[[8]] J. F. D'Alton, Roman Literary Theory and Criticism: A Study in Tendencies (London, New York, and Toronto, 1931), pp. 356, 414 and n.; George Converse Fiske, Lucilius and Horace: A Study in the Classical Theory of Imitation, University of Wisconsin Studies in Language and Literature, No. 7 (Madison, 1920), p. 443.
[[9]] Bernard Weinberg, A History of Literary Criticism in the Italian Renaissance (Chicago, 1961), II, 745. For similar appraisals of satire, see also I, 148-149; II, 759, 807; and Puttenham, pp. 26-28.
[[10]] E.g., John Dennis, "The Grounds of Criticism in Poetry" (1704), in The Critical Works, ed. Edward Niles Hooker (Baltimore, 1939-1943), I, 338; Joseph Trapp, Lectures on Poetry Read in the Schools of Natural Philsophy at Oxford (London, 1742), p. 153.
[[11]] Essays upon Several Subjects (London, 1716-1717), I, 76.
[[12]] Paul F. Leedy, "Genres Criticism and the Significance of Warton's Essay on Pope," JEGP, XLV (1946), 141.
[[13]] Durgen. Or, A Plain Satyr upon a Pompous Satyrist (London, 1729), p. 48.
[[14]] "The Battel of the Poets," in Tales, Epistles, Odes, Fables, etc. (London, 1729), p. 138n. Though the poem was first published in 1725, it was revised to attack The Dunciad; Cooke claims ("The Preface," p. 107) that not more than eighty lines in the two versions are the same.
[[15]] Durgen, pp. , 19, 40-41.
[[16]] An Epistle to Mr. Pope, from a Young Gentleman at Rome (London, 1730), pp. 6-7.
[[17]] The Progress of Wit (London, 1730), p. 31. Two months after Harte's Essay appeared Hill's Advice to the Poets, which complements the earlier allegory by urging Pope to shun "vulgar Genii" and emulate "Thy own Ulysses" (pp. 18-19).