Scriblerus Secundus, a.k.a. Henry Fielding: In referring to himself by the pseudonym 'Scriblerus Secundus,' Henry Fielding aligns his work with that of other 'Scriblerians.' The moniker is double-edged and therefore complicated. Critics and commentators have used the term 'Scriblerian' to refer to members of a club founded in 1713the Scriblerus Clubcomposed of such writers as Alexander Pope, John Arbuthnot, and Jonathan Swift. However, use of the term has expanded to include those writers who, while not members of the club, did exhibit similar ideological views and formal characteristics. The Scriblerus Club was founded with the desire to 'riducule false tastes in learning'; members of the club tended to define themselves in opposition to professional or 'hack' writers lacking in traditional cultural capital. One rationale for this attitude can be found in the shifting conditions of literary production itself. Patronagea system regarded as proper, gentlemanly, somehow more 'pure,' and favored by the Scriblerianswas in its death throes, done in by the emerging patterns of commercialization in art and literary production. In order to 'ridicule false tastes in learning' and art, Pope and Arbuthnot created a fictional effigy of the prototypical hack writer named 'Martinus Scriblerus.' In writing his pretended memoirs, Pope and Arbuthnot satirized all that they put into the figure of the despised scribbler and professional author. So, while Pope and the conservative, aristocratic-leaning members of the Scriblerus Club harshly condemned the tribe of scribblers, the 'deluge of authors' set loose upon London by the lapse of the Licensing Act in 1695, they came to be themselves identified as Scriblerians. Scriblerian writing was often consciously allusive and self-reflexive: Scriblerians produced 'high art.' Note the pompous, pseudo-Latinate alteration of the English word, scribbler. The Scriblerian (that is, Scriblerian the First) would have been recognized as Pope and Arbuthnot's creation, Martinus Scriblerus, or the editorial straw-man, Scriblerus, who footnoted The Dunciad. So, Fielding is deliberately placing himself in this mixed tradition. It is not coincidental that the character Luckless in The Author's Farce is a poet with high-minded integrity who finds his works won't sell in the current aesthetic atmosphere of tumblers, puppet-shows, and farces.