done unto: for, as none are so much concerned at being injured by calumnies as they who are readiest to cast them upon their neighbours, so it is certain none are so guilty of flattery to others as those who most ardently desire it themselves.

What led me into these thoughts was a dedication I happened upon this morning. The reader must understand that I treat the least instances or remains of ingenuity with respect, in what places soever found, or under whatever circumstances of disadvantage. From this love to letters I have been so happy in my searches after knowledge, that I have found unvalued repositories of learning in the lining of band-boxes. I look upon these pasteboard edifices, adorned with the fragments of the ingenious, with the same veneration as antiquaries upon ruined buildings, whose walls preserve divers inscriptions and names, which are nowhere else to be found in the world. This morning, when one of the Lady Lizard's daughters was looking over some hoods and ribands, brought by her tire-woman, with great care and diligence, I employed no less in examining the box which contained them; it was lined with certain scenes of a tragedy, written (as appeared by part of the title there extant) by one of the fair sex. What was most legible was the dedication; which, by reason of the largeness of the characters, was least defaced by those gothic ornaments of flourishes and foliage, wherewith the compilers of these sort of structures do often industriously obscure the works of the learned. As much of it as I could read with any ease, I shall communicate to the reader as follows. . . .

"Though it is a kind of profanation to approach your grace with so poor an offering, yet when I reflect how acceptable a sacrifice of first-fruits was to Heaven, in the earliest and purest ages of religion, that they were honoured with solemn feasts, and consecrated to altars

by a divine command, upon that consideration, as an argument of particular zeal, I dedicate. . . . It is impossible to behold you without adoring; yet, dazzled and awed by the glory that surrounds you, men feel a sacred power that refines their flames, and renders them pure as those we ought to offer to the Deity. . . . The shrine is worthy the divinity that inhabits it. In your grace we see what woman was before she fell, how nearly allied to the purity and perfection of angels. And We Adore and Bless the Glorious Work".

Undoubtedly these and other periods of this most pious dedication could not but convince the duchess of what the eloquent authoress assures her at the end, that she was her servant with most ardent devotion. I think this a pattern of a new sort of style, not yet taken notice of by the critics, which is above the sublime, and may be called the celestial; that is, when the most sacred phrases appropriated to the honour of the Deity are applied to a mortal of good quality. As I am naturally emulous, I cannot but endeavour, in imitation of this lady, to be the inventor, or, at least, the first producer of a kind of dedication, very different from hers and most others, since it has not a word but what the author religiously thinks in it. It may serve for almost any book, either prose or verse, that has been, is, or shall be published, and might run in this manner.

THE AUTHOR TO HIMSELF.

"Most Honoured Sir,

"These labours, upon many considerations, so properly belong to none as to you. First, as it was your most earnest desire alone that could prevail upon me to make them public. Then as I am secure (from that constant indulgence you have ever shown to all which is mine) that no man will so readily take them into protec

tion, or so zealously defend them. Moreover, there is none can so soon discover the beauties; and there are some parts which, it is possible, few besides yourself are capable of understanding. Sir, the honour, affection, and value I have for you are beyond expression; as great, I am sure, or greater, than any man else can bear you. As for any defects which others may pretend to discover in you, I do faithfully declare I was never able to perceive them; and doubt not but those persons are actuated purely by a spirit of malice or envy, the inseparable attendants on shining merit and parts, such as I have always esteemed yours to be. It may perhaps be looked upon as a kind of violence to modesty, to say this to you in public; but you may believe me it is no more than I have a thousand times thought of you in private. Might I follow the impulse of my soul, there is no subject I could launch into with more pleasure than your panegyric. But, since something is due to modesty, let me conclude by telling you, that there is nothing so much I desire as to know you more thoroughly than I have yet the happiness of doing. I may then hope to be capable to do you some real service; but till then can only assure you, that I shall continue to be, as I am more than any man alive, Dearest Sir, your affectionate friend, and the greatest of your admirers."

XXVI. ON EPIC POETRY.

Docebo

-Hor. Ars Poet., 306.

Unde parentur opes; quid alat formetque poetam.

I will teach to write,

Tell what the duty of a poet is,

Wherein his wealth and ornament consist,

And how he may be form'd and how improv'd.-Roscommon.

T is no small pleasure to me, who am zealous in the

IT

interests of learning, to think I may have the honour

of leading the town into a very new and uncommon road

of criticism.

As that kind of literature is at present carried on, it consists only in a knowledge of mechanic rules which contribute to the structure of different sorts of poetry; as the receipts of good housewives do to the making puddings of flour, oranges, plums, or any other ingredients. It would, methinks, make these my instructions more easily intelligible to ordinary readers, if I discoursed of these matters in the style in which ladies learned in economies dictate to their pupils for the improvement of the kitchen and larder.

I shall begin with epic poetry, because the critics agree it is the greatest work human nature is capable of. I know the French have already laid down many mechanical rules for compositions of this sort, but at the same time they cut off almost all undertakers from the possibility of ever performing them; for the first qualification they unanimously require in a poet, is a genius. I shall here endeavour (for the benefit of my countrymen) to make it manifest, that epic poems may be made "without a genius", nay, without learning or much reading. This must necessarily be of great use to all those poets who confess they never read, and of whom the world is convinced they never learn. What Moliere observes of making a dinner, that any man can do it with money, and if a professed cook cannot without, he has his art for nothing; the same may be said of making a poem, it is easily brought about by him that has a genius, but the skill lies in doing it without one. In pursuance of this end, I shall present the reader with a plain and certain receipt, by which even sonneteers and ladies may be qualified for this grand performance.

I know it will be objected that one of the chief qualifications of an epic poet is to be knowing in all arts and sciences. But this ought not to discourage those that have no learning, as long as indexes and dictionaries may

be had, which are the compendium of all knowledge. Besides, since it is an established rule that none of the terms of those arts and sciences are to be made use of, one may venture to affirm, our poet cannot impertinently offend in this point. The learning which will be more particularly necessary to him, is the ancient geography of towns, mountains, and rivers: for this let him take Cluverius 1, value fourpence.

Another quality required is a complete skill in languages. To this I answer, that it is notorious persons of no genius have been oftentimes great linguists. To instance in the Greek, of which there are two sorts; the original Greek, and that from which our modern authors translate. I should be unwilling to promise impossibilities, but modestly speaking, this may be learned in about an hour's time with ease. I have known one, who became a sudden professor of Greek immediately upon application of the left-hand page of the Cambridge Homer2 to his eye. It is in these days with authors as with other men, the wellbred are familiarly acquainted with them at first sight; and as it is sufficient for a good general to have surveyed the ground he is to conquer, so it is enough for a good poet to have seen the author he is to be master of. But to proceed to the purpose of this paper.

A RECEIPT TO MAKE AN EPIC POEM.

FOR THE FABLE.

Take out of any old poem, history book, romance, or legend (for instance, Geoffrey of Monmouth, or Don Belianis of Greece), those parts of story which afford

1 The allusion is to the Germania Antiqua and Italia Antiqua (1624) of Cluverius, works which have been called epoch-making in the history of ancient geography.

2 The editions of the time had an English version on the left-hand pages.

3 The Famous and Delectable History of Don Belianis of Greece was