Letters to John Aikin, M. D., on his volume of Vocal poetry: and on his "Essays on song-writing, with a collection of such English songs as are most eminent for poetical merit."

Front matter

PR i

90801*

,^V c r ^

Preface

„ese Letters submitted to a Friend, Page xiii. On making quotations and using Italics, p. xiv. On making references to Books, xxi. On altering Songs, xxvii. Mr. Dibdin, xxix. On the Poetry of the Author, xxx.

Letter I. Introductory

Reasons for undertaking this work, Page 1. On the Influence of Poetry, p. 8. On the importance of forming a correct Taste, 16. On Indecency and Licentiousness, 18. On Heathenism, 23. On altering Songs, 25. Sources of Vocal Poetry, 27.

Letter II. On Ballads And Pastoral Songs

On Ballads, p. 29. On Pastoral Songs, 32. On Nature and Art and the Love of Novelty, 32. On Reality in Poetry, 34. On the state of Morals among the lower Classes, 38. Requisites in Pastoral or Rural Poetry, 42. Review of the Ballads and Pastoral Songs in Vocal Poetry : 45.— Despair, 50, 51. Dying for love, 51. 53. 57. 58. 63. Predestination, 51.55. Superstition, 52.58.59.63.

ly

CONTENTS.

POSTSCRIPT.

Review of Ballads, &c. in Mr. Evans's Publication; 57. On comparing human beings to Angels, 63. Lines from the Lady of the Lake, do.

BALLADS AND RURAL SONGS.

I. The Sailor's Love's Consolation

Original

II. Edgar and Ella

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Orig.

III. The Token

•

IV. The New Sir John Barleycorn

.

V. The Peasant

VI. The Labourer's Welcome Home

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VII. Young William, the Labourer

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VIII. Patty

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IX. Love and Prudence

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X. Estimate of Rural Happiness

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XI. The Happy Man

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XII. The Seasons -

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XIII. Peace

Letter III. On Moral And Miscellaneous Songs

The subjects of Moral Songs, p. 93. The Epicurean System of ethics, 94. Review of the Moral and Miscellaneous Songs in Vocal Poetry, 99. Some remarks on a work called Poetry for Children, 104. Note.

MORAL AND MISCELLANEOUS SONGS.

I. Virtue

II. Justice

III. Adversity

IV. Disappointment

Page.

CONTENTS.

V

Pa»e

V. To-morrow -

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VI. The Days that are gone

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VII. The Winter Friend

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VIII. Gratitude -

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IX. The Patron -

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X. Health

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XI. Proverbs of Threescore

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XII. The Old Man's Wish -

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XI IT. The Old xMan's Comforts

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XIV. The Affectionate Heart

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XV. Smiles and Tears

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XVI. The Smile of Benevolence

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XVII. The Smileand the Tear

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XVIII. Beauty -

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XIX. The British Vine

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XX. My Arbour -

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XXI. A Friend; or, My Book

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XXII. The Summer Evening

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XXI II. Ned Brace

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XXIV. A Sailor's Pay

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XXV. The Beacon

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XXVI The Sentinel o.

XXVII The Bugle Horn -

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XXVIII. Scotia's Glens

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XXIX. My Dear Native Isle

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XXX. The Horse -

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XXXI. The Hare Hunt

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XXXII. Humanity's Cot

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XXXIII. The British Bow

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XXXIV. The Archers' Bugle

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^XXV. Address to A Fly -

- o.

x XXVI. The Sea

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o.

X XXV 1 1. Winter

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X XXVIII. The Dying Negro

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X XXIX. The Negro's Exultation

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'H, Music -

- a 2

VI CONTENTS.

Letter IV. On Convivial Songs

Quotations from Essay on Song-Writing, p. 181. Milton's Comus: — Lax morality of poets, Do. Bacchanalian Songs, 182. Quotations from Dr. Aikin's Letters on Poetry, 184. Quotation from Dr. Aikin's Letters to his Son, 185. Account of Drinking Songs introduced into The Collection by J. Plumptre, 187. Praise of water-drinking, 188. The Priest of Bacchus, 5, 1S3, 189. Anecdote of Burns, 189. Note. Convivial Parties not averse to moral Songs, 190. Quotation from Marraion, do. Review of the Convivial Songs in Vocal Poetry, do. Dr. Doddridge's motto and Epigram upon it, 191. On Life, Do. On Youth, Do. The Heart and the Senses, 192. Use of time, 193. Rural Life, 194. Quotation from Cowper, 195. Anacreontic on New Principles, 196. Instructions to be learned from the works of Nature, 197. Hurd's Cowley, 199.

CONVIVIAL SONGS.

Page.

I. Merry and Wise - . - O. 202

II. The Honest Fellow 204

III. Aristippus - 206

IV. Laugh and grow fat - - 208

V. Friendship and Love - - - 210

VI. The Sentimentalist - 211

VII. Mirth - - - 213

VIII. The Shortness of Life - - 214

IX. A Dehortation from Drinking - - 214

X. Anti-Anacreontic - 216

XI. TheDrinkin', O. - - - 217

XII. Friendship, Love, and Truth - - 219

CONTENTS. Vll

Letter V. On Amatory Songs

On Love and Marriage, p. 221. Quotations from Dr. Ai kin's Works, 224. Review of the Amatory Songs in Vocal Poetry, 234. Idolatry, 235. Death-bed Thoughts, 237. Lord Lyttelton's Prayer to Venus, 238. Another Prayer to the same, 239. Wine and Music, 238. Extravagant Love, 240. 248. 250. 260. Dying for Love, 240. 243. Prayer to Cupid, 241. 245. Quotation from Swift, 242. Conduct on the death of those we hold dear, 243. Chastity, 244. 245. 249. 261. 263. The value of Love, 234. 245. 259. Unlawful Love, 245. 253. 256. 261. 270. Wisdom, 246. 254. Use of the word Divine, 247* 248. On the application of the term Angel, 248. 249. On the writings of Lord Rochester, 249. 268. Filial Duty, 252. Prayer to Fortune, 255. On what are called Amiable Weaknesses, 257. Song: Love and Reason, 259. On Congreve's Writings, 264. On Fate, the Influence of the Stars, &c. 265. 274. The Wits of Charles the Second's Days, 268. Quotation from Cowper, Do. On Honour, 271. Quotation from Hey on Duelling, 272. General Character of the Songs in Vocal Poetry, 275.

POSTSCRIPT.

Review of some of the Passionate and Descriptive, and of the Witty and Ingenious Songs in Mr. Evans's Publication, 277. On Sobriety, Do. Lord Chesterfield, 279. Song: Answer to " Mistaken fair, lay Sherlock by," Do. On an Address to Sleep, 280.

AMATORY SONGS.

Pag-e.

I. Man and Woman - - - 282

III. Love 285

IV. True Love - 283 via

CONTENTS.

V. The Breath of Love

VI. Love

VII. The Riches of Love

VIII. Hearts

IX. Connubial Love

X. Do. -

XI. The Good Husband

XII. The Good Wife

XIII. Beauty

XIV. Mary's Evening Sigh -

XV. The Damsel's Lamentation

XVI. Mary The Maid of Buttermere

XVII. My Mistress

XVIII. The Happy Pair

XIX. The Wife's Ditty

XX. The Wife's Invocation

XXI. Conjugal Duty

XXII. The Parent

XXIII. Few Happy Matches

XXIV. John and Susan

XXV. Do. Part II.

XXVI. Wife, Children and Friends

XXVII. Love at Fifty

XXVIII. The Song of Seventy

XXIX. My Husband

XXX. My Mary - o.

o.

o.

o.

o.

CONTENTS* IX

Letter VI. On The Songs Contained In The

SUPPLEMENT TO MR. EVANS'S PUBLICATION ;

WITH A POSTSCRIPT ON THE SONGS IN THE

LITERARY MISCELLANY.

Review of (he Songs, p. 327. The thirst of the soul, 328. Application of a passage in Julius Caesar, Do. Bishop Home's applications, 329. Byrom, his Hint to Christian Poets, 330. Sir John Hawkins on Pastoral Images, 332.

POSTSCRIPT.

The Literary Miscellany, 336. Quotation from the Advertisement, Do. Instances of Violent and Enthusiastic Passion in that work, 338. Instances of passages which militate with legitimate preceptive rules of conduct, or which are violations of just moral sentiment, 341. On Age and Youth, Do. Song on Do. 342. On (he Ballad of The Wanton Wife of Bath, 344. Observations on the character of Mary Magdalene, Quotation from Dr. Lardner, 347. Jonas Hanway, 348. Note. The Case of the Thief on the Cross, Quotation from Bishop Home, Do. Correction of a Song in one of the Author's former volumes, 354. Songs in The Literary Miscellany taken from the Author's Collection, Do. On Hymns to The Virgin, 357. Indecency, Do. Instances of Levity, Vulgarity and Nonsense, Do. Instances of Bacchanalian Songs, Do. On War, and Instances of Songs favouring false notions of Honour and Glory, 359. Hunting Song, Do. On the Songs in The Elegant Extracts.

CONTENTS.

Letter VII. On Ingenious, Witty And Humourous Songs

On Ingenious, &c. songs, p. 351. On the Pan, 352. Definition, Do. Quotation froin Sulton's Sermon, Bo. Note. From The School for Scandal, 370. From The Duenna, Do. The Paronomasia, or Serious Pun, 372. On Parody, 375. Burlesque, 389. On Comic Rhyme, 399. Butler's Hudibras, Do. On The Treasury of Wit, Do. Note. Quotations from Hudibras, 401. Quotations from Swift, 402. On the Comic Songs of the present Day, 405.

EPIGRAMS.

Paje.

I. Footeand Quin - - - 363

II. The Siuging Man - - O. 364

III. By Dr. Gould on his Marriage - O. 365

IV. Reply to Do. ... o. 365

V. By Isaac Hawkins Brown upon Himself - 365

VI. On Dr. Hill's Petition of the Letter I. to Garrick 366

VII. On the Beggar 36S

VIII. Jack's Forgetfulness - - 366

IX. Hall's Poverty - - - 367

X. The Obligation 367

XI. The Dunce ... 367

XII. The Short Journey ... 367

XIII. Jack's Penetration 368

XV. Mutual Pity - - 368

XVI. The Force of Reading - - 368

XVII. Wit 368

XVIII. The Lean Nags - - - 368

XIX. Epitaph on A Miser - - - 369

XX. Epigram on an Epigram - - 369

XXI. On Dr. Hill's Farces - - 404

CONTENTS. XI

SONGS.

Page o.

o.

I. By Trudge, in Inkle and Yarico

II. Collins's Sally -

III. Ode on The Spring

IV. The Good Wife

V. Echo Song -

VI. Yesterday, To-day, and To-morrow

VII. Good-b'ye and How-d'ye-do

VIII. The Worthy Lover -

IX. The Black Spectacles

X. Friendship -

XI. Effusion to A Candle snuffed too low

XII. The Dumb Beggar

XIII. The Friends and The Oyster

XIV. The 'Tis Buts

Letter VIII. On Sacred Songs

Quotation from the Preface to Dr. Watts's Horse Lyricae, 408. Do. from Mrs. Barbauld's Thoughts ou The Devotional Taste, 409.

SACRED SONGS.

Page.

I. Jubilee Hymn ... 411

II. Ode on his Majesty's Illness in 1789 - . 413

III. on Recovery - - 416

IV. on the same occasion - 418

V. Thanksgiving Hymn on the same - • 419

VI. I will Praise the Lord at all times - 421

VII. The Thunderstorm 422

XU CONTENTS.

Page.

VIII. Charity

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IX. A Reflection -

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X. The Death of the Righteous

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XI. The Christian's Resurrection

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XII. Evening Hymn

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XIII. Do.

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XIV. Hymn for Sheep-shearing

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XV. Christ in the Manger

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XVI. The Redeemer

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XVII. The Day of Judgment

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XVIII. Before Jehovah's Awful Th rone

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XIX. The Lord's Prayer

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XX. God exalted above all Praise

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Conclusion : The Example of Spencer the Poet adduced, 445. Dedication to his Hymns quoted, t 446.

Index I. Of the first Lines of the Songs Quoted or Criticised - - - « 449

Index II. Of the first Lines of the Songs Introduced into the Volume - 459

Index III. Of the Names of the Authors of the Songs and Epigrams Introduced • 465

List of Books Published by The Author - 468

PREFACE.

Although the first of the following Letters was intended as an Introduction to this Volume, and the motives which induced the Author to undertake it are there detailed ; yet, after a lapse of some months, and on completion of the work, it appears to be necessary to say somewhat farther on laying it before the public.

The Author being unwilling, in a matter which he considered of so much importance, to depend wholly upon his own judgment, submitted these Letters in manuscript to a friend, in whose opinion, both literary and moral, he placed the greatest confidence. It is not to be supposed that this friend agreed with him in every particular; nor that the author, on his part, should acquiesce in every objection and remark made upon them. The result, however, was in favour of the publication of them, and many and material alterations have been made in consequence. What these have been b

XIV PREFACE.

it is not necessary either in general or in particular to inform the Reader, farther than as they appear in one or two instances in the course of the Letters. But, upon the manner in which the Author had made his quotations from different works, and particularly those of Dr. Aikin, by printing some of the passages in Italics, for the purpose of calling the Reader's attention to them, he thinks it right to state some of the remarks of his friend :

u I consider the use of inverted commas as clearly declaring that Quotation is intended or professed. When they are used, therefore, I can admit of no variation which alters (or can alter) the sense ; whether the Quoter thinks the alteration material or not. Of this he is not to judge, after he once undertakes to copy or quote. From that time, his only business is to make his Copy agree with the Original. Now, not only Words, but also Stops, Capitals, Parentheses, and Italics, affect the Sense ; or are liable to do so. Therefore these are all to be copied ; and none to be added. The chief difficulty that I am aware of, is this : — a Quoter wishes to shew, by Italics (or Underlining*), what particular words, of those

* It may be right, perhaps, to state, for the information of

PREFACE. XV

quoted, he wants to have chiefly noticed by the Reader. I allow, that I wish there were some short mode of thus drawing the attention of the Reader : but I cannot allow, that, on account of the inconvenience, it is either safe or honest to underline (in copying) what is not underlined in the original. It is not safe, as to the conveying of our own meaning : for, as there may already be some Italics in the Original, no Reader can possibly tell which words were underlined in the Original in order to fix a meaning, and which were underlined by the Quoter in order to draw attention. Hence great confusion. And it is not honest towards the original Author ; because the Quoter's Underlinings may easily cause the words quoted to bear a sense different from that intended by the Author. Our ingenuity, therefore, must be exercised, not in defending the too common practice of additional underlining by the Quoter, on account of the difficulty he lies under, but in devising (either generally or in each single case) how to draw persons not conversant with the press, that an author usually marks those words, with a line drawn with his pen underneath, (thus,) which he wishes to be printed in Italics, and with two lines", (thus,) those which he wishes to be printed in

CAPITALS. J. P»

XVI PREFACE.

the Reader's attention to the proper part of the words quoted, without recurring to this confounding and dishonest mode, I doubt not you have heard proposed such sentences as the following, by way of illustrating the force (or, I may say, the language) of Emphasis. " Will you walk to church with me to-day ?" To which at least six different senses are given, by underlining at different times the six words Willy you, walk, church, me, to-day. If the author under-lined walk and no other word, the question is about walking or going by some other conveyance. If a Quoter underlines church, he raises the question whether the walk is to be to church or to some other place. If he even retains the author's underlining of walk, he still (by adding that of church) perverts the meaning : and it is impossible for the Reader to tell, by the mere words quoted, which was the underlining of the Author, which of the Quoter. Therefore he cannot know the meaning of the words ; except from some other help. Where the passage is such that you cannot conveniently quote it, that is, copy it ; all I require is that you do not profess to quote (therefore, that you do not use inverted commas, or any thing tantamount), and that, in giving the substance, as far as you want it for

PREFACE. XV11

your purpose, you do this honestly ; not suppressing what appears likely to affect the point in question."

Having been always accustomed to add Italics myself, and seen them in the works of others, especially in Reviews, I pleaded precedent to my friend, and said that I thought the matter was so wel] understood as not to mislead. To this my friend replies,

" I am sorry we do not agree about Italics added by the Quoter. You speak of it as an established mode. I own it is (in my judgment) far too frequent : but, I think, some to whom 1 have stated my ideas have allowed the practice to be wrong. It is, with me, clearly and decidedly wrong, beyond the power of authority or custom so to establish it as to make it right ; though I fancy I have been one of the most obedient of men, through life, to things established, — particularly in language: — and Italics (we agree) are a part of language. You say " it appears to me to be sufficiently understood not to mislead." My grand objection is, that it does mislead, or may do it. If such rule on this point be not observed, how should you, or any reader of the few words I have just quoted from your letter, know whether the two words were underlined by you or by me ? b 2

XVill PREFACE.

Yet the sentence has a different effect, if j/ou axe supposed to have laid your stress upon the words, from that which it will have if only / am supposed to call your attention to those words. Therefore the Underlining mislead, or may mislead. For, if the rule be not considered as taking place, the reader must guess whether you or I underlined the words. Stronger instances might easily be adduced : — as, from the sentence already given, " Will you walk" &c."

" Italics are not uncommon in books. An Author (suppose) writes a sentence, and puts a word in Italics. A Quoter gives (we will hope) the Author' 's Italics ; but he adds some of his own. What reader can tell which of these Italics is by the Author, which by the Quoter ? I readily allow there are many instances in which I should feel no doubt in my own mind, that the Italics were by the Quoter. But there are others in which I think I might defy any man to make a well-founded guess, whether it was Author or Quoter. Therefore the practice misleads ; or, in its nature, must ever be liable to mislead. I once talked on the subject with the late Rev. Mr. Twining, well known amongst literary persons, and much, (and, I believe, deservedly) esteemed by them ; known also, in particular, by his Translation of Aristotle's

PREFACE. XIX

Treatise on Poetry, with very copious Notes. Be was inclined to allow a Quoter to add Italics. I believe I asked him, whether, if he met with Italics in a quotation, he should suppose them put by the Author or by the Quoter; and that he answered by the Quoter. Afterwards, in the Monthly Review for December 1790, I saw a sermon of his reviewed ; and, in a quotation of eleven lines, eight words (or expressions) in Italics, and no others. I looked into the printed Sermon, and there found the same eight in Italics, and no others. Had Mr. Twining read (as an indifferent person) this review of his own sermon, he would (according to his own mode of judging) have been misled eight times in eleven lines. 1 am not sure that I should not wish your Work suppressed, rather than printed with this blemish, as I call it."

On farther reflection, these remarks appeared to me to be so very just, and to bear with so much force upon works of controversy in particular, that I thought it but justice to the author whose works I criticised to remove the additional underlinings which I had inserted, and to leave those only which were the author's. In doing this, I found great difficulties present themselves, and endeavoured to form some rules

XX PREFACE.

by which I might regulate my quotations ; but this required more time and consideration than I could give the subject; and all that I have been able to do in the present instance has been to adopt such modes of calling the reader's attention to particular words and passages as the case seemed best to admit ; sometimes by repetition, and sometimes by printing particular words in Italics, when I was not using inverted commas, the professed marks of quotation or faithful copying. But, as it is more difficult to remedy a fault than to guard against it in the first instance, I feel some apprehension that 1 may not have done this effectually in all cases. I can only say, that it has been my intention in every instance to represent my author faithfully, and that I re-compared my quotations with the originals, both in the manuscript and in correcting the proofs. Had I been aware of my friend's objections to this very common practice before I began my work, it would have saved me much additional labour. It may be remarked, however, that in making quotations from Scripture, as there are no Italics there, except the small added words, (and which no one I believe ever distinguishes in quoting,) if Italics are introduced by the Quoter, they will, of course, be understood as being his.

PBEFACE. XXI

In quoting from The Literary Miscellany, I have, indeed, deviated from the rule of strict copying, in having begun each line with a capital Letter, as is usual in poetry ; it being a deviation, in the first instance, in the Editor of that work, in not introducing capitals, except at the beginning of a sentence, and in proper names, as in prose. Had that work been original, I should have thought it my duty to follow the author in this particular^ apprising the reader that it was a faithful copy.

There is another practice very common with authors in these days, which is, in my estimation, as great a fault as that of not strictly accurate quotation ; and that is the not giving references to the authors, and the places in their works whence quotations are made. It frequently prevents the reader's turning to them to see if they are faithfully given, and to consult the context to ascertain whether the passages are intended by the authors to bear the meaning attributed to them by the Quoter. The motive with the author for this omission is frequently to spare himself trouble at the time of writing, in referring to the passages ; especially when scripture is quoted from memory. But Jiow often does it happen that the reader wishes to refer to the passages, and how often

XX11 PREFACE.

does the quoting an excellent passage from some author, before unknown to the reader, make him wish to see, not only what he says upon the subject in question, but to read the whole of his works. He is precluded from both of these, if neither the passage nor even the author be mentioned. To many valuable writings have I been introduced by a single quotation ; and many disappointments have I suffered, and to much trouble have I frequently been put, for want of a reference, or from an imperfect one. But the Printer is, I believe, sometimes the person in fault. His object is to produce what he considers to be a neat, clear page to the purchaser who takes up the work in the bookseller's shop ; and lie wishes, as much as possible, to avoid all notes, references and figures. But, as soon as the reader becomes interested in a work, and wishes to refer from one part to the other, or to another author, the deficiency is distressing. Having mentioned this subject, it were injustice to Mr. Hodson, the Printer of this Volume, not to make my acknowledgements for the great readiness with which he has acceded to all my wishes in giving References, Titles, Indexes and Contents.

It will not, I trust, be deemed invidious if I

PREFACE. XX111

illustrate these positions by instances drawn from a late publication, which I have read while my thoughts were employed upon the subject ; and when, with my pencil in my hand, I noted the passages as they occurred. The Work which I mean is Mrs. Hannah More's PRACTICAL PIETY, from the very superior merits of which it is by no means my intention to detract, any farther than by saying that I consider the manner in which the quotations are made as in some measure diminishing the value and utility of a work which is calculated to produce extensive and important effects : a work which teaches the most exalted, yet sober, piety ; piety at once pure and practical, and stated in the most engaging manner, in language at once chaste, forcible and beautiful.

I shall arrange the instances under different heads ; and, though I could point out many under each, yet I shall make a few suffice. And, that the reader's attention may not be divided between the inverted commas made use of by Mrs. H. M. and others introduced hy myself to mark the passage I would quote, I shall employ brackets [ ] to point out what are the passages which I myself quote, and the inverted commas are to be considered as Mrs. M's. The first instances shall be of passages altered.

XXIV PREFACE.

Vol. i. p. 60. First Edition, is the following sentence [only those who, as our great Foet says, are " reformed altogether," are converted.] As no reference is given, I suppose that [our great Poet] means Shakspeare ; and that this is a reference to Hamlet, Act ill. S. 2. where Hamlet is giving his instructions to the Players, and, after he lias mentioned a fault which he has seen in some players, one of them says [I hope, we have reform' d that indifferently with us.] Hamlet replies [O, reform it altogether.] In this case, as the intended quotation is not accurate, the author had, perhaps, better have put in the margin See Hamlet, A. iii. S. 2.

P. 199. [We should suffer long and be kind, and so far from u seeking that which is another's," we should not even " seek our own."]

This is, no doubt, intended as a quotation from I Cor. xiii. 4, 5. [Charity suffereth long, and is kind ; charity envieth not ; charity vaunteth not itself, is not puffed up, Doth not behave itself unseemly, seeketh not her own, is not easily provoked, thinkefh no evil.] To me it appears that the best way would have been, to refer openly to the passage, and to make no use of inverted commas, unless with words exactly copied from the chapter, if any had been so.

PREFACE. XXV

V r ol. 2. p. 55. [When therefore we would not condescend " to take the lowest place, to think others better than ourselves, to be courteous and pitiful," on the true Scripture ground,] &c. Here the words [to take] &c. to [pitiful] are given as one continued quotation, and without any reference. I apprehend that they are taken from the three following passages of Scripture. [When thou art bidden of any man to a wedding, sit not down in the highest room, lest a more honourable man than thou be bidden of him; And he that bade thee and him, come and say to thee, Give this man place ; and thou begin with shame to take the lowest room. But when thou art bidden, go and sit down in the lowest room;] &c. Luke xiv. 8 — 10. [Let nothing be done through strife or vain-glory ; but in lowness of mind let each esteem other better than themselves.] Phil. ii. 3. [Love as brethren, be pitiful, be courteous :} J Peter iii. 8.

Many instances occur of evident quotations where neither inverted commas nor references are given. And though these instances may occur where the words are used, not for autho* fity-) but on account of the force or beauty of the phrase or sentiment, yet much of this is lost by its not appearing that a passage is a c

XXVI PREFACE.

quotation, apt quotation being one of the greatest ornaments of writing.

Vol. i. p. 151, is this sentence, [But we know not what spirit we are of.] This is evidently taken from our Saviour's reproof to his disciples, when they would have commanded [fire to come down from heaven] to [consume] the inhospitable Samaritans, [Ye know not what manner of spirit ye are of.] Luke ix. 55.

P. 166. [But as we cannot find out the Almighty to perfection,] &c. Here the words [find out the Almighty to perfection,] are evidently taken, though with variation, from Job xi. 7. [Can'st thou find out the Almighty unto perfection ?]

P. 172. [It is there we must worship him, if we would worship him in spirit and in truth.] This plainly comes from Joan iv. 24. [God is a spirit: and they that worship him, must worship him in spirit and in truth.]

Of evident and professed quotations, without the author's name being given, the instances are numerous. There is one at p. 1 16 of Vol. i. Vol. ii. p. 66, u an admirable French writer" is mentioned. P. 70. a saying respecting Bossuet and Fenelon is given, but not the name of the speaker, nor where it is to be met with.

The instances also of Names of Authors

PREFACE. XXVU

being given, without reference to the work or volume, are numerous. At p. 236. 266. and 274. of vol. 2. the mere names of Bishop Jeremy Taylor, Archbishop Tillotson, and Bishop Hall are thus given ; all of whose works are voluminous.