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 publishing what the authors would have suppresed. Dublin was to London what New York is now, and successful books were at once reproduced in Ireland. Thus the lower strata of the literary class frequently practised with impunity all manner of more or less discreditable trickery, and Pope, with his morbid propensity for mystification, was only too apt a pupil in such arts. Though the tone of his public utterances was always of the loftiest, he was like a civilized commander who, in carrying on a war with savages, finds it convenient to adopt the practices which he professes to disapprove.

The whole publication of the Dunciad was surrounded with tricks, intended partly to evade possible consequences, and partly to excite public interest or to cause amusement at the expense of the bewildered victims. Part of the plot was concerted with Swift, who, however, does not appear to have been quite in the secret. The complete poem was intended to appear with an elaborate mock commentary by Scriblerus, explaining some of the allusions, and with "proeme, prolegomena, testimonia scriptorum, index auctorum, and notæ variorum." In the first instance, however, it appeared in a mangled form without this burlesque apparatus or the lines to Swift. Four editions were issued in this form in 1728, and with a mock notice from the publisher, expressing a hope that the author would be provoked to give a more perfect edition. This, accordingly, appeared in 1729. Pope seems to have been partly led to this device by a principle which he avowed to Warburton. When he had anything specially sharp to say he kept it for a second edition, where it would, he thought, pass with less offence. But he may also have been under the impression that all the mystery of apparently spurious editions would excite public curi-