No. 61. 1711. as them. It was one of the Employments of these SecondThursday, ary Authors, to distinguish the several kinds of Wit by May 10, Terms of Art, and to consider them as more or less perfect, according as they were founded in Truth. It is no wonder therefore, that even such Authors as Isocrates, Plato, and Cicero, should have such little Blemishes as are not to be met with in Authors of a much inferior Character, who have written since those several Blem, ishes were discovered. I do not find that there was a proper Separation made between Punns and true Wit by any of the ancient Authors, except Quintilian and Longinus. But when this Distinction was once settled, it was very natural for all Men of Sense to agree in it As for the Revival of this false Wit, it happened about the time of the Revival of Letters; but as soon as it was once detected, it immediately vanished and disappeared. At the same time there is no question, but as it has sunk in one Age and rose in another, it will again recover it self in some distant Period of Time, Pedantry and Ignorance shall prevail upon Wit and Sense. And, to speak the Truth, I do very much appre hend, by some of the last Winter's Productions, which had their Sets of Admirers, that our Posterity will in a few Years degenerate into a Race of Punnsters: At least, a Man may be very excusable for any Apprehen sions of this kind, that has seen Acrosticks handed about the Town with great Secrecie and Applause; to which I must also add a little Epigram called the Witches Prayer, that fell into Verse when it was read either backward or forward, excepting only that it Cursed one way and Blessed the other. When one sees there are actually such Pains-takers among our British Wits, who can tell what it may end in? If we must Lash one another, let it be with the manly Strokes of Wit and Satyr; for I am of the old Philosopher's Opinion, That if I must suffer from one or the other, I would rather it should be from the Paw of a Lion, than the Hoof of an Ass. I do not speak this out of any Spirit of Party, There is a most crying Dulness on both Sides, I have seen Tory Acrosticks and Whig Anagrams, and do not quarrel with either of them, because they are Whigs or or Tories, but because they are Anagrams and No. 61. Acrosticks. But to return to Punning. Having pursued the History of a Punn, from its Original to its Downfal, I shall here define it to be a Conceit arising from the use of two Words that agree in the Sound, but differ in the Sense. The only way therefore to try a Piece of Wit, is to translate it into a different Language: If it bears the Test you may pronounce it true; but if it vanishes in the Experiment you may conclude it to have been a Punn, In short, one may say of a Punn as the Country-man described his Nightingale, that it is vox & praeterea nihil, a Sound, and nothing but a Sound. On the contrary, one may represent true Wit by the Description which Aristinetus makes of a fine Woman, When she is dressed she is Beautiful, when she is undressed she is Beautiful: Or, as Mercerus has translated it more Emphatically, Induítur, formosa est: Exuitur, ipsa forma est. No. 62, Friday, May 11. MR C R. Lock has an admirable Reflection upon the Difference of Wit and Judgment, whereby he endeavours to shew the Reason why they are not always the Talents of the same Person, His Words are as follow: And hence, perhaps, may be given some Reason of that common Observation, That Men who have a great deal of Wit and prompt Memories, have not always the clearest Judgment, or deepest Reason. For Wit lying most in the Assemblage of Ideas, and putting those together with Quickness and Variety, wherein can be found any Resemblance or Congruity, thereby to make up pleasant Pictures and agreeable Visions in the Fancy; Judgment, on the contrary, lies quite on the other Side, In separating carefully one from another, Ideas wherein can be found the least Difference, thereby to avoid being mis-led by Similitude, and by Affinity to take one thing for another. This is Thursday, 1711. a No. 62. Friday, May 11, 1711. a Way of proceeding quite contrary to Metaphor and Allusion; wherein, for the most Part, lies that Enter, tainment and Pleasantry of Wit which strikes so lively on the Fancy, and is therefore so acceptable to all People This is, I think, the best and most philosophical Account that I have ever met with of Wit, which gener ally, though not always, consists in such a Resemblance and Congruity of Ideas as this Author mentions, I shall only add to it, by way of Explanation, That every Re semblance of Ideas is not that which we call Wit, unless it be such an one that gives Delight and Surprize to the Reader: These two Properties seem essential to Wit, more particularly the last of them. In order therefore that the Resemblance in the Ideas be Wit, it is necessary that the Ideas should not lie too near one another in the Nature of things; for where the Likeness is obvious, it gives no Surprize. To compare one Man's Singing to that of another, or to represent the Whiteness of any Object by that of Milk and Snow, or the Variety of its Colours by those of the Rainbow, cannot be called Wit, unless, besides this obvious Resemblance, there be some further Con gruity discovered in the two Ideas that is capable of giving the Reader some Surprize. Thus when a Poet tells us, the Bosom of his Mistress is as white as Snow, there is no Wit in the Comparison; but when he adds, with a Sigh, that it is as cold too, it then grows into Wit. Every Reader's Memory may supply him with innumerable Instances of the same Nature. For this Reason, the Si militudes in Heroick Poets, who endeavour rather to fill the Mind with great Conceptions, than to divert it with such as are new and surprizing, have seldom any thing in them that can be called Wit. Mr. Lock's Account of Wit, with this short Explanation, comprehends most of the Species of Wit, as Metaphors, Similitudes, Allegories, Enigmas, Mottos, Parables, Fables, Dreams, Visions, dramatick Writings, Burlesque, and all the Methods of Allusion: As there are many other Pieces of Wit (how remote soever they may appear at first Sight from the foregoing Description) which upon Examination will be found to agree with it. As true Wit generally consists in this Resemblance and 1711. Congruity of Ideas, false Wit chiefly consists in the Re No. semblance and Congruity sometimes of single Letters, as Friday, in Anagrams, Chronograms, Lipograms, and Acrosticks: May 11, Sometimes of Syllables, as in Ecchos and Doggerel Rhymes: Sometimes of Words, as in Punns and Quibbles; and sometimes of whole Sentences or Poems, cast into the Figures of Eggs, Axes or Altars: Nay, some carry the Notion of Wit so far, as to ascribe it even to external Mimickry; and to look upon a Man as an ingenious Person, that can resemble the Tone, Posture, or Face of another. As true Wit consists in the Resemblance of Ideas, and false Wit in the Resemblance of Words, according to the foregoing Instances; there is another kind of Wit which consists partly in the Resemblance of Ideas, and partly in the Resemblance of Words; which for Distinction Sake I shall call mixt Wit. This Kind of Wit is that which abounds in Cowley, more than in any Author that ever wrote, Mr. Waller has likewise a great deal of it. Mr. Dryden is very sparing in it. Milton had a Genius much above it. Spencer is in the same class with Milton. The Italians, even in their Epic Poetry, are full of it. Monsieur Boileau, who formed himself upon the Ancient Poets, has every where rejected it with Scorn. If we look after mixt Wit among the Greek Writers, we shall find it no where but in the Epigrammatists. There are indeed some Strokes of it in the little Poem ascribed to Musaeus, which by that, as well as many other Marks, betrays it self to be a modern Composition. If we look into the Latin Writers, we find none of this mixt Wit in Virgil, Lucretius, or Catullus; very little in Horace, but a great deal of it in Ovid, and scarce any thing else in Martial. Out of the innumerable Branches of mixt Wit, I shall chuse one Instance which may be met with in all the Writers of this Class. The Passion of Love in its Nature has been thought to resemble Fire; for which Reason the Words Fire and Flame are made use of to signifie Love. The witty Poets therefore have taken an Advantage from the doubtful Meaning of the Word Fire, to make an infinite Number of Witticisms. Cowley observing the cold Re gard of his Mistress's Eyes, and at the same Time_their Power of producing Love in him, considers them as Burn way, May 11, 1711. ing-Glasses made of Ice; and finding himself able to live in the greatest Extremities of Love, concludes the Torrid Zone to be habitable. When his Mistress has read his Letter written in Juice of Lemmon by holding it to the Fire, he desires her to read it over a second time by Love's Flames. When she weeps, he wishes it were inward Heat that distilled those Drops from the Limbeck. When she is absent he is beyond eighty, that is, thirty Degrees nearer the Pole than when she is with him. His ambi tious Love is a Fire that naturally mounts upwards; his happy Love is the Beams of Heaven, and his unhappy Love Flames of Hell. When it does not let him sleep, it is a Flame that sends up no Smoak; when it is opposed by Counsel and Advice, it is a Fire that rages the more by the Wind's blowing upon it. Upon the dying of a Tree in which he had cut his Loves, he observes that his written Flames had burnt up and withered the Tree. When he resolves to give over his Passion, he tells us that one burnt like him for ever dreads the Fire, His Heart is an Etna, that instead of Vulcan's Shop encloses Cupid's Forge in it. His endeavouring to drown his Love in Wine, is throwing Oil upon the Fire. He would insinuate to his Mistress, that the Fire of Love, like that of the Sun (which produces so many living Creatures) should not only warm but beget. Love in another Place cooks Pleasure at his Fire. Sometimes the Poet's Heart is frozen in every Breast, and sometimes scorched in every Eye. Sometimes he is drowned in Tears, and burnt in Love, like a Ship set on Fire in the Middle of the Sea, The Reader may observe in every one of these In stances, that the Poet mixes the Qualities of Fire with those of Love; and in the same Sentence speaking of it both as a Passion, and as real Fire, surprizes the Reader with those seeming Resemblances or Contradictions that make up all the Wit in this kind of Writing, Mixt Wit therefore is a Composition of Punn and true Wit, and is more or less perfect as the Resemblance lies in the Ideas or in the Words: Its Foundations are laid partly in Falsehood and partly in Truth: Reason puts in her Claim for one Half of it, and Extravagance for the other. The only |