) so difficult to write. Of all who have attempted Pastoral in our Tongue, no one (but _SPENCER_) has gone so far as even the weakening and enervating their Dialect; yet after that is perform'd, a Pastoral-Writer has gone but half way; for after the Strength is taken away, a Tenderness and Simplicity of Expression must supply its Place, or else 'tis only bald and low, instead of Soft and Sweet.

_Spencer_'s Language is what supports his Pastorals; for I can maintain, that he has not above one Sentiment in fifteen but is either false, or taken from the Antients, throughout his Pastorals. The greatest Defect in his Language is it's want of Softness. He has introduced a sufficient, or perhaps too great a Number, of Old-Words. But they are promiscuously used. He took not the Pains to form his Dialect before he wrote his Pastorals, by which means he has used more rough and harsh Old-Words, than Smooth and Agreeable Ones. They are used where our common Words were infinitely more Soft and Musical. As _What gar's thee Greet?_ For, _What makes thee Grieve?_ How Harsh and Grating is the Sound of _SPENCER_'s two Words, But Instances were endless. He is the more blamable, because there are full enough Old-Words to render a Dialect Rustick and Uncommon of the most sweet and delightful Sound imaginable. As _ween_ or _weet_, for _think_; _yclepen_, for _call'd_, and the like. These being so tender and soft, render the Language of Pastoral infinitely more tender also, than any common Words, now in use, can do.

CHAP. II.

_How to attain to the_ Soft _in Writing_.

That a Shepherd should talk in a different Dialect from other People, is allow'd by all. That the Pastoral Language should be soft and agreeable is equally past dispute. The only remaining Question then is, what it is that composes such a Dialect, and how to attain it.

In order to compose a Pastoral Dialect entirely perfect; the first thing, I think, a Writer has to do, is, as we said before, to enervate it and deprive it of all strength.

As for the manner of enervating a Language, it must be perform'd by the Genius of the Poet, and not shown by a Critick. However when the Thing is done, 'tis not difficult to see what chiefly effected it. There are, I think, _Cubbin_, two Things that principally enervate your Language.

_First_, 'Tis perform'd by throwing out all Words that are _Sonorous_ and raise a _Verse_. Mr. _PHILIPS_ comes the nearest to a Pastoral Language of any English Swain but _Spencer_. And he has truly enervated his Language in four several Lines. One of which is the last of these two.

_Ye Swains, I beg ye pass in silence by; My Love in yonder Vale asleep doth lye_.

The Word Doth, is what enervates the last Line. But 'twould be still better enervated if Mr. _Philips_ had used only such Words as have very few Consonants in them. For by Consonants, joyn'd with the Vowel O, a Writer may render his Language, in Epick Poetry, just as Sonorous as he will; and by the want of Consonants and by delighting in the other soft Vowels he may render it weak. I cannot see that Mr. _PHILIPS_ has any Line where the Language is wholly enervated. But see how _Spencer_ has done this. Especially in the second of these Lines.

_The gentle Shepherd sate beside a Spring. All in the Shadow of a Bushy Breer. &c_.

In this last Line, there is but one Word end's with a Consonant, where the following Word begin's with one. But a Writer, who is perfectly Master of his Language, will be able to have every Line like this; and no Word more strong than Evening, Rivulet, and the like, will he be forc'd to use.

_Secondly_, The Language is by nothing more weaken'd, than by the use of Monisyllables. This no one ever had the least Notion of but _Spencer_. Which I wonder has not been observed, 'tis so very palpable in him. What makes the finess of these Lines else?

_All as the Sheep such was the Shepherd's look, For pale and wan he was (alas the while!) May seem he lov'd, or also some Care he took, Well could he tune his Pipe and form his Stile_.

Past. 1.

Here is but two Words for four Lines, except Monosyllables.

The best Lines in _PHILIPS_, for the Language, are these, where Monosyllables reign.

..._Fine gain at length, I trow, To hoard up to my self such deal of Woe!_

And the last of these; for the first is rough thro' too many Consonants.

_A lewd Desire strange Lands and Swains to know: Ah Gad! that ever I should covet Woe!_ Past. 2.

There are other Methods, I see, Cubbin, you have taken to enervate your Language; too minute and too numerous to recite, but they are easily, I think, observ'd, if a Person peruses the Pastoral Writers with Care.

When our Dialect is thus render'd weak and low, we must then add to it, (in order to render it as pleasant as a Dialect that is not low and mean) Simplicity, Softness and Rusticity. This is perform'd principally by these three things. By Old-Terms; by Turns of Words, and Phrazes; and by Compound Words. Of all which I shall crave leave to treat distinctly. And first of Ancient Terms.

SECT. 2.

_Of Old-Words_.

When first I look'd into _Chaucer_. I thought him the most dry insipid Writer I ever saw. And there is indeed nothing very valuable in either his Images or Thoughts; but after a Person is accustom'd to his manner of Writing and his Stile, there is something of Simplicity in his Old Language, inimitably sweet and pleasing. If 'tis thus in _Chaucer_, in Pastoral such a Language is vastly more delightful. For we expect something very much out of the Way, when we come among Shepherds; and how can the Language of Shepherds be made to differ from that of other Persons, if they use not Old-Words?

'Tis very remarkable that all our greatest Poets whose Works will live to Eternity, have introduced into their Language Old-Words; as _Shakespear_, _Spencer_, _Milton_. _Dryden_ also, whose Genius was much inferiour to those Writers; has used some few. And _Ben. Johnson_ (tho' he lived at the same time with _Shakespear, Spencer, &c_.) whose Genius was yet meaner than _Dryden_, has not one Old-Word.

Ancient Terms were doubtless a great disadvantage, especially to _Spencer_, when his Works appear'd first in the World; but he had a Soul large enough to write rather for Posterity, than present Applause. He took so excessive a delight in the Old Language of his admired _Chaucer_, that he could not help, in some measure, imitating it.

Our greatest Writers having all given into an Ancient Dialect, would almost encline us of the present Age, to think of making their Language a standing Language; for Queen _Elizabeth_'s Age is to us what _Augustus_'s was to the _Latins_; we must never hope to have so many noble Genius's adorn any one Age for the future; I might have said, any twenty Ages. Therefore if any _English_ Dialect survives to the World's End, 'twill certainly be theirs; and 'twill be prudence in any After-writer to draw his Language as near to theirs as possible; that if theirs are understood a thousand Years hence, his may too.

But to leave the Consideration of Old-Words in Epick Poetry and Tragedy, let us proceed to Pastoral. There are several Advantages flow from the Use of Old-Words, but I have time to mention but two or three.

There is a Spirit and a Liveliness of Expression to be preserv'd in Pastoral as well as other Poetry; now I affirm that 'tis impossible to perform this without Old-Words; unless a Writer make Shepherds talk Sublimely, and with Passion, as in Tragedies.

Again, if a Writer has a Genius for Pastoral he will have some Thoughts occur so inimitably Simple, that they would appear ridiculous in the Common Language; and 'tis necessary that the Language should answer to the Thought. These are the finest Thoughts of all for pastoral.

There are also several Thoughts which, tho' extreamly agreeable to the simple Innocence of young Country Girls, will appear too luscious, unless the Simplicity and Rusticity of the Speaker appear's, by the Old Language spoken. But we smile at a Thought in such simple Language, which perhaps we shall nauseate in a polite Dialect.

But one of the greatest Advantages of Old-Words, is, that they afford the Writer so fine an Opportunity of rendring his Language most inimitably soft and smooth. This cannot be done by any other Means; and how proper soft and simple Language is to Pastoral (at least where the Characters are Young, Tender, and Innocent) I need not say. As for VIRGIL and those Pastoral Writers who seem not to aim at Simplicity in either their Characters or Sentiments, the using of Old-Words is entirely different with regard to them. To see a Sentiment, which would as well become any other Person as a Shepherd, dress'd in the Simplicity of an Ancient Dialect, would appear nothing but Affectation. We are used to see such Sentiments in another Dress. Nay, were their Thoughts Simple, 'twould not be agreeable for them to use Old-Words, unless the whole Turn of their Language was answerable to it; to have a common, ordinary Language, with Old-Words scatter'd through it, is a mixt confused Language, and what is very expressively named by our Word Hodge-podge. 'Tis not enough therefore, for the forming a pastoral Language to use Old-Words; a Writer must set down, and by true Pains and Industry constitute a Language entirely of a piece and consistant; in performing which the choicest Old-Words will be of some little Assistance.

If I might advise you, Cubbin, I would have you always write Pastorals in either such a Language as this, entirely uniform and of a piece, or else to write in a strong polite Language. Never write any single thing in a low and mean Language. Polite Language is only faulty with respect to it's being in Pastoral; but low Language is in it's own Nature faulty. The first is only unnatural; the latter is stupid and dull. Therefore unless you resolve to go quite thro', never weaken or enervate your Pastoral Language at all. Unless you resolve to add Simplicity and Softness, to supply the place of Strength, never rob it of it's Strength. It had better have strength and Sprightliness and Politeness than Nothing.

The best Way is that which Sir _Philip Sidney_ has taken, to suppose your Swains to live in the _Golden-Age_, and to be above the ordinary Degree of Shepherds, for Kings Sons and Daughters, were then of that Employ. And upon this Supposition to make 'em talk in a polite, delightful and refined Dialect. By this Means you will disable the Criticks at once.

But perhaps some may expect that I should vindicate the Use of Old-Words, on my own Account. But for that Reason I am the more careless in touching the Subject; because I would leave the World to a free and unbias'd Judgment of what I have done. Nor is this an Age, indeed, to begin to vindicate Old-Words in. The Method has been approv'd of in all Ages even in Epick Poetry and Tragedy, and should we go now to defend it in Pastoral? A Friend indeed of _SPENCER_'s wrote a Vindication of his Old-Words, but had _SPENCER_ been living be would doubtless have been ashamed of it's appearing in the World. 'Tis the Opinion of the best Judges that the Old-Words used by Mr. _Row_, even In the Tragedy of _JANE SHORE_ are a great Beauty to that Piece. And those who have objected against _SALLUST_ for affecting Old-Words, have made nothing out. Tho' History is to deliver plainly Matters of Fact, and not to flourish, and beautify it's self with foreign Ornaments, as Poetry is. There are not so many disapprove of _SALLUST_'s Old-Words, as commend him for adding a Majesty and Solemness to his Writings thereby.

I might add (were there occasion for vindicating Old-Words) that we have render'd our _English_ Language unexpressive and bare of Words, by throwing out several useful Old-Words; as _Freundina_ a _She-Friend_; _Theowin_ a _She-Servant_, &c. But as no one has shewn Old-Words to be faulty, for so many hundred Years, 'twould be folly to trouble the Reader with a Vindication of 'em, at this Day. The only Question is, whether an Author has chose the Softest and Finest; or has shown by his Choice the weakness of his Judgment.

SECT. 3.

_Of Compound Words_.

Another thing which occasions Softness in the Pastoral Language, if rightly managed, is the use of Compound Words. But there is nothing requires a greater Genius than to form Beautiful Compound Words in Epick Poetry, or more Exactness and Labour in Pastoral. In Epick Poetry 'tis absurd to make a Compound Word, unless it helps forward the Sence; and in Pastory, it must add to the Softness of the Dialect, and in some measure assist the Thought, yet it need not do it so much as in Epick Poetry; where a Writer of Genius will form such Compound Words as will each contain as much as a whole Line. As may be seen in _Homer_, and the _Greek_ Poets, especially. Among the _English_, _Milton_'s are often very fine.

_Brandish'd aloft the horrid Edge came down, Wide-wasting_.

The Compound Words, in Pastory, must be so easy and natural, as scarce to be observ'd from the other Language. They must run easy and smooth, and glide off the Tongue, and that will occasion their not being observ'd in the reading.

A Pastoral Writer will often be able, if he gives an Image in one Line, by a Compound Word in that Line to give another Image, or another Thought as full and as fine an one as that which the whole Line contains. But as this and the like Observations cannot be well understood without Instances quoted, I shall leave 'em to the Observation of those who intend to engage in Pastoral Writing; for that and nothing else, will put 'em upon a thorough Search into the Springs and Rules by which all former Pastoral Writers have excell'd.

SECT. 4.

_Of Turns of Words and Phrazes_.

Another help to Softness, and the very greatest Beauty of all in the Pastoral Language, is, a handsome use of Phrazes. This must depend entirely on the Genius of the Writers, for there is no one Rule can be given for the attaining thereto. A Person who writes now may imitate _Ovid_ and _Spencer_ in this particular (if he can submit his Fancy to Imitation) and that is all the Assistance he can have. As for rural Phrazes, there are not above half a dozen in all the Counties or Dialects that I am acquainted with.

All that we can do on this Head, is to leave the Reader to Observation. For I confess that I do not so much as know how I came by those few I myself have, farther than that by use and practising in an Uncommon Dialect, I happen'd on 'em at Unawares.

However I may quote those which are the very finest of any in _Spencer_. Who is the only Writer in our Language that ever attempted tender Phrazes or Turns of Words. Yet there are two such Passages in _Creech_'s _Theocritus_, which I will also quote.

_All as the Sheep, such was the Shepherd's Look; For pale and wan he was (alas the while!)_ &c.

And again.

_Ye Gods of Love, who pity Lover's Pain. (If any Gods the Pain of Lovers pity)_ &c.

And again.

_A simple Shepherd Born in_ Arcady, _Of gentlest Blood that ever Shepherd bore_, &c.

Such beautiful Turns of Words as these are extremely scarce in _Spencer_; but he has not one but what is inimitably fine and natural.

Let us now see the two Phrazes which _Creech_ has happen'd upon. Whose Language I have observ'd to be infinitely the best of any of our Pastoral writers, next to Spencer. This is one of them. A Shepherdess says to a persuading Swain.

_You will deceive, you Men are all Deceit; And we so willing to believe the Cheat_.

The other is this, to Diana; when she consents.

_I liv'd your Vot'ry, but no more can live_.

CHAP. III.

_The Tender in Pastory distinguish'd from that in Epick poetry or Tragedy_.

'Tis strange to me that our Pastoral Writers should make no Distinction between their SOFT when they write Pastories, and when they write Epick Poetry. This in _Philips_ is the Epick Softness, or what we call the Beautiful sometimes in Epick Poetry in Opposition to the Sublime.

_Breath soft ye Winds, ye Waters gently flow; Shield her ye Trees, ye Flow'rs around her grow_, &c.

And this which also is the Sixth Pastory.

_Once_ Delia _lay, on easy Moss reclin'd, Her lovely Limbs half bare, and rude the Wind_, &c.

This also is of the same kind of SOFT.

_A Girland deckt in all the Pride of May, Sweet as her Breath, and as her Beauty Gay_, &c.

But Instances were endless. In Opposition to this kind of Soft, I shall quote out of _Spencer_ some Passages which have the truest Softness. For such that Author has, beyond any in the World, tho' perhaps not very often. He begins his last Pastory thus.

_A gentle Shepherd sate besides a Spring, All in the shadow of a bushy Breer_, &c.

And his first he begins thus.

_A Shepherd's Boy (no better do him call)_ &c.

His Pastoral named _Colin Clout's come home_, begins thus.

_The Shepherd-boy (best known by that Name) Who after TITYRUS first sang his Lay, Lays of sweet Love, without Rebuke or Blow, Sate, as his manner was, upon a Day_, &c.

These Lines of _Spencer_ and those of _Philips_, both contain agreeable Images and Thoughts, yet are they as different as _Milton_ and _D'Urfey_.

I shall only make one Observation on this difference. Namely, that in the soft and beautiful Lines of _Philips_, each Word, only signifies a soft and beautiful Idea; As _Breath, Waters, Flow, Gently, Soft_, &c. but in _Spencer_ the sound also is soft. Had such an Author dress'd this inimitable Thought of _Philips_, the Line would have glided as smooth and easy off the Tongue, as the Waters he mentions, do along the Meadows.

SECT. II.

_That no Language is so fit for Pastoral as the English_.

I have before observed, that this softness is effected, among other things by little Words; yet I cannot help observing here, that our Language is infinitely the finest of any in the World for Pastoral, and it's abounding so much in little Words is one Reason of it. The Pomps and Stateliness of the Latin Lines could not have been made proper for Pastoral, unless entirely alter'd, and 'tis not likely that a Genius daring enough to do that would engage in Pastoral.

The _Romans_ had not a Particle, as we have, before their _Substantives_; As _A_ and _The Tree_. Seldom used a Word before the Verbs; as _He goes_, _They go_. Nor had they our _Doth_ and _Does_; without which no _Englishman_ could form a Pastoral Language. As the sweet Simplicity of that Line, I have just quoted, is occasion'd by nothing else.

_A Shepherd-boy (no better do him call_.)

The _Greek_ Language was greatly more fit for Pastoral than the _Latin_. Among other Reasons, because the former had so many Particles; and could render their Language uncommon, by their different Dialects, and by their various Methods of changing, and of compounding Words. Which no Language will admit of in an equal degree, besides the _English_. But then the _Greek_ Language is too sonorous for Pastoral. Give me leave to show the inimitable softness and sweetness of the _English_ Tongue, only by instancing in one Word. Which will also show how copious a Language ours is. I know but three Words the _Greeks_ had to express the Word Lad or Swain by: [Greek: Agrikôs, Poimruos; and Bôkolos]; and how sonorous are they all. We have six; Swain, Boy, Shepherd, Youth, Stripling, Lad; and how inimitably soft is the sound of 'em all.

_Theocritus_ has more Turns of Words or Phrazes than _Spencer_; yet he could in none of 'em come up to _Spencer_'s smoothness and simplicity in his Numbers. As I quoted only the Phrazes of my Country-men In the Chapter on that Head; I will here put down the finest in Theocritus, tho' I cannot say indeed that he has any but in his first Pastoral.

[Greek: Archete boukolikas Moisai philai harchet haoithas. Thursis hod hôx Ahitnas, kai Thursidos adea phôna. Pa pok had êsth, oka Daphnis etaketo, pa poka Numphai;]

The finest of these Lines (and the softest but one that I remember thro' all his Pieces) is the middle one; it is most incorrigibly translated by _Creech_: tho' I blame him not for it, because of the difficulty of inventing fine Phrazes, much more of translating those of other Men, into Rhime; for which Reason _Creech_ has not attempted to give us any of _Theocritus_'s Turns of Words.

CHAP. IV.

_That there may be several sorts of Pastorals_.

To conclude this Essay, as there are Tempers and Genius's of all sorts, so perhaps it may not be amiss to allow Writings of all sorts too. I think every Person's Aim should be to be subserving as much as possible, to the Delight and Amusement of his Fellow-Creatures. And if any can take pleasure in what is really not pleasant, 'tis pity, methinks, to rob 'em of it. Yet if there is in nature a Method which pursued will be still more delightful, the Critick is to be observed who points out the Way thereto.

If any of my Countrymen therefore can take delight from reading the Pastorals of _Theocritus_ and _Virgil_, or any of those who have imitated those two Ancients, I shall be ready to allow that there may be several sorts of Pastorals. 'Tis certain that _Milton_ and _Homer_, (thro' the Scene of the Former lying about the Sphere of Men) are as different as _East_ from _West_, yet both excellent. Tragedy has as different sorts as Epick-Poetry; Nor are _Julius Caesar_ and the _Orphan_ of the same Nature. The same difference in Tragedy, is between all those, whose Chief CHARACTER is a Hero, and those that draw a Female, as _Jane Shore_, the Lady _Jane Gray_, _and the like_, are to me entirely different from _Shakespear's_, not respecting the Excellency of 'em. _Shakespear_ having a Genius made for the Sublime, and perhaps Mr. _Row_ rather for the Soft and Tender; as appears in two Passages at the End of _JANE SHORE_. Which in my Judgment are not much excell'd by even _Otway_ himself.

Since I have mention'd that Author, I can't help remarking how difficult a thing it is for any Person to know what his own Genius is fittest for; and how great a Chance it is whether ever a Writer comes to know it. Tho' _Otway_ had so fine a Genius for the TENDER, it never appear'd till a little before he dyed. Thro' all his Plays we cannot trace even the least Glimpse of it, till his two last, _The Orphan_ and _Venice Preserv'd_. But we run the Digression too far.

SECT. 2.

_What Kind of Pastorals would please most Universally; and delight the greatest Number of Readers_.

For my own Part, as I said, I could be delighted with any Kind of Pastoral, if the Writer would but be at the Pains of selecting the most beautiful Images, and tenderest Thoughts. This is the first and principal Matter. Yet this might be perform'd by a moderate Capacity, without a Genius born for Tragedy.

Would a Person but form a delightful Story, invent new and uncommon and pleasing Characters, and furnish his Mind with a small Number of fine Images from the Country, before he sate down to write his Pieces, He would not fail of Success. But if Writers will only put down a parcel of common triffling Thoughts from _Theocritus_ and _Virgil_, nor will so much as aim at any thing themselves, can you blame me Cubbin, if I throw 'em aside. Let 'em have a thousand Faults, I can be pleas'd by 'em, if they have but Beauties with 'em; nor will you ever hear me blame _Shakespear_ for his Irregularity. And Pastoral is delightful to me in it's own Nature, that were these Authors to employ but my Mind in any manner, I should have Patience to peruse 'em.

But if these Authors were unwilling to be at the Pains of forming a pleasant Story themselves, they might go upon little Tales already known, such as, _The Two Children in the Wood_, and a thousand others inimitably pretty and delightful.

And had we a Set of such Pastorals as these, I am satisfied they would take extreamly. More Cubbin, perhaps than yours ever will; because perfect Pastories are directed only to Persons of Reading and Judgment. But you cannot I suppose satisfie your own Mind, unless you write up to what you judge the Standard of Perfection in every sort of Writing.

_FINIS_.

_Notes on the Text_.

It was impractical to issue Purney's _Enquiry_ in facsimile because of the blurred condition of the photostats. This reprint follows the original text faithfully, with the following exceptions: the long "s" and the double "v" are modernized; small capitals, which appear frequently in the 1717 version, are reduced to lower-case letters; a few very slight typographical errors have been silently corrected. On page 40, line 1, _thoroughly_ reads _throughly_ in the original; and the three lines of Greek on p. 70, somewhat garbled in the original, are given in corrected form.

ANNOUNCING

THE Publications

OF THE AUGUSTAN REPRINT SOCIETY

_General Editors_

RICHARD C. BOYS EDWARD NILES HOOKER H.T. SWEDENBERG, JR.

_THE AUGUSTAN REPRINT SOCIETY_ MAKES AVAILABLE _Inexpensive Reprints of Rare Materials_ FROM ENGLISH LITERATURE OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES

Students, scholars, and bibliographers of literature, history, and philology will find the publications valuable. _The Johnsonian News Letter_ has said of them: "Excellent facsimiles, and cheap in price, these represent the triumph of modern scientific reproduction. Be sure to become a subscriber; and take it upon yourself to see that your college library is on the mailing list."

The Augustan Reprint Society is a non-profit, scholarly organization, run without overhead expense. By careful management it is able to offer at least six publications each year at the unusually low membership fee of $2.50 per year in the United States and Canada, and $2.75 in Great Britain and the continent.

Libraries as well as individuals are eligible for membership. Since the publications are issued without profit, however, no discount can be allowed to libraries, agents, or booksellers.

New members may still obtain a complete run of the first year's publications for $2.50, the annual membership fee.

During the first two years the publications are issued in three series: I. Essays on Wit; II. Essays on Poetry and Language; and III. Essays on the Stage.

_PUBLICATIONS FOR THE FIRST YEAR (1946-1947)_

MAY, 1946: Series I, No. 1--Richard, Blackmore's _Essay upon Wit_ (1716), and Addison's _Freeholder_ No. 45 (1716).

JULY, 1946: Series II, No. 1--Samuel Cobb's _Of Poetry_ and _Discourse on Criticism_ (1707).

SEPT., 1946: Series III, No. 1--Anon., _Letter to A. H. Esq.; concerning the Stage_ (1698), and Richard Willis' _Occasional Paper_ No. IX (1698).

Nov., 1946: Series I, No. 2--Anon., _Essay on Wit_ (1748), together with Characters by Flecknoe, and Joseph Warton's _Adventurer_ Nos. 127 and 133.

JAN., 1947: Series II, No. 2--Samuel Wesley's _Epistle to a Friend Concerning Poetry_ (1700) and _Essay on Heroic Poetry_ (1693).

MARCH, 1947: Series III, No. 2--Anon., _Representation of the Impiety and Immorality of the Stage_ (1704) and anon., Some _Thoughts Concerning the Stage_ (1704).

_PUBLICATIONS FOR THE SECOND YEAR (1947-1948)_

MAY, 1947: Series I, No. 3--John Gay's _The Present State of Wit_; and a section on Wit from _The English Theophrastus_. With an Introduction by Donald Bond.

JULY, 1947: Series II, No. 3--Rapin's _De Carmine Pastorali_, translated by Creech. With an Introduction by J.E. Congleton.

SEPT., 1947: Series III, No. 3--T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_. With an Introduction by Clarence D. Thorpe.

Nov., 1947: Series I, No. 4--Corbyn Morris' _Essay towards Fixing the True Standards of Wit, etc_. With an Introduction by James L. Clifford.

JAN., 1948: Series II, No. 4--Thomas Purney's _Discourse on the Pastoral_. With an Introduction by Earl Wasserman.

MARCH, 1948: Series III, No. 4--Essays on the Stage, selected, with an Introduction by Joseph Wood Krutch.

The list of publications is subject to modification in response to requests by members. From time to time Bibliographical Notes will be included in the issues. Each issue contains an Introduction by a scholar of special competence in the field represented.

The Augustan Reprints are available only to members. They will never be offered at "remainder" prices.

_GENERAL EDITORS_

RICHARD C. BOYS, _University of Michigan_ EDWARD NILES HOOKER, _University of California, Los Angeles_ H.T. SWEDENBERG, JR., _University of California, Los Angeles_

_ADVISORY EDITORS_

EMMET L. AVERY, _State College of Washington_ LOUIS I. BREDVOLD, _University of Michigan_ BENJAMIN BOYCE, _University of Nebraska_ CLEANTH BROOKS, _Louisiana State University_ JAMES L. CLIFFORD, _Columbia University_ ARTHUR FRIEDMAN, _University of Chicago_ SAMUEL L. MONK, _University of Minnesota_ JAMES SUTHERLAND, _Queen Mary College, London_

* * * * *

Address communications to any of the General Editors. British and Continental subscriptions should be sent to

B.H. Blackwell Broad Street Oxford, England

* * * * *

_Please enroll me as a member of the Augustan Reprint Society_.

_I enclose the membership fee for the second year_ (1947-1948). _the first and second year_ (1946-1948).

NAME....... Address....