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Table of contents

But, thanks to the diligence of the late John Forster, to whom every lover of Swift must confess the very greatest obligation, I have been able to do much more. I have been able to enrich this edition with some pieces not hitherto brought to light—notably, the original version of "Baucis and Philemon," in addition to the version hitherto printed; the original version of the poem on "Vanbrugh's House"; the verses entitled "May Fair"; and numerous variations and corrections of the texts of nearly all the principal poems, due to Forster's collation of them with the transcripts made by Stella, which were found by him at Narford formerly the seat of Swift's friend, Sir Andrew Fountaine—see Forster's "Life of Swift," of which, unfortunately, he lived to publish only the first volume.

From Swift's own copy of the "Miscellanies in Prose and Verse," , with notes in his own handwriting, sold at auction last year, I was able to make several corrections of the poems contained in those four volumes, which serve to show how Swift laboured his works, and revised and improved them whenever he had an opportunity of doing so.

It is a mistake to suppose that he was indifferent to literary fame: on the contrary, he kept some of his works in manuscript for years in order to perfect them for publication, of which "The Tale of a Tub," "Gulliver's Travels," and the "Verses on his own Death" are examples. I am indebted to Miss Wilmot-Chetwode, of Wordbrooke, for the loan of a manuscript volume, from which I obtained some various readings. By the advice of Mr. Elrington Ball, I applied to the librarians of Trinity College and of the National Library, and from the latter I received a number of pieces; but I found that the harvest had already been reaped so fully, that there was nothing left to glean which could with certainty be ascribed to Swift.

On the whole, I believe that this edition of the Poems will be found as complete as it is now possible to make it. In the arrangement of the poems, I have adopted nearly the same order as in the Aldine edition, for the pieces seem to fall naturally into those divisions; but with this difference, that I have placed the pieces in their chronological order in each division.

THE POEMS OF JONATHAN SWIFT, D.D., VOLUME I

With regard to the notes in illustration of the text, many of them in the Dublin editions were evidently written by Swift, especially the notes to the "Verses on his own Death. For my own notes, I can only say that I have sought to make them concise, appropriate to the text, and, above all, accurate. Swift and the educated men of his time thought in the classics, and his poems, as well as those of his friends, abound with allusions to the Greek and Roman authors, especially to the latter.

I have given all the references, and except in the imitations and paraphrases of so familiar a writer as Horace, I have appended the Latin text. Moreover, Swift was, like Sterne, very fond of curious and recondite reading, in which it is not always easy to track him without some research; but I believe that I have not failed to illustrate any matter that required elucidation.

Johnson, in his "Life of Swift," after citing with approval Delany's character of him, as he describes him to Lord Orrery, proceeds to say: "In the poetical works there is not much upon which the critic can exercise his powers. They are often humorous, almost always light, and have the qualities which recommend such compositions, easiness and gaiety. They are, for the most part, what their author intended. The diction is correct, the numbers are smooth, and the rhymes exact. There seldom occurs a hard laboured expression or a redundant epithet; all his verses exemplify his own definition of a good style—they consist of 'proper words in proper places.

Of his earliest poems it is needless to say more than that if nothing better had been written by him than those Pindaric Pieces, after the manner of Cowley—then so much in vogue—the remark of Dryden, "Cousin Swift, you will never be a Poet," would have been fully justified. But conventional praise and compliments were foreign to his nature, for his strongest characteristic was his intense sincerity. He says of himself that about that time he had writ and burnt and writ again upon all manner of subjects more than perhaps any man in England; and it is certainly remarkable that in so doing his true genius was not sooner developed, for it was not till he became chaplain in Lord Berkeley's household that his satirical humour was first displayed—at least in verse—in "Mrs.

Frances Harris' Petition. Swift"; the "Rhapsody on Poetry"; "Cadenus and Vanessa"; "The Legion Club"; and most of the poems addressed to Stella, all of which pieces exhibit harmony, invention, and imagination.

Lion dance

Swift has been unduly censured for the coarseness of his language upon Certain topics; but very little of this appears in his earlier poems, and what there is, was in accordance with the taste of the period, which never hesitated to call a spade a spade, due in part to the reaction from the Puritanism of the preceding age, and in part to the outspeaking frankness which disdained hypocrisy.

It is shown in Dryden, Pope, Prior, of the last of whom Johnson said that no lady objected to have his poems in her library; still more in the dramatists of that time, whom Charles Lamb has so humorously defended, and in the plays of Mrs. Aphra Behn, who, as Pope says, "fairly puts all characters to bed. No one, after reading the "Beautiful young Nymph going to bed," or "Strephon and Chloe," would desire any personal acquaintance with the ladies, but there is a moral in these pieces, and the latter poem concludes with excellent matrimonial advice.

The coarseness of some of his later writings must be ascribed to his misanthropical hatred of the "animal called man," as expressed in his famous letter to Pope of September , aggravated as it was by his exile from the friends he loved to a land he hated, and by the reception he met with there, about which he speaks very freely in his notes to the "Verses on his own Death. On the morning of Swift's installation as Dean, the following scurrilous lines by Smedley, Dean of Clogher, were affixed to the doors of St.


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Patrick's Cathedral:. It was by these lines that Smedley earned for himself a niche in "The Dunciad. This bitterness of spirit reached its height in "Gulliver's Travels," surely the severest of all satires upon humanity, and writ, as he tells us, not to divert, but to vex the world; and ultimately, in the fierce attack upon the Irish Parliament in the poem entitled "The Legion Club," dictated by his hatred of tyranny and oppression, and his consequent passion for exhibiting human nature in its most degraded aspect.

But, notwithstanding his misanthropical feelings towards mankind in general, and his "scorn of fools by fools mistook for pride," there never existed a warmer or sincerer friend to those whom he loved—witness the regard in which he was held by Oxford, Bolingbroke, Pope, Gay, Arbuthnot, and Congreve, and his readiness to assist those who needed his help, without thought of party or politics. Although, in some of his poems, Swift rather severely exposed the follies and frailties of the fair sex, as in "The Furniture of a Woman's Mind," and "The Journal of a Modern Lady," he loved the companionship of beautiful and accomplished women, amongst whom he could count some of his dearest and truest friends; but.

It uses kung fu moves and postures to help with its movements and stances, and only the most advanced students are allowed to perform.

The Poems of Jonathan Swift, Volume I

Traditionally, the Fo Shan lion has bristles instead of fur, and is heavier than the modern ones now popularly used. All traditional Fo Shan lions have pop-up teeth, tongue, and eyes that swivel left and right. On the back are gold-foiled rims and a gilded collar where the troupe's name may be sewn on. It has a very long tail with a white underside, and is often attached with bells. The designs of the tail are also more square and contain a diamond pattern going down the back. It has a high forehead, curved lips and a sharp horn on its head. The newer styles of Fo Shan lions replace all the bristles with fur and the tails are shorter.

The eyes are fixed in place, and the tongue and teeth do not pop up. The tail is more curvy in design, does not have a diamond pattern, and lacks bells. The He Shan style lion is known for its richness of expression, unique footwork, impressive-looking appearance and vigorous drumming style. Feng was born in a village in He Shan county in Guangdong where he was instructed in martial arts and lion dance by his father.

Later, he also studied martial arts and lion dance in Foshan before returning to his hometown and setting up his own training hall. He developed his version of lion dance, introducing new techniques by studying and mimicking the movement of cats, such as "catching mouse, playing, catching birds, high escape, lying low and rolling". He and his disciples also made changes to the lion head; its forehead is lower, its horn rounded and it has a duck beak mouth with flat lips, the body also has more eye-catching colours.

In the early s, the He Shan lion dance was performed when Sun Yat-Sen assumed office in Guangzhou, creating a stir. The He Shan lion performers were invited to perform in many places within China and Southeast Asia during celebratory festivals. The Singapore Hok San Association made further changes by modifying the design of the lion head, shortening its body, and creating a new drumbeat for the dance. Different colors are used to signify the age and character of the lions.

The lion with white fur is considered to be the oldest of the lions, while the lion with golden yellow fur is the middle child. The black lion is considered the youngest lion, and the movement of this lion should be fast like a young child or a headstrong teenager. The colors may also represent the character of the lion: the golden lion represents liveliness, the red lion courage, and the green lion friendship. There are also three lion types that represent three historical characters in the classic Romance of the Three Kingdoms who were blood oath brothers sworn to restore the Han dynasty : [39] [40].

Later three more Lions were added to the group. The green lion has a green tail with black trim and a white underside, as well as a white beard and fur and an iron horn. Often called the fourth brother, this lion is also called the Heroic Lion because Zhao was said to ride through Cao Cao's million man army to rescue Liu Bei's infant and fight his way back out.


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The Huang Joon has a full yellow tail with white trim. This lion is called the Righteous Lion. The white lion is known as Ma Chao Cantonese: Ma Chiu , he was assigned this color because he always wore a white arm band in his battle against the Emperor of Wei, Cao Cao, to signify that he was in mourning for his father and brother who had been murdered by Cao Cao. This lion is therefore also known as the funeral lion, and is never used except for the funeral of a Master or an important head of a group. In such cases the lion is usually burned right after use as it is considered inauspicious to be kept around.

This lion is sometimes confused with the silver lion which sometimes has a whitish colouring. These three along with Guan Yu and Zhang Fei were known as the "Five Tiger Generals of Shun," each representing one of the colors of the five elements. It is similar to the Chinese southern lion dance, except that the lion is mainly green in color and has a distinct round flat mask. It is believed to have originated in the anti- Manchu movements after the fall of the Ming dynasty in During training sessions for fighters, the Green lion was fitted with blades symbolizing the Manchurian army and would become a moving target for trainees.

From that point onwards, the Green Lion is used without the blades and performed for cultural and ritual purposes. Most lions in Vietnam resemble the Southern Lion — they are part of the Chinese Southern Lion tradition but have acquired local characteristics. There are however also distinct local forms that differ significantly in appearance and performance, for example the lion dances of the Tay and Nung minority people. The dance is typically accompanied by martial artists and acrobatics. The good-hearted spirit, according to popular beliefs, has the power to summon the auspicious unicorn, and thus during the dance, takes the lead in clearing the path for the unicorn.

This is because teams used to fight each other and resulted in the horn being kicked off constantly. To solve this problem, many Vietnamese teams have requested no horns to make it harder for the opponent to damage the lion.

Edited By William Ernst Browning

It is thought to have been imported from China during the Tang Dynasty, and became associated with celebration of Buddha's Birthday. It is also performed at other festivals and celebrations. In some of these performances, the lions may bite people on the head to bring good luck. The lion dance has been completely absorbed into Japanese tradition. There are many different lion dances in Japan and the style of dancing and design of the lion may differ by region — it is believed that as many as 9, variations of the dance exist in the country.