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A Letter to A.H. Esq.; Concerning the Stage (1698) and The Occasional Paper No. IX (1698)

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Series Three: Essays on the Stage No. 1 A LETTER TO A.H. ESQ; CONCERNING THE STAGE (1698) and THE OCCASIONAL PAPER: NO. IX (1698) With an Introduction by H. T. Swedenberg, Jr. The Augustan Reprint Society September, 1946 Price: 75c Membership in the Augustan Reprint Society entitles the subscriber to six publications issued each year. The annual membership fee is $2.50. Address subscriptions and communications to The Augustan Reprint Society in care of the General Editors: Richard C. Boys, University of Michigan, Ann Arbor, Michigan; or Edward N. Hooker or H.T. Swedenberg, Jr., University of California, Los Angeles 24, California. Editorial Advisors: Louis I. Bredvold, University of Michigan, Ann Arbor,
John Henry Smith A Humorous Romance of Outdoor Life

THE CHARACTERS JOHN HENRY SMITH, who tells the story. Heir of his father, lives in Woodvale club house, devoted to golf, becomes interested in Wall Street, and falls in love with Grace Harding GRACE HARDING, only daughter of Robert L. Harding, visitor in Woodvale ROBERT L. HARDING, millionaire railway magnate, who first despises golf and then becomes infatuated with it MRS. HARDING, the matter-of-fact wife of the above JIM BISHOP, farmer near Woodvale, who knew Harding when the two were boys in Buckfield, Maine WILLIAM WALLACE, Bishop's hired man, later golf professional in Woodvale, and later something else OLIVE LAWRENCE, pupil to William Wallace
Michigan, and James L. Clifford, Columbia University, New York. INTRODUCTION In the spring of 1698 the rumblings against the excesses of the English stage broke into a roar with the publication of Jeremy Collier's _Short View of the Immorality and Profaneness of the English Stage_. A wild joyousness marked Collier's attack, and at times it seemed as though the zeal of the Lord had eaten him up. But he was no enthusiast without plan or reason. A man of some learning, he used it for all it was worth to confound the playwrights and the critics. Collier was careful to make good use of accepted and honored critical principles. He contended that the purpose of the stage is to instruct; he argued for poetic justice; he discussed the unities; he spoke of propriety of manners and language; and he warned of the danger of fancy's overriding judgment--"the Fancy may be gain'd, and the Guards