The New Grub Street, Manifesto of the Pen. Mightier than the Sword and Productive as the Ploughshare. Guns or Butter, Truth or Twitter? #TheDunciad #Pope #Shelly #Coleridge #Blake #Pound #MartinScriblerus #Rochester #Chaucer “He (a patron) chinks his purse, and takes his seat of state… And (among the poets) instant, fancy feels th’ imputed sense” (II 189–91)

download (35).jpeg

 

“Next plung’d a feeble, but a desp’rate pack,
With each a sickly brother at his back:
Sons of a Day! just buoyant on the flood,
Then number’d with the puppies in the mud.
Ask ye their names? I could as soon disclose
The names of these blind puppies as of those.” (B 305–310)

“Yet, yet a moment, one dim Ray of Light
Indulge, dread Chaos, and eternal Night!” (B IV 1–2)
“Suspend a while your Force inertly strong,
Then take at once the Poet, and the Song.” (ibid. 7–8)

The fourth book promises to show the obliteration of sense from England. The Dog-star shines, the lunatic prophets speak, and the daughter of Chaos and Nox (Dulness) rises to “dull and venal a new World to mold” (B IV 15) and begin a Saturnian age of lead.

7 thoughts on “Evolution Of Muso Musings to Rogers LongHairedBlog. #ObjectiveKhunt #GrubStreet #LetThemConfectSweeterLies.”

  1. Profile picture
    RogerGLewis
    @PMotels
    34 minutes ago, 7 tweets, 3 min read Read on Twitter

    web.archive.org/web/2016012821… via @internetarchive I started taking my Blog mopre seriously in Jan 2016, with a Post on The Iron Law of Oligarchy.
    The Iron Law of Oligarchy.
    I posted a comment at Truth Dig which I decided to write as a Blog post as well just to bring together some of my Reading on Elites and Oligarchy. Chris Hedges article is here. Comment by (Soicilai…
    https://longhairedmusings.wordpress.com/2016/01/06/the-iron-law-of-oligarchy/
    Tragedy and Hope, From whence we came!
    Tragedy and Hope, From whence we came!I am currently reading Tragedy and Hope Carroll Quigleys Opus on Political Economic History since for ever. Its an exhilarating read but very war and peace it …
    https://longhairedmusings.wordpress.com/2016/01/14/tragedy-and-hope-from-whence-we-came/
    Globalisation Un-Entangled. (A FOUND POEM, CIPHER OF GLOBALISM )
    Cut-up technique[edit] Cut-up technique is an extension of collage to words themselves, Tristan Tzara describes this in the Dada Manifesto:[49] TO MAKE A DADAIST POEM Take a newspaper. Take some sc…
    https://longhairedmusings.wordpress.com/2017/03/28/globalisation-un-entangled-a-found-poem-cipher-of-globalism/
    Exerpt from The Conquest of Dough. by Roger G Lewis
    — 0046702273052 skype: rogerglewis Skype telephone number +46406931188 Portfolio of on line Profiles( Go on be Nosy ) CLICK HERE PLEASE #ConquestofDough
    https://longhairedmusings.wordpress.com/2016/11/24/exerpt-from-the-conquest-of-dough-by-roger-g-lewis/
    The Conquest Of Dough ( Novel) Multimedia Web Site – The Conquest Of Dough
    The Conquest Of Dough ( Novel) Multimedia Web Site
    A web site and Blog informing the Context of the new Novel Conquest Of Dough By Roger G Lewis
    https://theconquestofdough.weebly.com/

    mentions

    Like

  2. The Scriblerian club most consistently comprised Jonathan Swift, John Gay, John Arbuthnot, Robert Harley, and Thomas Parnell. The group met during the spring and summer of 1714. One group project was to write a satire of contemporary abuses in learning of all sorts, in which the authors would combine their efforts to write the biography of the group’s fictional founder, Martin Scriblerus, through whose writings they would accomplish their satirical aims. The resulting The Memoirs of Martin Scriblerus contained a number of parodies of the most lavish mistakes in scholarship.

    Like

  3. RogerGLewis@PMotels

    “VERSES LEFT BY MR POPE. ON HIS LYING IN THE SAME BED WHICH WILMOT, THE CELEBRATED EARL OF…” — Tonefreqhz http://disq.us/p/232nh69 

    Seigneur Dildoe: Rochester Satyre Charles 2

    VERSES LEFT BY MR POPE. ON HIS LYING IN THE SAME BED WHICH WILMOT, THE CELEBRATED EARL OF ROCHESTER, SLEPT IN AT ADDERBURY, THEN BELONGING TO THE DUKE OF ARGYLL, JULY 9, 1739. 1 With no poetic ardour…

    disq.us

    See RogerGLewis’s other Tweets

    Like

14 thoughts on “Grub Street Journal, or Objective Khunts?”

  1. Overview of the three-book Dunciad
    The cultural attack is broader than the political one, and it may underlie the whole. Pope attacks, over and over again, those who write for pay. While Samuel Johnson would say, half a century later, that no man but a blockhead ever wrote but for money, Pope’s attack is not on those who get paid, but those who will write on cue for the highest bid. Pope himself was one of the earliest poets to make his living solely by writing, and so it is not the professional author, but the mercenary author that Pope derides. He attacks hired pens, the authors who perform poetry or religious writing for the greatest pay alone, who do not believe in what they are doing. As he puts it in book II,

    “He (a patron) chinks his purse, and takes his seat of state… And (among the poets) instant, fancy feels th’ imputed sense” (II 189–91).

     

    He objects not to professional writers, but to hackney writers. His dunce booksellers will trick and counterfeit their way to wealth, and his dunce poets will wheedle and flatter anyone for enough money to keep the bills paid.
    https://en.wikipedia.org/wiki/The_Dunciad

    Like

  2. A Book II

    “As when a dab-chick waddles thro’ the copse,
    On feet and wings, and flies, and wades, and hops;
    So lab’ring on, with shoulders, hands, and head,
    Wide as a windmill all his figure spread . . .
    Full in the middle way there stood a lake,
    Which Curl’s Corinna chanc’d that morn to make,
    (Such was her wont, at early down to drop
    Her evening cates before his neighbour’s shop,)
    Here fortun’d Curl to slide; loud shout the band,
    And Bernard! Bernard! rings thro’ all the Strand.” (II 59–70)
    The race seemingly having been decided by progress through bed-pan slops, Curll prays to Jove, who consults the goddess Cloacina. He hears the prayer, passes a pile of feces down, and catapults Curll to the victory. As Curll grabs the phantom Moore, the poems it seemed to have fly back to their real authors, and even the clothes go to the unpaid tailors who had made them (James Moore Smythe had run through an inherited fortune and bankrupted himself by 1727). Dulness urges Curll to repeat the joke, to pretend to the public that his dull poets were really great poets, to print things by false names. (Curll had published numerous works by “Joseph Gay” to trick the public into thinking they were by John Gay.) For his victory, she awards Curll a tapestry showing the fates of famous Dunces. On it, he sees Daniel Defoe with his ears chopped off, John Tutchin being whipped publicly through western England, two political journalists clubbed to death (on the same day), and himself being wrapped in a blanket and whipped by the schoolboys of Westminster (for having printed an unauthorised edition of the sermons of the school’s master, thereby robbing the school’s own printer).

    The next contest Dulness proposes is for the phantom poetess, Eliza (Eliza Haywood). She is compared to their Hera. Whereas Hera was “cow-eyed” in Iliad, and “of the herders,” Haywood inverts these to become a

    “. . . Juno of majestic size,
    With cow-like-udders, and with ox-like eyes” (II 155–6).
    The booksellers will urinate to see whose urinary stream is the highest. Curll and Chetham compete. Chetham’s efforts are insufficient to produce an arc, and he splashes his own face. Curll, on the other hand, produces a stream over his own head, burning (with an implied case of venereal disease) all the while. For this, Chetham is awarded a kettle, while Curll gets the phantom lady’s works and company.

    [R]
    The next contest is for authors, and it is the game of “tickling”: getting money from patrons by flattery. A very wealthy nobleman, attended by jockeys, huntsmen, a large sedan chair with six porters, takes his seat. One poet attempts to flatter his pride. A painter attempts to paint a glowing portrait. An opera author attempts to please his ears. John Oldmixon simply asks for the money (Oldmixon had attacked Pope in The Catholic Poet, but Pope claims that his real crime was plagiarism in his Critical History of England, which slandered the Stuarts and got him an office from the Whig ministry), only to have the lord clench his money tighter. Finally, a young man with no artistic ability sends his sister to the lord and wins the prize.

    “‘Twas chatt’ring, grinning, mouthing, jabb’ring all,
    And Noise, and Norton, Brangling, and Breval,
    Dennis and Dissonance; and captious Art,
    And Snip-snap short, and Interruption smart.
    ‘Hold (cry’d the Queen) A Catcall each shall win,
    Equal your merits! equal is your din!” (II 229–234)
    The critics are then invited to all bray at the same time. In this, Richard Blackmore wins easily:

    “All hail him victor in both gifts of Song,
    Who sings so loudly, and who sings so long.” (II 255–6)
    (Blackmore had written six epic poems, a “Prince” and “King” Arthur, in twenty books, an Eliza in ten books, an Alfred in twelve books, etc. and had earned the nickname “Everlasting Blackmore.” Additionally, Pope disliked his overuse of the verb “bray” for love and battle and so had chosen to have Blackmore’s “bray” the most insistent.)

    The assembled horde go down by Bridewell (the women’s prison) between 11:00 am and 12:00 pm, when the women prisoners are being whipped, and go “To where Fleet-ditch with disemboguing streams/ Rolls the large tribute of dead dogs to Thames” (II 267–8). At the time, Fleet Ditch was the city’s sewer outlet, where all of the gutters of the city washed into the river. It was silted, muddy, and mixed with river and city waters.

    In the ditch, the political hacks are ordered to strip off their clothes and engage in a diving contest. Dulness says,

    “Who flings most filth, and wide pollutes around/ The stream, be his the Weekly Journals, bound” (II 267–8),

    while a load of lead will go to the deepest diver and a load of coal to the others who participate. “The Weekly Journals” was a collective noun, referring to London Journal, Mist’s Journal, British Journal, Daily Journal, inter al. In this contest, John Dennis climbs up as high as a post and dives in, disappearing forever. Next, “Smedly” (Jonathan Smedley, a religious opportunist who criticised Jonathan Swift for gain) dives in and vanishes. Others attempt the task, but none succeed like Leonard Welsted (who had satirised Pope, Gay, and Arbuthnot’s play Three Hours after Marriage in 1717), for he goes in swinging his arms like a windmill (to splash all with mud): “No crab more active in the dirty dance,/ Downward to climb, and backward to advance” (II 296–7). He wins the Journals, but Smedly reappears, saying that he had gone all the way down to Hades, where he had seen that a branch of Styx flows into the Thames, so that all who drink city water grow dull and forgetful from Lethe.

    Like

  3. A Book III

    Settle gives Theobald full knowledge of Dulness. This is his baptism: the time when he can claim his divine role and begin his mission (in a parody of Jesus being blessed by the Holy Spirit). Settle shows Theobald the past triumphs of Dulness in its battles with reason and science. He surveys the translatio stultitia: the Great Wall of China and the emperor burning all learned books, Egypt and Omar I burning the books in the Ptolemean library. Then he turns to follow the light of the sun/learning to Europe and says,

    “How little, mark! that portion of the ball,
    Where, faint at best, the beams of Science fall.
    Soon as they dawn, from Hyperborean skies,
    Embody’d dark, what clouds of Vandals rise!” (III 75–8)
    Goths, Alans, Huns, Ostrogoths, Visigoths, and Islam are all seen as destroyers of learning. Christianity in the medieval period is also an enemy of learning and reason in Settle’s view:

    “See Christians, Jews, one heavy sabbath keep;
    And all the Western World believe and sleep.” (III 91–2)
    Pope lambastes the medieval popes for destroying statuary and books that depicted Classical gods and goddesses and for vandalising others, for making statues of Pan into Moses.

    Settle then surveys the future. He says that Grub Street will be Dulness’s Mount Parnassus, where the goddess will

    “Behold a hundred sons, and each a dunce” (III 130).

    He names two sons of contemporary dunces who were already showing signs of stupidity: Theophilus Cibber (III 134) and the son of Bishop Burnet.

    Settle turns to examine the present state of “duncery”, and this section of the third book is the longest. He first looks to literary critics, who are happiest when their authors complain the most. Scholars are described as:

    “A Lumberhouse of Books in every head,
    For ever reading, never to be read.” (III 189–90)

    William Hogarth made this engraving entitled “A Just View of the English Stage” in 1727. It shows the managers of the Drury Lane theatre (including Colley Cibber (center)) concocting an absurd farce with every possible stage effect, simply to get the better of John Rich. The toilet paper in the privy is labelled “Hamlet” and “Way of Ye World.”
    From critics, he turns to the contrastive of triumphant dunces and lost merit. Orator Henley gets special attention here (lines 195 ff.). Henley had set himself up as a professional lecturer. On Sundays, he would discuss theology, and on Wednesdays any other subject, and those who went to hear him would pay a shilling each (“Oh great Restorer of the good old Stage,/ Preacher at once, and Zany of thy Age!” 201–202), while learned bishops and skilled preachers spoke to empty congregations. Next come the theatres: a Dr. Faustus was the toast of the 1726–1727 season, with both Lincoln’s Inn Fields and Drury Lane competing for more and more lavish stage effects to get the audiences in:

    “Gods, imps, and monsters, music, rage, and mirth,
    A fire, a jig, a battle, and a ball,
    Till one wide Conflagration swallows all.” (III 233–6)
    Even though Pope was on good terms with some of the men involved (e.g. Henry Carey, who provided music for the Drury Lane version), the two companies are fighting to see who can make the least sense. This competition of vulgarity is led by two theatres, and each has its champion of decadence. At Lincoln’s Inn Fields is the “Angel of Dulness,” John Rich:

    “Immortal Rich! how calm he sits at ease
    Mid snows of paper, and fierce hail of pease;
    And proud his mistress’ orders to perform,
    Rides in the whirlwind, and directs the storm.” (III 257–260)

    Settle then surveys the future. He says that Grub Street will be Dulness’s Mount Parnassus, where the goddess will “Behold a hundred sons, and each a dunce” (III 130). He names two sons of contemporary dunces who were already showing signs of stupidity: Theophilus Cibber (III 134) and the son of Bishop Burnet.

    Settle turns to examine the present state of “duncery”, and this section of the third book is the longest. He first looks to literary critics, who are happiest when their authors complain the most. Scholars are described as:

    “A Lumberhouse of Books in every head,
    For ever reading, never to be read.” (III 189–90)

    Settle then reveals some current triumphs of dullness over good sense. He mentions William Benson as the proper judge of architecture,

    “While Wren with sorrow to the grave descends,
    Gay dies un-pension’d with a hundred Friends.
    Hibernian Politicks, O Swift, thy doom,
    And Pope’s translating three whole years with Broome.” (III 325–328)
    William Benson was a fool who had taken the place of Sir Christopher Wren and told the House of Lords that the house was unsound and falling down. It was not. John Gay never obtained a pension and yet was often remarked as one of the most jovial, intelligent, and compassionate wits of the age. Jonathan Swift had been “exiled” to Ireland, where he had become involved in Irish politics. Pope himself had spent three years translating Homer. Settle sees in these things great prospects for the coming age of darkness.

    The poem ends with a vision of the apocalypse of nonsense:

    “Lo! the great Anarch’s ancient reign restor’d,
    Light dies before her uncreating word.” (III 339–40)
    Settle invokes the second coming of stupidity, urging,

    “Thy hand great Dulness! lets the curtain fall,
    And universal Darkness covers all.” (III 355–6)
    At the very conclusion, Theobald cannot take any more joy, and he wakes. The vision goes back through the ivory gate of Morpheus.

    Like

  4. The four book Dunciad B of 1743
    In 1741, Pope wrote a fourth book of the Dunciad and had it published the next year as a stand-alone text. He also began revising the whole poem to create a new, integrated, and darker version of the text. The four-book Dunciad appeared in 1743 as a new work. Most of the critical and pseudo-critical apparatus was repeated from the Dunciad Variorum of 1738, but there was a new “Advertisement to the Reader” by Bishop Warburton and one new substantial piece: a schematic of anti-heroes, written by Pope in his own voice, entitled Hyper-Critics of Ricardus Aristarchus. The most obvious change from the three book to the four book Dunciad was the change of hero from Lewis Theobald to Colley Cibber.

    Colley Cibber: King of Dunces
    Pope’s choice of new ‘hero’ for the revised Dunciad, Colley Cibber, the pioneer of sentimental drama and celebrated comic actor, was the outcome of a long public squabble that originated in 1717, when Cibber introduced jokes onstage at the expense of a poorly received farce, Three Hours After Marriage, written by Pope with John Arbuthnot and John Gay. Pope was in the audience and naturally infuriated, as was Gay, who got into a physical fight with Cibber on a subsequent visit to the theatre. Pope published a pamphlet satirising Cibber, and continued his literary assault until his death, the situation escalating following Cibber’s politically motivated appointment to the post of poet laureate in 1730. Cibber’s role in the feud is notable for his ‘polite’ forbearance until, at the age of 71, he finally became exasperated.

    An anecdote in “A Letter from Mr. Cibber, to Mr. Pope”, published in 1742, recounts their trip to a brothel organised by Pope’s own patron, who apparently intended to stage a cruel joke at the expense of the poet. Since Pope was only about 4′ tall, with a hunchback, due to a childhood tubercular infection of the spine, and the prostitute specially chosen as Pope’s ‘treat’ was the fattest and largest on the premises, the tone of the event is fairly self-apparent. Cibber describes his ‘heroic’ role in snatching Pope off of the prostitute’s body, where he was precariously perched like a tom-tit, while Pope’s patron looked on, sniggering, thereby saving English poetry.

     

    In the third book of the first version of Dunciad (1728), Pope had referred contemptuously to Cibber’s “past, vamp’d, future, old, reviv’d, new” plays, produced with “less human genius than God gives an ape”. While Cibber’s elevation to laureateship in 1730 had further inflamed Pope against him, there is little speculation involved in suggesting that Cibber’s anecdote, with particular reference to Pope’s “little-tiny manhood”, motivated the revision of hero. Pope’s own explanation of the change of hero, given in the guise of Ricardus Aristarchus, provides a detailed justification for why Colley Cibber should be the perfect hero for a mock-heroic parody.

    Like

  5. The four book Dunciad B of 1743

    B Book II

    “Next plung’d a feeble, but a desp’rate pack,
    With each a sickly brother at his back:
    Sons of a Day! just buoyant on the flood,
    Then number’d with the puppies in the mud.
    Ask ye their names? I could as soon disclose
    The names of these blind puppies as of those.” (B 305–310)

    These “sons of a day” are the daily newspapers that only had lifespans of a single issue. They were frequently printed with two different papers on the same sheet of paper (front and back), and Pope quotes the investigation into Robert Harley, 1st Earl of Oxford (conducted by Walpole’s administration) as showing that the Tory ministry of Pope’s friends had spent over fifty thousand pounds to support political papers. The dead gazettes are mourned only by “Mother Osborne” (James Pitt, who had run the London Journal under the name of “Father Osborne”; he had been called “Mother Osborne” for his dull, pedantic style).

    Like

  6. Book IV
    Book IV was entirely new to the Dunciad B and had been published first as a stand-alone concluding poem. Pope himself referred to the four-book version “the Greater Dunciad,” in keeping with the Greater Iliad. It is also “greater” in that its subject is larger. Book IV can function as a separate piece or as the conclusion of the Dunciad: in many ways its structure and tone are substantially different from the first three books, and it is much more allegorical.

    It opens with a second, nihilistic invocation:

    “Yet, yet a moment, one dim Ray of Light
    Indulge, dread Chaos, and eternal Night!” (B IV 1–2)
    “Suspend a while your Force inertly strong,
    Then take at once the Poet, and the Song.” (ibid. 7–8)
    The fourth book promises to show the obliteration of sense from England. The Dog-star shines, the lunatic prophets speak, and the daughter of Chaos and Nox (Dulness) rises to “dull and venal a new World to mold” (B IV 15) and begin a Saturnian age of lead.

    Like

  7. Dulness takes her throne, and Pope describes the allegorical tableau of her throne room. Science is chained beneath her foot-stool. Logic is gagged and bound. Wit has been exiled from her kingdom entirely. Rhetoric is stripped on the ground and tied by sophism. Morality is dressed in a gown that is bound by two cords, of furs (the ermines of judges) and lawn (the fabric of bishops sleeves), and at a nod from Dulness, her “page” (a notorious hanging judge named Page who had had over one hundred people executed) pulls both cords tight and strangles her. The Muses are bound in tenfold chains and guarded by Flattery and Envy. Only mathematics is free, because it is too insane to be bound. Nor, Pope says, could Chesterfield refrain from weeping upon seeing the sight (for Chesterfield had opposed the Licensing Act of 1737, which is the chaining of the Muses). Colley Cibber, however, slumbers, his head in Dulness’s lap. (In a note, Pope says that it is proper for Cibber to sleep through the whole of Book IV, as he had had no part in the actions of book II, slept through book III, and therefore ought to go on sleeping.)

    Into the audience chamber, a “Harlot form” “with mincing step, small voice, and languid eye” comes in (B IV 45–6). This is opera, who wears patchwork clothing (for operas being made up of the patchwork of extant plays and being itself a mixed form of singing and acting). Opera then speaks to Dulness of the Muses:

    “Chromatic tortures soon shall drive them hence,
    Break all their nerves, and fritter all their sense:
    One Trill shall harmonise joy, grief, and rage,
    Wake the dull Church, and lull the ranting Stage;
    To the same notes thy sons shall hum, or snore,
    And all thy yawning daughters cry, encore.” (B IV 55–60)

    Like

  8. There are three classes of dunce. First, there are the naturally dull. These are drawn to her as bees are to a queen bee, and they “adhere” to her person. The second are the people who do not wish to be dunces but are, “Whate’er of mungril no one class admits,/ A wit with dunces, and a dunce with wits” (B IV 89–90). These dunces orbit Dulness. They struggle to break free, and they get some distance from her, but they are too weak to flee. The third class are “false to Phoebus, bow to Baal;/ Or impious, preach his Word without a call” (B IV 93–4). They are men and women who do dull things by supporting dunces, either by giving money to hacks or by suppressing the cause of worthy writers. These people come to Dulness as a comet does: although they are only occasionally near her, they habitually do her bidding.

    Like

  9. As soon as she mentions them, the professors of Cambridge and Oxford (except for Christ Church college) rush to her, “Each fierce Logician, still expelling Locke” (196). (John Locke had been censured by Oxford University in 1703, and his Essay on Human Understanding had been banned.)

    Like

  10. RogerGLewis@PMotels

    http://www.gutenberg.org/fi…THE  WIFE OF BATH, HER PROLOGUE. FROM CHAUCER. Behold the woes of…” — Tonefreqhz http://disq.us/p/232nrpq 

    Chaucers Cunt

    http://www.gutenberg.org/files/9601/9601-h/9601-h.htm#link2H_4_0012 THE WIFE OF BATH, HER PROLOGUE. FROM CHAUCER. Behold the woes of matrimonial life, And hear with reverence an experienced wife! To…

    disq.us

    See RogerGLewis’s other Tweets

    Like

5 thoughts on “The New Grub Street, Manifesto of the Pen. Mightier than the Sword and Productive as the Ploughshare. Guns or Butter, Truth or Twitter? #TheDunciad #Pope #Shelly #Coleridge #Blake #Pound #MartinScriblerus #Rochester #Chaucer “He (a patron) chinks his purse, and takes his seat of state… And (among the poets) instant, fancy feels th’ imputed sense” (II 189–91)

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.