but never met with any Logick calculated for the service of poetical disputants.
Says, that argument has nothing to do with taste and perception. Controversies in poetry commonly arise more from the consideration that the merit of a piece is unquestionable, than that it is dubious. A poet, undeniably superior, excites the jealousy of his brethren, who, not able to rife to his heighth, would bring him down to a level with themselves; so, the poet, not his performance, occasions the disputes: that, in these cafes, the wit lying all on one side, without some extrinsical helps on the other, must inevitably bear all down before it. The arguments therefore on these occasions are of two kinds, such as relate to the person, or the character of the antagonist. The first is deduced from the topick of the cudgel, and called argumentum bacillinum. This he owns, is not always successful, because an adversary does not always submit to such correction, and the law may shew its resentment.
Another method may be used, that is, of turning the person into ridicule, and exposing his deformity, or natural imperfections, which in a figurative sense may be called threshing.
As to character, the surest way is to track the most private parts of it. If this do's not do, we may expose him to contempt, by examining into his birth and family, and make him the son of a Parish-Clerk, a Popish-Priest, Pettifogger, an Exciseman, or a Tinker, or Filius populi, which signifies that he had no father at all.
Poverty is another topick, which entitles the bearer of it to contempt. But observes, that this weapon in poetical hands may be apt to recoil.
If these attacks should fail, his name may be tortur'd by anagrams, acrosticks, or derided in puns, quibbles, and conundrums.
Grecian Coffee-houfe, Feb. 8.
Takes notice of the srange fondness the world has for a new humour, which they are never tired of till it surfeits. Instances in the Beggar's Opera, and the inundation of ballad-opera's that succeeded it. Tragedies and comedies sink in esteem, and all the play-houses subsist by Ballads and Harlequins. This custom of jading a humour is the high-road to absurdity and folly. When the fancy of verses in burlesque first began in France, it grew to such a heighth, that a book was printed, entitled, La passion de notre Sauveur en vers burlesque.
The Templer, Feb. 16. No. 4.
COmmunicates a letter from Philocœnus, advising the Templer to treat of the excellence, beauty, dignity, pleasure and happiness of virtue.
Observes, that as in particular persons, so with regard to the gross of mankind, in every age there prevail some certain disposition or humour that possesses the minds of the majority, and becomes the characteristick of the times.
In the days of our Norman ancestors the Taste in vogue was eating and drinking, Hospitality was politeness, and an open house as great a distinction of honour, as now a coach and six with half a score liveries.
In the succeeding time the love of arms became the prevailing humour. The care of the beau was in brightening his armour; the management of the lance made way to the heart of the fair; and tilts, justs and tournaments supply'd the place of plays, of operas and masquerades.
At the reformation the taste of the age was turned toward learning. Ladies read Horace, and courtiers understood the classicks; wits study'd grammar, and kings became authors.
In Oliver's time we became a nation of saints. The way to esteem and respect was to give proofs of being regenerate; the judge, general, minister and beau were alike obliged to be gifted in prayer; andall
