قراءة كتاب A Learned Dissertation on Dumpling (1726) [and] Pudding and Dumpling Burnt to Pot. Or a Compleat Key to the Dissertation on Dumpling (1727)
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![A Learned Dissertation on Dumpling (1726)
[and] Pudding and Dumpling Burnt to Pot. Or a Compleat Key to the Dissertation on Dumpling (1727)](https://files.ektab.com/php54/s3fs-public/styles/linked-image/public/book_cover/gutenberg/defaultCover_3.jpg?itok=MhPTjRLh "A Learned Dissertation on Dumpling (1726)
[and] Pudding and Dumpling Burnt to Pot. Or a Compleat Key to the Dissertation on Dumpling (1727)")
A Learned Dissertation on Dumpling (1726) [and] Pudding and Dumpling Burnt to Pot. Or a Compleat Key to the Dissertation on Dumpling (1727)
dates on the title page, this can be verified externally by the initial entries in Wilford’s Monthly Catalogue (1723-30) of February 1726 and April 1727 respectively. Swift’s first return visit to England (in March 1726 after twelve years) was subsequent to the publication of Dumpling; his second visit was in the same month as the publication of the Key, which assigns him ex post facto the authorship “from Page 1. to Page 25.” of Dumpling (Key, p. ix).
Sir John Pudding and his Dumpling are manipulated throughout these pamphlets to carry a multiplicity of meaning which brings them almost as close to symbolism as they are to the allegory that Carey claims to be writing (Key, pp. 18, 24 and 29). Collation of Dumpling with its Key clearly reveals (with due allowance for satiric arabesque) a series of allegories moving backwards and forwards through history. At various
stages, Sir John Pudding (ostensibly Brawn [or John Brand], the famous cook of the Rummer in Queen Street who appears in Dr. King’s Art of Cookery [1708]), becomes identifiable with King John, Sir John Falstaff, Walpole, Marlborough, and even Queen Anne (for the change in sexes see Key, p. 18). All of these enjoyed Dumpling, and their tastes are ostensibly approved while at the same time being heavily undercut with satiric indirection. Naturally enough, Walpole (although a Dumpling Eater) is treated with considerable circumspection. Carey has warned us that he is a bad chronologist (Key, p. 21), and the Sir John Pudding (be he Walpole or Marlborough [d. 1722]), who at the end of Dumpling is referred to as “the Hero of this DUMPLEID,” is for good reason spoken of in the past tense.
The fable of Dumpling, in the true spirit of lanx satura, allows Carey to attack by indirection a complete spectrum of traditional eighteenth-century targets. Like the musician and the satirist that he is, he builds up to a magnificent crescendo (pp. 19-24 of his “Dumpleid”) which results in one of the finest displays of sustained virtuosity in early eighteenth-century pamphlet writing.
The notes which follow the texts point to a number of the contemporary allusions, but the reader will surely wish to recognize some of the references and the more delicate ironies for himself. As the author puts it on page 17 of Dumpling:
O wou’d to Heav’n this little Attempt of Mine may stir up some Pudding-headed Antiquary to dig his Way through all the mouldy Records of Antiquity, and bring to Light the Noble Actions of Sir John!
What scholar could refuse?
University of Victoria
NOTES TO THE INTRODUCTION
1. “An Eighteenth-Century Original for Lamb,” RES, V (1929), 447.
2. An exception is Henry J. Dane who denies the relationship in “The Life and Works of Henry Carey,” unpublished doctoral dissertation (University of Pennsylvania, 1967), pp. xxix-xxx, and passim.
3. Poems, ed. F. T. Wood (London, 1930).
4. “Henry Carey (1687-1743) and Some Troublesome Attributions,” BNYPL, LXII (1968), 372-377.
BIBLIOGRAPHICAL NOTE
These facsimiles of A Learned Dissertation on Dumpling (1726) and Pudding and Dumpling Burnt to Pot (1727) are reproduced from copies in the Bodleian Library and the British Museum.
A
Learned Dissertation
ON
DUMPLING;
Its Dignity, Antiquity, and Excellence.
With a Word upon
PUDDING.
AND
Many other Useful Discoveries, of
great Benefit to the Publick.
Quid Farto melius?
Huic suam agnoscit corpus energiam,
Suam aciem mens: ——————
—— Hinc adoleverunt præstantissimi,
Hi Fartophagi in Reipublicæ commodum.
Mab. de Fartophagis, lib. iii. cap. 2.
LONDON.
Printed for J. Roberts in the Oxford-Arms-Passage, Warwick-lane; and Sold by the Booksellers of London and Westminster. 1726. [Price 6 d.]
TO
Mr. BRAUND.
SIR,
et Mercenary Authors flatter the Great, and subject their Principle to Interest and Ambition, I scorn such sordid Views; You only are Eminent in my Eyes: On You I look as the most Useful Member in a Body-Politic, and your Art far superior to all others: Therefore,
Tu mihi Mecænas Eris!
O Braund, my Patron! my Pleasure! my Pride! disdain not to grace my Labours with a kind Perusal. Suspend a-while your more momentous Cares, and condescend to taste this little Fricassee of Mine.
I write not this, to Bite you by the Ear, (i. e.) flatter you out of a Brace or two of Guinea’s: No; as I am a true Dumpling Eater, my Views are purely Epicurean, and my utmost Hopes center’d in partaking of some elegant Quelque Chose tost up by your judicious Hand. I regard Money but as a Ticket which admits me to your Delicate Entertainments; to me much more Agreeable than all the Monkey-Tricks of Rival Harlequins, or Puppet-Show Finery of Contending Theatres.
The Plague and fatigue of Dependance and Attendance, which call me so often to the Court-end of
the Town, were insupportable, but for the Relief I find at Austin’s, your Ingenious and Grateful Disciple, who has adorn’d New Bond-street with your Graceful Effigies. Nor can he fail of Custom who has hung out a Sign so Alluring to all true Dumpling-Eaters. Many a time and oft have I gaz’d with Pleasure on your Features, and trac
