This "Explanatory Discourse" first appeared, in the latter part of March 1773, annexed to the second and last edition of Sir William Chambers' _Dissertation on Oriental Gardening_ of the preceding May. As an effort, curiously hedged, to impersonate a Chinese spokesman it seeks to exploit the satiric vantage points of philosophic naivety and trenchant candor enjoyed by Goldsmith's observer Lien Chi Altangi in London a dozen years earlier. But Chambers' ventriloquism is both more defensive and more aggressive than what we find in _The Citizen of the World_; the Preface here in his own voice admits sensitivity to the "abuse" which the Dissertation had incurred for its scenic fantasy, its brief opening and closing attacks on "Capability" Brown, and its pervasive criticism of the blandness of Brownian landscaping. By assuming the voice of Tan Chet-qua Chambers is able to pretend to more authoritative familiarity with actual Chinese gardens even as he deplores his readers' misapprehension that his interest lay mainly in masquerade, entertainment, or "the mere recital of a traveller's observation" (p. 113). It was probably a strategic error to entrust the substance of his genuine and quite respectable challenging of Brownian style, to what he terms the "vehicle" of alleged first-hand reports of preferable "Chinese" lay-outs. By this date, some two decades after the chinoiserie fad had crested in England, most of his readers might fairly be termed rather jaded. They preferred to overreact to the frivolity and whimsey they had come to think essentially Chinese, rather than to ponder what Chambers seriously urges from behind his silken "screen": his interest in a variegated emotional response to deliberately variegated landscape. An admirer of Burke's Sublime, Chambers saw advantage in complicating the suavity of Brown's gentle contours, shaven lawns, free-form reflecting lakes, and still short tree-clumps, through a program of landscaped stimulation of contrasting associative moods. This is the essence of that argument which Chambers "cloathed ... in the garb of fiction, to secure it a patient hearing" (p. 112) in three publications appearing over sixteen years. There is no evidence that he was better understood through publication of this "Discourse," the last of the three.[1]