The Art of Politicks — Edition Insights

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Bramston, James, 1694?-1744, Kinsley, William, 1934- [Commentator] Project Gutenberg 2012 Not confirmed
Great Britain -- Politics and government -- 1727-1760 -- Poetry Readers of public-domain and historical texts
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Words 14,481
Reading time 63 min
Text sections 3

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James Bramston's 1729 poem adapts Horace's Ars Poetica to satirize British parliamentary politics, election corruption, and oratorical follies, with pointed allusions to figures like Defoe, Cibber, and Walpole's era.
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Bramston had in mind.) When the aspiring orator is urged not to "join with silver Tongue a brazen Face" (p. 24), Walpole is again present by innuendo, for "brazen-face" was another of his nicknames. On the other hand, Bramston also makes fun of the "everlasting Fame" that results from quibbling on Sir Robert's name (p. 6). Bramston perhaps has it both ways here; while ridiculing commonplace puns, he also invites us to remember that "Robin" does indeed sound very much like "robbing."

Sometimes he is more subtle and ironic. This subtlety caused difficulty for at least one contemporary reader, and may do the same for us. Consider the following passage, which parallels Horace's advice always to show Achilles wrathful, Orestes mourning, and the like:

To _Likelihood_ your _Characters_ confine; Don't turn _Sir Paul_ out, let _Sir Paul_ resign. In _Walpole_'s Voice (if Factions Ill intend) Give the two _Universities_ a Friend; Give _Maidston_ Wit, and Elegance refin'd; To both the _Pelhams_ give the _Scipios_ Mind; To _Cart'ret_, Learning, Eloquence, and Parts; To _George_ the _Second_, give all _English_ Hearts. (p. 13)

One of Bramston's early readers found his poem very faulty, and many of his complaints were directed against the passage just quoted.

Such artless art did ever mortal see, Or politicks so void of policy?

What bard but this could Pelham's train compare To Roman Scipio's thunder-bolts of war? Did e'er their wars enrich their native isle, With foreign treasures and with Spanish spoil? But hark! and stare with all your ears and eyes! Walpole is friend to Universities!

Hail politician bard! we ask not whether A whig or tory; thou art both and neither. Poultney and Walpole each adorn thy lays, Which one for love, and one for money praise. Alike are mention'd, equally are sung Will. Shippen staunch, and slight Sir Wm. Young. Bromley and Wyndham share the motley strain, With Cart'ret, Maidstone, and the Pelhams twain.[F]

This critic finds two main faults in the poem: misinformation and confusion about particular individuals and, more generally, an inability to distinguish Whigs from Tories and give each their due. This last complaint of course mocks Bramston's lament at the beginning of the poem about the current lack of distinction between parties.

To what extent is this critique justified? What is Bramston trying to do in this passage? There is no problem with the second line: Sir Paul Methuen did indeed resign his office, and one gets the impression from Hervey (pp. 101-2, 250) that he never let anyone forget that he resigned. Thus we have here the most conventional of truisms. Walpole is more difficult. He was certainly no friend of the universities, which were Tory hotbeds. On the other hand, he was reluctant to try to reduce their privileges or bring them more closely under government control, for fear of rousing them to keener opposition. Nowhere else did he follow so faithfully his policy of letting sleeping dogs lie.[G] In a certain sense, then, he might be called a friend of the universities. I have been unable to determine whom Bramston means by "Maidston"--perhaps one of the Finches, the most prominent family in the area of Maidstone, Kent. Bramston's critic is certainly right about the Pelhams: they have nothing whatever in common with the Scipios. Scipio Africanus Major (236-184/3) was one of the most illustrious Roman heroes, consul during the Second Punic War and an outstanding military tactician. Scipio Africanus Minor (c. 185-129) was not only a consul and a military hero but a great patron of letters whom Cicero considered the greatest Roman of them all.[H] Thomas Pelham-Holles, Duke of Newcastle-upon-Tyne (1693-1768), Walpole's chief election manager, was notoriously muddle-headed, nervous, embarrassed, swamped in petty detail, suspicious, fretful, pompous, and indecisive.[I] His brother, Henry Pelham (1695?-1754), was much less well known; reserved and withdrawn, he preferred to work in the background, and his tactical and organizational abilities were not recognized until considerably later.[J] As far as their public image was concerned, then, no two men could be less like the Scipios. Most contemporaries agreed with Bramston's praise of John Carteret, Earl Granville (1690-1763), though many of them also mention other, less admirable traits.[K] As for George II, it depends on whose hearts you consult. An anonymous journalist:

What an Assurance has the Kingdom already given of an unfeigned Affection to their Majesties Persons and Government? How do the People shew that none are acceptable to them, but those that are so to their Majesties? How can Subjects give stronger Proofs of the high Esteem they have their Sovereign in, for Penetration and Wisdom, than those who entirely rely upon the Royal Discerning, and regulate their Conduct by the King's Direction?[L]

James Bramston's The Art of Politicks (1729) is a verse satire that systematically maps Horace's Ars Poetica onto the landscape of early Georgian parliamentary politics. Each stanza of Bramston's poem corresponds to a section of Horace's original, with the Latin footnotes printed alongside—a structural gambit that invites readers to measure the gap between classical precepts and contemporary practice. The poem's opening lines immediately establish a tone of weary amusement: 'Thinks nothing rightly done since Seventy-eight, / Swears present Members do not talk, but prate.' Bramston's speaker is a knowing observer of political theatre, one who finds the present age as absurd as the nostalgic past.

Electioneering as Performance

Bramston devotes several stanzas to the rituals of election campaigns, treating them as a species of theatrical display. The candidate 'Harangues the Mob, and is as wise and great, / As the most Mystic Oracle of State'—a couplet that collapses the distance between popular politics and oracular pretension. The poet catalogues the props of the campaign: 'Trainbands, Horseguards, Footguards, Grenadeers' accompany the new burgess, while 'Fiddles, Waits, and Bells' mark his triumph. Yet the mob's loyalty is fickle: 'When strong Beer their Freeborn Hearts inflames, / They sell him Bargains, and they call him Names.' The nobleman who 'stoops' to kiss ploughmen's wives does so 'for no one reason but to rise.' Bramston's eye for the transactional nature of deference—the way a duke's grandson buys votes with beef and October ale—gives the satire a concrete, almost anthropological edge.

The Speaker as Chorus

In a sustained analogy, Bramston compares the Speaker of the House of Commons to the chorus in Greek drama: ''Tis his the Young and Modest to espouse, / And see none draw, or challenge in the House.' The Speaker's duties—choosing printers, hearing motions, ensuring the chaplain is preferred—are rendered as a series of managerial tasks, yet the classical frame lends them a mock-heroic dignity. The poem's advice to orators is practical and sharp: 'Should not too often speak, nor speak too long,' and 'Church, nor Church Matters ever turn to Sport.' Bramston warns against obscene jests and 'Mother Needham's Stile,' invoking the notorious brothel-keeper as a byword for vulgarity. The ideal speaker, by contrast, 'speaks most easy, who has study'd most'—a Horatian maxim adapted to the Commons.

Poetic Judgment and Political Hackery

Bramston's satire extends beyond Parliament to the literary marketplace, where political and poetic reputations intertwine. He boasts of his own discernment: 'I can discern with half an eye, I hope, / Mist from Jo Addison, from Eusden Pope.' The couplet yokes aesthetic judgment to political alignment—Mist's journal was a Tory organ, Addison a Whig luminary. The poem's most pointed historical allusion is to Daniel Defoe, who 'from a Cart was Pilloried for his'—the line breaks off, but the reference to Defoe's punishment for seditious libel is unmistakable. Bramston also targets the 'word-clipping and word-coining Realm' of James I, where 'no words to Royal favour made pretence, / But what agreed in sound and clash'd in sense.' The punning courtier is a figure of fun, yet the poet's own method—matching Horace's lines to contemporary scandals—is itself a kind of witty transposition.

Readers coming to The Art of Politicks will find a poem that rewards attention to its double structure: the Horatian original is never far from view, and the footnotes provide a running commentary on Bramston's departures. The satire is local and specific—allusions to Woolston's trial, Methuen's resignation, and the 'Dutchess Dowager' of Masquerades fame—but the underlying critique of performative politics and bought allegiances remains legible. Bramston's tone is urbane rather than indignant, his judgments delivered with a shrug and a well-turned couplet.

There’s something oddly comforting in Bramston’s sharp-edged world, where every speech hides a nudge and a wink. It reminds me of evenings spent with The Motley Muse (Rhymes for the Times) — Story, Setting & Ideas, where the wit feels less like a weapon and more like a shared, knowing glance across a crowded room. Both leave a gentle ache for a simpler sort of cleverness.

Dylan Lewis
2 weeks ago

Mia Carter
3 weeks ago

5
5 out of 5 (2 User reviews )

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    Danny Stanley - 3 weeks ago
    Despite its reputation, I found 'The Art of Politicks' to be a dry, intellectual exercise that lacks coherence. The prose is verbose and pretentious, and the supposed humor falls flat. It reads more like a random collection of thoughts than a systematic analysis. For modern readers, the references are obscure, making it difficult to follow. There are far more engaging political satires from the period. Not recommended unless required for academic study.

  • ...
    Steven Lewis - 2 weeks ago
    This is a curious little book that offers some interesting political commentary with a satirical edge. The author's style is engaging, though the content can be dense and assumes some knowledge of historical context. Some points feel drawn out, but overall it provides a unique perspective. Worth a read for those who enjoy historical political writing, but it may not be accessible to everyone.

  • ...
    Jonathan Wolfe - 2 weeks ago
    A witty and incisive examination of political strategies and human nature. The author's clever aphorisms and satirical observations are as relevant today as when first published. The writing is sharp, and the insights into power dynamics are profound. This slim volume packs a punch, offering a timeless guide to understanding political maneuvers. Perfect for anyone interested in politics, history, or simply enjoying brilliant satire. A delightful read that provokes thought.


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