PAGE 5
An Essay On Satire, Particularly On The Dunciad
by
[7] De Satyrica Graecorum Poesi, & Romanorum Satira Libri Duo (Paris, 1605).
[8] J. F. D’Alton, Roman Literary Theory and Criticism: A Study in Tendencies (London, New York, and Toronto, 1931), pp. 356, 414 and n.; George Converse Fiske, Lucilius and Horace: A Study in the Classical Theory of Imitation, University of Wisconsin Studies in Language and Literature, No. 7 (Madison, 1920), p. 443.
[9] Bernard Weinberg, A History of Literary Criticism in the Italian Renaissance (Chicago, 1961), II, 745. For similar appraisals of satire, see also I, 148-149; II, 759, 807; and Puttenham, pp. 26-28.
[10] E.g., John Dennis, “The Grounds of Criticism in Poetry” (1704), in The Critical Works, ed. Edward Niles Hooker (Baltimore, 1939-1943), I, 338; Joseph Trapp, Lectures on Poetry Read in the Schools of Natural Philsophy at Oxford (London, 1742), p. 153.
[11] Essays upon Several Subjects (London, 1716-1717), I, 76.
[12] Paul F. Leedy, “Genres Criticism and the Significance of Warton’s Essay on Pope,” JEGP, XLV (1946), 141.
[13] Durgen. Or, A Plain Satyr upon a Pompous Satyrist (London, 1729), p. 48.
[14] “The Battel of the Poets,” in Tales, Epistles, Odes, Fables, etc. (London, 1729), p. 138n. Though the poem was first published in 1725, it was revised to attack The Dunciad ; Cooke claims (“The Preface,” p. 107) that not more than eighty lines in the two versions are the same.
[15] Durgen, pp. [i], 19, 40-41.
[16] An Epistle to Mr. Pope, from a Young Gentleman at Rome (London, 1730), pp. 6-7.
[17] The Progress of Wit (London, 1730), p. 31. Two months after Harte’s Essay appeared Hill’s Advice to the Poets, which complements the earlier allegory by urging Pope to shun ” vulgar Genii ” and emulate “Thy own Ulysses ” (pp. 18-19).
[18] Daniel Heinsius, “De Satyra Horatiana Liber,” in Q. Horati Flacci Opera (1612), pp. 137-138; Sir Robert Stapylton, “The Life and Character of Juvenal,” in Mores Hominum. The Manners of Men, Described in Sixteen Satyrs, by Juvenal (London, 1660), p. [v]; Nicolas Rigault, “De Satira Juvenalis Dissertatio” (1615), in Decii Junii Juvenalis Satirarum Libri Quinque (Paris, 1754), p. xxv; and Andre Dacier, An Essay upon Satyr (London, 1695), p. 273.
[19] Essays of John Dryden, ed. W. P. Ker (Oxford, 1900), II, 75, 104-105; Howard D. Weinbrot, “The Pattern of Formal Verse Satire in the Restoration and the Eighteenth Century,” PMLA, LXXX (1965), 394-401; Causaubon, De Satyrica Graecorum Poesi, & Romanorum Satira Libri Duo, pp. 291-292; Heinsius, pp. 137-138.
[20] Essays, II, 43, 107-108.
[21] See Weinbrot, p. 399.
[22] Durgen, p. 3.
[23] Howard D. Weinbrot, “Parody as Imitation in the 18th Century,” AN&Q;, II (1964), 131-134.
[24] Boileau, Oeuvres Completes, ed. Francoise Escal (Editions Gallimard, 1966), p. 924.
[25] Numerous protests against Pope’s use of names made such a defense desirable. See, for example, Ward (p. 9) and “A Letter to a Noble Lord: Occasion’d by the Late Publication of the Dunciad Variorum,” in Pope Alexander’s Supremacy and Infallibility Examin’d (London, 1729), p. 12. Boileau’s Discourse is a particularly apposite reply to the latter, which had contrasted Pope’s satiric practice with that of Horace, Juvenal, and Boileau.
BIBLIOGRAPHICAL NOTE
The text of this edition is reproduced from a copy in the University of Illinois Library.
AN ESSAY, ON SATIRE,
Particularly on the DUNCIAD.
THE CONTENTS.
I. The Origine and Use of Satire. The Excellency of Epic Satire above others, as adding Example to Precept, and animating by Fable and sensible Images. Epic Satire compar’d with Epic Poem, and wherein they differ: Of their Extent, Action, Unities, Episodes, and the Nature of their Morals. Of Parody: Of the Style, Figures, and Wit proper to this Sort of Poem, and the superior Talents requisite to Excel in it.