« PreviousContinue »
RIMED TECHNICAL TREATISES
This is a list of poems that tell how to make or do something. It does not include translations of well-known classical works, or humorous poems that are technical in name only, such as The Art of TicklingTrouts (anon., 1708); William King's Art of Cookery (1708); John Gay's Trivia, or the Art of Walking the Streets of London (1716), and Receipt for Stewing Veal (written 1726); The Art of Decyphering (anon., 1727); Horace's Art of Poetry Spiritualiz'd, or the Art of Priestcraft (anon., 1727?); William Dunkin's Art of Gate-passing, or the Murphaeid (1730) and Receipt for making a Doctor (written before 1765); James Miller's Harlequin Horace, or the Art of Modern Poetry (1731); Poeticorum Liber, a New Art of Poetry (anon., 1732); James Ralph's(?) Art of War (1740, Champion, i. 297-8); Thomas Tickell's Fragment on Hunting (written before 1740); A Receipt to make a Lord (anon., quoted from Common Sense in Horace Walpole's letter to Horace Mann, about July 1, 1742); A Recipe for an Asthma (anon., 1744, Norfolk Poetical Miscellany, i. 350-53); William Woty's Recipe to make a Man of Consequence (Shrubs of Parnassus, 1760, p. 145); William Upton's Dramatic Advice, or a Receipt for a New Play (Poems, 1788, pp. 50-52); C. V. Le Grice's Estianomy, or the Art of Stirring a Fire (in his Tineum, 1794); John Anstey's ("John Surrebutter's") Pleader's Guide (2 books, 1796); Joseph Fawcett's Art of Poetry (1797); G. S. Carey's Art of Imitation (Mo. Mirror, 1797, iv. 236-7); The Art of making Tea (anon., 1799); John Henham's Receipt to write Blank Verse (Mo. Mag., 1803, xvi. 339-40); John Taylor's Art of Acting (1827). Four other poems that I have not seen sound like genuine technical treatises, but may be humorous: Isaac Hallam's Cocker, or approv'd Rules for Breeding Game Fowl (1746), The Art of Preserving (anon., 1759), C. Grierson's Art of Printing (Dublin, 1764), Henry Jones's Inoculation, or Beauty's Triumph (Bath, 1768).
EVELYN, JOHN (the younger). Of gardens, translated from Rapin, 1673.
SOAMES, WILLIAM. The art of poetry, translated from Boileau, 1683.
CHAMBERLAYNE, JOHN. A treasure of health, translated from Castor
TATE, NAHUM. Syphilis, translated from Fracastoro.-Appended to Dryden's Miscellany, 1693, part iii.
ANON. The innocent epicure, or the art of angling, 1697.1
ANON. A receipt to make a sack-posset.—Ib. 316.
ROWE, NICHOLAS. Paedotrophiae, or the art of bringing up children, from Sainte-Marthe, 1710. (Also translated by H. W. Tytler in 1797.) ROWE, NICHOLAS, and others. Callipaediae, or an art how to have handsome children, translated from Quillet, 1710. (Also translated anonymously in 1710, by W. Oldisworth in 1719, anonymously as Advice to New-married Persons in 1754, and as The Joys of Hymen, or the Conjugal Directory, in 1768.)
POPE, ALEXANDER. An essay on criticism, 1711.
GAY, JOHN. Rural sports, 1713.
KING, WILLIAM. Apple-pye (Original Works, 1726, iii. 259–61); Hasty pudding (ib. 262).
BREVAL, J. D. DE. The art of dress, 1717.
B., J. The art of beauty, 1719. Not seen.
DIAPER, WILLIAM, and JONES, JOHN. Oppian's Halieuticks, of the nature
ANON. Silk worms, translated from Vida, 1723. (Also translated by S.
PITT, CHRISTOPHER. Vida's Art of Poetry, translated, 1725 (Chalmers's
MARKLAND, ABRAHAM. Pteryplegia, or the art of shooting-flying, 1727.
BRAMSTON, JAMES. The art of politicks, in imitation of Horace's Art of
JENYNS, SOAME. The art of dancing, 1729.
DODSLEY, ROBERT. Beauty, or the art of charming, 1735; The art of
books i, xiii, translated.—Miscellanies, 1754, pp. 137-63, 163-230. (Book
GREEN, MATTHEW. The spleen, 1737.
STILLINGFLEET, BENJAMIN. An essay on conversation, 1737.
MILLER, JAMES. Of politeness, 2d ed., 1738.
DINSDALE, JOSHUA. The modern art of breeding bees, 1740. Not seen.
HILL, AARON. The art of acting.-Works, 2d ed., 1754, iii. 387-408. LENNOX, CHARLOTTE. The art of coquettry.-Poems on Several Occasions, 1747, pp. 61-7.
TRIPE, ANDREW. The small-pox, canto i, 1748. Not seen.
1 The anonymous Art of Angling, in W. Ruddiman's Collection of Scarce Pieces (Edin., 1773, pp. 269334), gives no directions for fishing.
2 This is not a translation of Ovid, though it imitates him at times.
1763 w. 1772 p. JONES, Sir WILLIAM. Caissa, or the game at chess. — Works, 1807, x.
COOTE, ROBERT. The compleat marksman, or the true art of shooting fly-
DALTON, JOHN. Some thoughts on building and planting.-A Descriptive
MOORE, ANTHONY. An essay on the art of preaching, 1758.-See Mo. Rev.,
MARRIOTT, THOMAS. Female conduct, an essay on the art of pleasing, 2 books, 1759.
ELPHINSTON, JAMES. Education, 4 books, 1763.-See Mo. Rev., xxviii. 103-8.
ANON. The cestus of Venus, or the art of charming, 1764.-See Mo. Rev., xxx. 68-9.
ANON. The rise and progress of the present taste in planting parks, etc., 1767.- See ib. xxxvii. 139–44.
LANGHORNE, JOHN. Precepts of conjugal happiness, 1767.
SMITH, JAMES. The art of living in London, 2 cantos, 1768.
ANON. The art of conversing, translated from Père André of Rouen, 1777-
PYE, H. J. The art of war, translated from Frederick the Great, 6 books, 1778; Shooting, 1784.
MASON, WILLIAM. Dufresnoy's Art of Painting, translated, York, 1783.
GRAHAM, CHARLES. On the arts of penmanship and engraving.—Univ.
ANON. The garden, or the art of laying out grounds, translated from Abbé de Lille, 1789.-See Mo. Rev., enl., v. 154-6. (Also translated by Mrs. Montolieu, 1798.)
THOMSON, ALEXANDER. Whist, 12 cantos, 1791.
KNIGHT, R. P. The landscape, 3 books, 1794.
COOKE, WILLIAM. Conversation, 3 parts, 1796.-See Mo. Rev., enl., xxi.
ANON. Phthisiologia, a poem (on medicine] miscellaneously descriptive and
ANON. Vis medicatrix, a didactic poem, Bath, 1816. Not seen.
The following bibliographies are based primarily on an examination of every volume of English literature written between the middle of the seventeenth and nineteenth centuries which the Harvard Library possesses. A number of books not at Harvard I saw in the Boston libraries and the principal collections of England and Scotland. Several years later the list thus obtained was corrected and all the poems in it were re-examined to see if they continued to impress me as Miltonic. Numerous additions have been made from year to year, and the entire list has been verified by Miss Rowe.
There is no pretence to completeness, for if it were possible to go through the stacks of the British Museum as I went through those at Harvard many more titles would be added. Almost all such additions would, however, be works of slight importance, and, unless a considerable number of them belonged to the first half of the eighteenth century, they would probably give little information that cannot be deduced or conjectured from the present lists. It was for this reason that my systematic examination of the Harvard shelves stopped short of the Victorian age, and of 1806 in the case of magazines. I felt that additional titles of minor pieces written long after the Miltonic movement had passed its zenith would increase the bulk rather than the value of the book.
The bibliographies are not meant to include every poem showing any influence from Milton; pieces which merely borrow a few words or phrases, or which use the Miltonic style only in one or two short passages, are intentionally omitted. Of course there are many cases in which it is hard to draw the line, particularly in the work of men like Wordsworth and Southey, some of whose pieces certainly belong here while others almost certainly do not. I have leaned to the conservative side and have rejected many poems that others have called Miltonic. It should also be noticed that the fourth bibliography is not limited to Miltonic sonnets, and that it includes only those by authors who wrote sonnets before 1800 and published some in books.
In order that the growth of Milton's influence may easily be traced, the arrangement has been made chronological, but the scattered poems of an author can be brought together through the index. The undesignated date is that of publication. When the date of writing is known to be more than one or two years earlier than that of publication, it is given (marked “w.”) followed by the earliest date of publication that I could find (marked "p."), unless this is the date of the volume cited. Titles have been condensed, and after the first occurrence in each bibliography the editor's name and the place of publication have been omitted. When the place of issue is London, as is usually the case, it has not been mentioned. The references are in every instance to the editions I have used.