Ev’n Cibber, terror to the scribbling crew,
Would oft solicit me for something new
(Poems, ed. Wood, p. 104).
What is particularly impressive is that Carey not only refers to the three managers of Drury Lane but mentions them in the same order and as bearing the same relationship to himself. Several highly topical theatrical allusions in the pamphlets, by which the works can be dated, accord closely to the life, views, and writings of Carey. All three managers of Drury Lane were subscribers to Carey’s Poems on Several Occasions (1729), which
was dedicated to the Countess of Burlington, who (like the Earl of Chesterfield) was closely related to Carey’s putative family. In the Poems these people and many others (including Pope) would have seen Namby Pamby under Carey’s name and drawn the obvious conclusion that Namby Pamby, Dumpling and the Key were by the same author.
We have already seen how closely Dumpling and Stage Tyrants can be tied together; the reader can compare for himself that part of Namby Pamby containing “So the Nurses get by Heart / Namby Pamby’s Little Rhymes,” with the passage from the Key: “It was here the D[ean] . . . got together all his Namby Pamby . . . from the old Nurses thereabouts” (Key, pp. 16-17).
There exists in the Bodleian an early copy of Namby Pamby (1725?) “By Capt. Gordon, Author of the Apology for Parson Alberony and the Humorist.” The joke here is surely in not only letting the Whig Gordon attack the Whig Ambrose Phillips but then, also by association, connecting Gordon’s name with the attack on Walpole and Marlborough. There is a parallel to this: Carey’s “Lilliputian Ode on Their Majesties Succession” appeared in Poems (1729), separated from the pieces previously mentioned by only one short patriotic stanza. Yet in the Huntington Library there is an almost identical version (1727) which was ostensibly published by Swift.
The first six editions of Dumpling appeared in 1726 and both editions of the Key are dated 1727. Apart from the 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.