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Notes
Irvin Ehrenpreis, Swift the Man, his Works, and the Age, 3 vols., London, 1962-83, II, 622. For Swift's own account of the journey and stay in Dublin, see Journal to Stella, ed. Harold Williams, 2 vols. (1948), II, 670-671, and The Correspondence of Jonathan Swift, ed. Harold Williams, 5 vols. (1963-65), I, 360-361, 364-367, 372-374.
Correspondence, I, 360 (correctly ascribed to Mrs. Vanhomrigh in the second impression of Vols. I-II [1965]).
The Account Books of Jonathan Swift, transcribed and with an Introduction by Paul V. Thompson and Dorothy Joy Thompson (1984), p. 154.
David Nichol Smith, The Letters of Jonathan Swift to Charles Ford (1935), p. 11. Information on Charles Ford also from this source.
Reproduced here by permission of the Librarian, Monash University, Victoria, Australia. The letter was purchased at Sotheby's sale of 14 December 1989. It is inscribed on a single quarto leaf, with address on verso, Chester postmarks '-XS|TER' within a circle and 'IV|—|12' within a circle, a scribbled-over numeral 8, and a wax seal. The same seal is reproduced in Journal to Stella, ed. F. Rylands (1908), The Prose Works of Jonathan Swift, 12 vols., ed. Temple Scott (1897), II, facing page xxii. I have gratefully adopted some suggestions from David Woolley. His 'Note to the Corrected Impression' of Correspondence, IV (1972), xix, points out that Swift 'did not care overmuch whether he wrote a comma or a full stop, the sense not being in doubt'. Thus, after 'Part' Swift has written a full point, where a comma is retrospectively intended, and after 'Journy' in the last paragraph the reverse situation applies (comma written, full point intended).
For new light on this episode, see John Irwin Fischer, 'The Legal Response to Swift's The Public Spirit of the Whigs', in Swift and his Contexts, eds. J. I. Fischer, H. J. Real, J. Woolley (1989), pp. 21-38.
A Catalogue of Books, The Library of the late Rev. Dr. Swift [1745], ed. Harold Williams (1932), item 452. Swift annotated his 1672 octavo of The Rehearsal Transpros'd (the first edition): item 302. In his biography of Swift, Ehrenpreis alludes to Marvellian 'Advice' parallels in Swift's 'To Mrs Biddy Floyd' (1708), noting Tatler No. 3 as a cognate discussion, and in 'Directions for a Birthday Song' (1729): Swift, II, 308 and III, 641. In Swift's Landscape (1982), Carole Fabricant suggests 'echoes' of 'Upon Appleton House' in Swift's 'Vanbrug's House' and 'An Epistle upon an Epistle' (pp. 117, 119, 151). None is as likely as The Legion Club: cf. Swift's lines quoted above with Marvell's ll. 863-865: 'Dear Painter, draw this Speaker to the foot: / Where Pencil cannot, there my Pen shall do't; / That may his Body, this his Mind explain.' For Marvell, Denham, and the 'Advice' tradition, see H. M. Margoliouth, et al., The Poems and Letters of Andrew Marvell, 2 vols., 3rd edition (1971), I, 347-350; Brendan O'Hehir, Harmony from Discords: A Life of Sir John Denham (1968), pp. 210-229; and Mary Tom Osborne, Advice-to-a-Painter Poems 1633-1856. An Annotated Finding List (1949). Swift quotes Marvell's lines from memory. The poem first appeared in The Third Part of the Collection of Poems on Affairs of State (1689), and thereafter in such collections as Poems on Affairs of State: from the Time of Oliver Cromwell, to the Abdication of K. James the Second (1697: Wing P2719, Case 188 [3]), where the (correct) lines are: 'Blither than Hare that hath escap'd the Hounds, / The House prorogu'd, the Chancellour rebounds.' Swift identified Marvell as (in Burnet's words) 'the liveliest droll of the age' in his copy of the latter's History of his own Times (1742-43), p. 260: see Prose works of Jonathan Swift, ed. Herbert Davis and others, 16 vols. (1939-74) V, 273.
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