PREFACE.

_The Ground-work of Romances, till of late Years, has been a Series of Actions, few of which, ever existed but in the Mind of the Author; to support which, with proper Spirit, a strong picturesque Fancy, and a nervous poetical Diction, were necessary. When these great Essentials were wanting, the Narration became cold, insipid, and disagreeable._

_The princ.i.p.al Hero was generally one who fac'd every Danger, without any Reflection, for it was always beneath him to think; it was a sufficient Motive of persisting, if there seem'd Peril; conquering Giants, and dissolving Enchantments, were as easy to him as riding.

He commonly sets out deeply in Love; his Mistress is a Virgin, he loses her in the Beginning of the Book, thro' the Spite or Craft of some malicious Necromancer, pursues her thro' a large Folio Volume of Incredibility, and finds her, indisputably, at the End of it, like try'd Gold, still more charming, from having pa.s.s'd the Fire Ordeal of Temptation._

_Amus.e.m.e.nt and Instruction were the Intent of these Sort of Writings; the former they always fulfill'd, and if they sometimes fail'd in the latter, it was because the Objects they conjur'd up to Fancy, were merely intellectual Ideas, consequently not capable of impressing so deeply as those which are to be met with in the Bustle of Life._

_Hence those, whose Genius led them to cultivate this Sort of writing, have been induc'd to examine amongst such Scenes as are daily found to move beneath their Inspection. On this Plan are founded the Writings of the celebrated Mons._ MARIVAUX, _and the Performances of the ingenious Mr_. FIELDING; _each of whom are allow'd to be excellent in their different Nations._

_The Marquis_ D'ARGENS, _sensible of the Advantages accruing from Works of this Kind, was not satisfied with barely copying the_ Accidents, _but has also united with them the real Names of_ Persons, _who have been remarkable in Life; conscious that we pay a more strict Attention to the Occurrences that have befallen those who enter within the Compa.s.s of our Acquaintance, or Knowledge, and if a Moral ensues from the Relation, it is more firmly rooted in the Mind, than when it is to be deduced from either Manners or Men, with whom we are entirely unacquainted._

_The Marquis is easy in his Stile, delicate in his Sentiments, and not at all tedious in his Narration. In the following Piece we find Nothing heavy or insipid, he dwells not too long upon any Adventure, nor does he burthen the Memory, or clog the Attention with Reflections intended, too often more for the Bookseller's Emolument, in swelling the Bulk of the Performance, than the Service of the Reader, on whom he knew it to be otherwise an Imposition; since, by long-winded wearisome Comments upon every Pa.s.sage (a Fault too frequent in many Writers) he takes from him an Opportunity of exercising his reflective Abilities, seeming thereby to doubt them_.

[Ill.u.s.tration]

PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY

FIRST YEAR (1946-47)

Numbers 1-4 out of print.

5. Samuel Wesley's _Epistle to a Friend Concerning Poetry_ (1700) and _Essay on Heroic Poetry_ (1693).

6. _Representation of the Impiety and Immorality of the Stage_ (1704) and _Some Thoughts Concerning the Stage_ (1704).

SECOND YEAR (1947-1948)

7. John Gay's _The Present State of Wit_ (1711); and a section on Wit from _The English Theophrastus_ (1702).

8. Rapin's _De Carmine Pastorali_, translated by Creech (1684).

9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736).

10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit, etc._ (1744).

11. Thomas Purney's _Discourse on the Pastoral_ (1717).

12. Essays on the Stage, selected, with an Introduction by Joseph Wood Krutch.

THIRD YEAR (1948-1949)

13. Sir John Falstaff (pseud.), _The Theatre_ (1720).

14. Edward Moore's _The Gamester_ (1753).

15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_ (1712); and Arthur Mainwaring's _The British Academy_ (1712).

16. Nevil Payne's _Fatal Jealousy_ (1673).

17. Nicholas Rowe's _Some Account of the Life of Mr. William Shakespeare_ (1709).

18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719); and Aaron Hill's Preface to _The Creation_ (1720).

FOURTH YEAR (1949-1950)

19. Susanna Centlivre's _The Busie Body_ (1709).

20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734).

21. _Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela_ (1754).

22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two _Rambler_ papers (1750).

23. John Dryden's _His Majesties Declaration Defended_ (1681).

24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which from Settled Principles is Rendered the Grounds for Choosing and Rejecting Epigrams_, translated by J.V. Cunningham.

FIFTH YEAR (1950-51)

25. Thomas Baker's _The Fine Lady's Airs_ (1709).

26. Charles Macklin's _The Man of the World_ (1792).

27. Frances Reynolds' _An Enquiry Concerning the Principles of Taste, and of the Origin of Our Ideas of Beauty, etc._ (1785).

28. John Evelyn's _An Apologie for the Royal Party_ (1659); and _A Panegyric to Charles the Second_ (1661).

29. Daniel Defoe's _A Vindication of the Press_ (1718).

30. Essays on Taste from John Gilbert Cooper's _Letters Concerning Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_ (1770).

31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751); and _The Eton College Ma.n.u.script_.