her husband's house, went on board a ship in the road, and is now landed in inconsolable despair at Plymouth.

POSTSCRIPT.

After the above melancholy narration, it may perhaps be a relief to the reader to peruse the following expostulation.

TO MR. SPECTATOR.

The just Remonstance of affronted THAT. • THOUGH I deny not the petition of Mr. Who, and Which, yet you should not suffer them to be • rude and to call honest people names: for that bears very hard on some of those rules of decency, which 'you are justly famous for establishing. They may 'find fault, and correct speeches in the senate and at the bar but let them try to get themselves so often, and with so much eloquence repeated in a sen'tence, as a great orator doth frequently introduce me.

"My Lords!" says he, "with humble submission, "That that I say is this: that, That, that that gentle66 man has advanced, is not That that he should have "proved to your Lordships." Let those two questionary petitioners try to do thus with their Who's and their Whiches.

What great advantages was I of to Mr. Dryden in his Indian Emperor.

"You force me still to answer you in That.

to furnish out a rhyme to Morat? And what a poor 'figure would Mr. Bayes have made without his Egad and all That? How can a judicious man distinguish one thing from another, without saying, This here, or That there? And how can a sober man

without using the expletives of oaths, in which indeed the rakes and bullies have a great advantage over others, make a discourse of any tolerable length, without That is; and if he be a very grave man indeed, without That is to say? And how instructive ( as well as entertaining are those usual expressions, in the mouths of great men, Such Things at That, and the like of That.

6

I am not against reforming the corruptions of speech you mention, and own there are proper sea'sons for the introduction of other words besides That; 'but I scorn as much to supply the place of a Who or " a Which at every turn, as they are unequal always to 'fill mine; and I expect good language and civil treatment, and hope to receive it for the future: That, that I shall only add is, that I am,

Yours,

'THAT.'

VOL. I.

Ll

ΤΟ

VOLUME THE FIRST.

ABIGAILS (male) in fashion among Ladies, No. 55.
Absence in conversation, a remarkable instance of it in Will
Honeycomb, No. 77. The occasion of this absence, ibid.
and means to conquer it, ibid. The character of an absent
man, out of Bruyere, ibid.

Acrostic, a piece of false wit divided into simple and com-
pound, No. 60.

Act of deformity for the use of the Ugly Club, No. 17.
Advertisements: of an Italian chirurgeon, No. 22. From St.
James's coffee-house, 24. From a teacher of birds to speak,
36. From a fine flesh painter, 41.

Advice: no order too considerable to be advised, No. 34.
Affectation a greater enemy to a fine face than the small-pox,
No. 33. it deforms beauty and turns wit into absurdity, 38.
Its original, ib. found in the wise man as well as the cox-
comb, ib. The way to get clear of it, ib.

Age rendered ridiculous, No 6. how contemned by the Athe-
nians, and respected by the Spartans, ibid.

Alexander the Great wry-necked, No. 32.

Ambition never satisfied, No. 27.

Americans, their opinion of souls, No. 56. Exemplified in a
vision of one of their countrymen, ib.

Ample (Lady) her uneasiness, and the reason of it, No. 32.
Anagram, what, and when first produced, No. 60.
Andromache, a great fox-hunter, No. 57.

April (the first of) the merriest day in the year, No. 47.
Aretine made all the Princes of Europe his tributaries, No. 23.
Arietta, her character, No. 11. Her fable of the Lion and the
Man, in answer to the story of the Ephesian Matron, ibid.
Her story of Inkle and Yarico, ibid.

Aristotle: his observation upon the Iambic verse, No. 31.
Upon tragedies, 40, 42.

Arsinoe, the first musical opera on the English stage, No. 18.
Avarice, the original of it, No. 55. Operates with Luxury, ib.
At war with Luxury, ib. Its officers and adherents, ib.
Comes to an agreement with Luxury, ib.

Audiencies at present void of common sense, No. 13.
Aurelia, her character, No. 15.

Author: the necessity of his readers being acquainted with
his size, complexion, and temper, in order to read his works
with pleasure, No 1. His opinion of his own perfomances,
4. The expedient made use of by those that write for the
stage, 51.

B.

BACON (Sir Francis) his comparison of a book well writ-
ten, No. 10. His observation upon envy, 19.

Bags of money: a sudden transformation of them into sticks
and paper, No. 3.

Baptist Lully, his prudent management, No. 29.

Bawdry never written but where there is a dearth of inven-
tion, No. 51.

Beaver, the haberdasher, a great politician, No. 49.

Beauties, when plagiaries, No. 4.

improve beauty, 33.

heightened by virtue, ibid.

The true secret how to

Then the most charming when

Bell (Mr.) his ingenious device, No. 28.

Bell-Savage, its etymology, ibid.

Birds, a cage-full for the Opera, No. 5.

Biters, their business, No. 47.

Blackmore (Sir Richard) his observation, No. 6.

Blanks of society, who, No. 10.

Blank verse proper for tragedy, No. 39.

Bohours (M.) a great critic among the French, No. 62.
Boutz-Rimez, what, No. 60.

Breeding: fine breeding distinguished from good, No. 66.
British Ladies distinguished from the Picts, No. 41.
Brunetta and Phillis, their adventures, No. 80.
Bruyerre, (M.) his character of an absent man, No. 77.
Bullock and Norris, differently habited, prove great helps to
a silly play, No. 44.

Butts described, No. 47. The qualifications of a Butt, ib.