[1] The translations before 1681 are The Visions of Dom Francisco de Quevedo (1667); A Guide to Eternity (1672); Five Love-letters from a Nun (1677); The Gentleman-Apothecary (1678); Seneca's Morals (1678); Twenty Select Colloquies of Erasmus (1679); and Tully's Offices (1680).
[2] Various perspectives on L'Estrange's life and works can be found in the following: George Kitchin, Sir Roger L'Estrange (London, 1913) for L'Estrange's life and impact on the Restoration press; J. G. Muddiman, The King's Journalist (London, 1923) for L'Estrange's rivalry with Henry Muddiman, editor of the Oxford [London] Gazette; David J. Littlefield, "The Polemic Art of Sir Roger L'Estrange: A Study of His Political Writings, 1659-1688" (Unpublished Doctoral Dissertation, Yale University, 1961) for an overview of L'Estrange as a political pamphleteer.
[3] In 1679 L'Estrange wrote six new pamphlets and reprinted three old ones; in 1680 eleven new and seventeen old; at the start of 1681, ten new and seventeen old. A probable norm of 1000-1500 copies per pamphlet edition has been estimated by Joseph Frank, The Beginnings of the English Newspaper, 1620-1660 (Cambridge, Mass., 1961), p. 314; two orders of 1500 pamphlets each were given to the Restoration printer Nathaniel Thompson, as noted by Leona Rostenberg, "Nathaniel Thompson, Catholic Printer and Publisher of the Restoration," The Library, 3rd ser., X (1955), 195.
[4]Heraclitus Ridens was considered by generations of historians as the first newspaper in dialogue; most recently, James Sutherland (English Literature of the Late Seventeenth Century, Oxford, 1969, p. 241) has given precedence to The City and Country Mercury.
[5]Studies in the Early English Periodical (Chapel Hill, 1957), p. 38.
[9]The Spectator, No. 10, ed. Donald F. Bond (Oxford, 1965), I, 44.
[10]The Review, ed. Arthur Wellesley Secord (Facsimile Text Society, New York, 1938), I, 4.
[11] Several of the literary techniques in the Spectator had been introduced into journalism by L'Estrange. Spectator No. 1, for example, presents a persona in the character of "Mr. Spectator"; No. 2 contains a dream-allegory; Nos. 11 and 34 present indirect discourse between dramatis personae; No. 19 sketches a Character of the Envious Man—all literary modes abundant in the Observator.
[12] See especially J. R. Jones, The First Whigs; The Politics of the Exclusion Crisis, 1678-1683 (London, 1961), pp. 20, 24, 50-51, 56, 94, 112, 123-124.
[13] For attribution and identification of Sheva, see G. R. Noyes, ed., The Poetical Works of John Dryden (Boston, 1909), pp. 137, 966.
[14] The works that are echoed in the Observator are Meric Casaubon, A Treatise Concerning Enthusiasme ... (London, 1655) and Henry More, Enthusiasmus Triumphatus ... (London, 1656).
[15] The mixture of tones is discussed in Alvin Kernan, The Cankered Muse (New Haven, 1959), pp. 68, 76; Leonard Feinberg, Introduction to Satire (Ames, Iowa, 1967), pp. 124-125; Gilbert Highet, The Anatomy of Satire (Princeton, 1962), p. 18.
[16] Hugh Macdonald, "Banter in English Controversial Prose After the Restoration," Essays and Studies by Members of the English Association, XXXII (1946), 22, 26, 38.
[17]The Power of Satire: Magic, Ritual, Art (Princeton, 1960), pp. 133-136, 164-165.
[19]A Bibliography of the Theophrastan Character in English, With Several Portrait Characters (Cambridge, Mass., 1947).
[20]The Theophrastan Character in England to 1642 (Cambridge, Mass., 1947) and The Polemic Character, 1640-1661 (Lincoln, Neb., 1955).
[21] The term is suggested by Ian Gordon (The Movement of English Prose, London, 1966, p. 136) in his discussion of the simple, clear, journalistic style practiced by L'Estrange, Defoe, and Swift in their political writings.
[23] The symbol "T" and accompanying numbers refer to the entries in Morris Palmer Tilley, A Dictionary of the Proverb in England in the Sixteenth and Seventeenth Centuries (Ann Arbor, 1950).
