THE

GENUINE REMAINS

OF

SAMUEL BUTLER.

PREFACE.

It would be very unjust to the memory of a writer so much and so justly esteemed as Butler, to suppose it necessary to make any formal apology for the publication of these Remains. Whatever is the genuine performance of a genius of his class cannot fail of recommending itself to every reader of taste; and all that can be required from the publisher is, to satisfy the world that it is not imposed upon by false and spurious pretensions.

This has already been attempted in the printed proposals for the subscription; but as the perishing form of a loose paper seems too frail a monument to preserve a testimony of so much importance, it cannot, I hope, be judged impertinent to repeat the substance of what I observed upon that occasion-That the manuscripts, from which this work is printed, are Butler's own handwriting, as evidently appears from some original letters of his found amongst them-That, upon his death, they fell into the hands of his good friend Mr. W. Longueville, of the Temple; who, as the writer of Butler's life informs us, was at the charge of burying him-That, upon Mr. Longueville's decease, they became the property of his son, the late Charles Longueville, esq, who bequeathed them, at his death, to John Clarke, esq. and that this gentleman has been prevailed upon to part with them, and favoured me with an authority to insert the following certificate of their authenticity.

"I do hereby certify, that the papers now proposed to be published by Mr. Thyer are the original manuscripts of Mr. Samuel Butler, author of Hudibras, and were bequeathed to me by the late Charles Longueville, esq.

Walgherton, Cheshire, Nov. 20, 1754.

JOHN CLARKE."

Although, from evidence of such a nature, there cannot remain the least doubt about the genuineness of this work, and it be very certain, that every thing in it is the performance of Butler, yet it must be owned, at the same time, that there is not the same degree of perfection and exactness in all the compositions here printed. Some are finished with the utmost accuracy, and were fairly transcribed for the press, as far as can be judged from outward appearance; others, though finished, and wrote with the same spirit and peculiar vein of humour, which distinguishes him from all other writers, seem as if, upon a second review, he would have retouched and amended in some little particulars; and some few are left unfinished, or at least parts of them are lost or perished. This acknowledgment I think due to the poet's character and memory, and necessary to bespeak that candid allowance from the reader, which the posthumous works of every writer have a just claim to.

It is, I know, a common observation, that it is doing injustice to a departed genius to publish fragments, or such pieces as he had not given the last hand to.-Without controverting the justness of this remark in general, one may, I think, venture to affirm, that it is not to be extended to every particular case, and that a writer of so extraordinary and uncommon a turn as the author of Hudibras is not to be included under it. It would be a piece of foolish fondness to purchase at a great expense, or preserve with a particular care, the unfinished works of every tolerable painter; and yet it is esteemed a mark of fine taste to procure, at almost any price, the rough sketches and half-formed designs of a Raphael, a Rembrandt, or any celebrated master. If the elegant remains of a Greek or Roman statuary, though maimed and defective, are thought worthy of a place in the cabinets of the polite admirers of antiquity, and the learned world thinks itself obliged to laborious critics for handing down to us the half intelligible scraps of an ancient classic, no reason