No. I. Introduction. II. The Inhospitable Temper of 'Squire Wether. III. A Vindication of Mr. Gay, and the Beggar's Opera. IV. The Folly of Gaming. V. A Description of what the World calls Discretion. VI. A Representation of the Present Condition of Ireland. VII. The Character of Corusodes and Eugenio. VIII. A Dialogue between Mullinix and Timothy. IX. The foolish Methods of Education among the Nobility. X. Tim and Gay's Fables. XI. Proposals in Prose and Verse for, An Universal View of all the eminent Writers on the Holy Scriptures, &c. XII. Sir Ralph the Patriot turned Courtier. XIII. The Art of Story-Telling. XIV. Prometheus's Art of Man-making: And the Tale of the T--d. XV. The Services the Drapier has done his Country, and the Steps taken to ruin it. XVI. The Adventures of the three Brothers, George, Patrick, and Andrew. XVII. The Marks of Ireland's Poverty, shewn to be evident Proofs of its Riches. XVIII. St. Andrew's Day, and the Drapier's Birth-Day. XIX. The Hardships of the Irish being deprived of their Silver, and decoyed into America. [XX. Dean Smedley, gone to seek his Fortune. The Pheasant and the Lark. A Fable.]-[T.S.]] [Footnote 2: A fashionable card game of the time. See also Swift's poem, "The Journal of a Modern Lady" (Aldine edition, vol. i., pp. 214-23), and "A New Proposal for the better regulation ... of Quadrille," written by Dr. Josiah Hort, Bp. of Kilmore, in 1735/6 (afterwards Abp. of Tuam), and included by Scott in his edition of Swift (vii. 372-7). [T.S.]] THE INTELLIGENCER, NUMB. III.[1] --_Ipse per omnes Ibit personas, et turbam reddet in unam._[2] The players having now almost done with the comedy, called the "Beggar's Opera,"[3] for this season, it may be no unpleasant speculation, to reflect a little upon this dramatic piece, so singular in the subject, and the manner, so much an original, and which hath frequently given so very agreeable an entertainment.[4] Although an evil taste be very apt to prevail, both here, and in London, yet there is a point which whoever can rightly touch, will never fail of pleasing a very great majority; so great, that the dislikers, out of dullness or affectation will be silent, and forced to fall in with the herd; the point I mean, is what we call humour, which in its perfection is allowed to be much preferable to wit, if it be not rather the most useful, and agreeable species of it. I agree with Sir William Temple, that the word is peculiar to our English tongue, but I differ from him in the opinion, that the thing itself is peculiar to the English nation,[5] because the contrary may be found in many Spanish, Italian and French productions, and particularly, whoever hath a taste for true humour, will find a hundred instances of it in those volumes printed in France, under the name of _Le Théâtre Italien_,[6] to say nothing of Rabelais, Cervantes, and many others.