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the tiny five acres of grounds is now a matter of history: the paths, the wilderness, the
quincunx, the obelisk to his mother's memory, above all the grotto, they are more like
actors than stage properties in the quiet drama of Pope's later years.
His work after the completion of the Homer translation was almost entirely restricted
to satire. Even the Moral Essays are largely satirical, for Pope's didacticism was always
tinged with laughter. It was too seldom a kindly laughter. His capacity for personal
hatred was suffered not only to remain, but to grow upon him; until it became at length
one of the ruling motives of his literary life. His first conception of The Dunciad was
formed as early as 1720. Sometime within the five years following he seems to have
broached his project for wholesale revenge to Swift, who, oddly enough, dissuaded him :
'Take care the bad poets do not outwit you,' he wrote, as they have the good ones in
every age, whom they have provoked to transmit their names to posterity. Mævius is as
well known as Virgil, and Gildon will be as well known as you if his name gets into your
verses.' Thereto Pope dutifully assents: 'I am much happier for finding our judg-
ments jump in the notion that all scribblers should be passed by in silence. . . . So let
Gildon and Philips rest in peace.' It is not many years later that we find Swift encour-
aging Pope to go on with The Dunciad, and Pope accepting the advice with an even
better grace than in the former instance. The first judgment of both authors was
of course the right one. The Dunciad, with all its cleverness, remains the record of a
strife between persons whom we do not now care about. It has no determinable signifi-
cance beyond that; it lacks the didactic soundness of his Essay on Criticism, and the
graceful lightness of The Rape of the Lock. Only in a few detached passages in the Moral
Essays and Satires, indeed, did he ever succeed in approaching either of these qualities.
'Pope's writings,' says Mr. Courthope, 'fall naturally into two classes: those which
were inspired by fancy or reflection, and those which grew from personal feeling or cir-
cumstance.' The Moral Essays belonged to the former of these classes, the Satires to the
latter. The Moral Essays, and more particularly the Essay on Man, are the product of a
materialism which marked the age, and which was set before Pope in something like
systematic form by Bolingbroke. As Bolingbroke was primarily a politician, and dab-
bled in philosophy only because the favorite game was for a great part of his life denied
him, it could not be expected that much more than shallow generalization would come
out of him. At all events, his system of sophistry was all that Pope needed for a
thread upon which to string his couplets. Whatever we may think of the Essay on Man
now, we need not forget that so keen a critic as Voltaire once called it 'the most beau-
tiful, the most awful, the most sublime didactic poem that has ever been written in any
language.' Even in our day a conservative critic can say of it: Form and art triumph
even in the midst of error; a framework of fallacious generalization gives coherence to
the epigrammatic statement of a multitude of individual truths.'

Some of the difficulty that we have found in The Dunciad is present in the Satires. They are full of personalities. As a rule, however, the persons hit off are of some account, both in themselves and as types, rather than as mere objects of private rancor. Altogether these poems contain, besides the famous portraits of contemporaries, many passages of universal application to the virtues and the shortcomings of any practical age. With the completion of the Satires in 1738, Pope's work was practically done. His remaining years were to be spent mainly in revising his works and correspondence; the final additions and alterations to The Dunciad being the only task of special importance which in his weakening health, and decreasing creative impulse, he was able to undertake. The range of the poet's possible achievement was never very great; and he had

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now lost most of the living motives of his work. He had numbered among his acquaintances all the prominent men of the time; and not a few of them had been friends upon whom he depended for encouragement and companionship. Gay had died in 1732, Pope's mother a year later, and Arbuthnot in 1735. Swift was meantime rapidly breaking up in mind and body, and by 1740 Pope was separated from him by a chasm as impassable as that of death. Bolingbroke remained to him, and he was to have one other friend, Warburton, upon whom he relied for advice and aid during his last years, and who became his literary executor. These, however, were friendships of the mind rather than of the heart; and there is something a little pathetic in the spectacle of the still brilliant poet's dependence upon the chill and disappointed politician Bolingbroke and the worthy and adoring Bishop Warburton, who can hardly have been a lively companion.

Critics are now fairly well agreed as to Pope's service to English poetry. Intellectually he was clever rather than profound, and, in consequence, though so much of his work was of the didactic type, he made few original contributions to poetic thought. A poem of Pope's is a collection of brilliant fragments. He kept a note-book full of clever distiches set down at random; presently so many couplets are taken and classified, others are added, a title is found, and the world applauds. If we except The Rape of the Lock, and possibly the Epistle to Arbuthnot, none of his poems can be called organic in structure. The patching is neatly done, but the result is patchwork. The Essay on Man, therefore, which most of his contemporaries considered his greatest work, appears to us a mosaic of cleverly phrased platitudes and epigrams. Many of the couplets have become proverbial; the work as a whole cannot be taken seriously. 'But the supposition is,' says Lowell, 'that in the Essay on Man Pope did not himself know what he was writing. He was only the condenser and epigrammatizer of Bolingbroke a very fitting St. John for such

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a gospel.' It is to another and less pretentious sort of work that we must turn to find the great versifier at his best.

The Rape of the Lock affords exactly the field in which Pope was fitted to excel. The very qualities of artificiality and sophistication which mar the Homer translations make the story of Belinda and her Baron a perfect thing of its kind. Here is the convenVtional society which Pope knew, and with which—however he might sneer at it he really sympathized. The polished trivialities, the shallow gallantry, the hardly veiled coarseness of the London which Pope understood, are here to the life. Depth of emotion, of imagination, of thought, are absent, and properly so; but here are present in their purest forms the flashing wit, the ingenious fancy, the malicious innuendo, of which Pope was undoubtedly master.

In versification his merit is to have done one thing incomparably well. Not only is his latest work marked by the same wit, conciseness, and brilliancy of finish which gained the attention of his earliest critics, but it employs the same metrical form which in boyhood he had brought to a singular perfection. The heroic couplet is now pretty much Vout of fashion: 'correctness' is no longer the first quality which we demand of poetry. No doubt we are fortunate to have escaped the trammels of the rigid mode which so long restrained the flight of English verse. But however tedious and wooden Pope's instrument may have become in later hands, however mistaken he himself may have been in emphasizing its limitations, there is no doubt that it was the instrument best suited to his hand, and that he secured by means of it a surprising variety of effect.

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We have chronicled thus far a few of the facts of Pope's life and work. Somethingit cannot be very much remains to be said of his private character. It was a character of marked contradictions, the nether side of which -the weaknesses and positive faults - has, as is common in such cases, been laid bare with sufficient pitilessness. He was, we are told, malicious, penurious, secretive, unchivalrous, underbanded, implacable. He could address Lady Mary Wortley one day with fulsome adulation, and the next — and ever after — with foul abuse. He could deliberately goad his dunces to self-betrayal by his Treatise on the Bathos, and presently flay them in The Dunciad by way of revenge. He could by circuitous means cause his letters letters carefully edited by him to be published, and prosecute the publisher for outraging his sensibilities. He could stoop to compassing the most minute ends of private malice by the most elaborate and leisurely methods. He played life as a game composed of a series of petty moves, and, as one of his friends said, 'could hardly drink a cup of tea without a stratagem.'

But let us see what we might be fairly saying on the other side. If he was capable of malice, he was incapable of flattery; if he was dishonest in the little matters, he was honest in the great ones; if he held mediocrity in contempt, he had an ungrudging welcome for excellence. In later life he had encouragement for the younger generation of writers, — Johnson, Young, Thomson, and poor Savage. If he allowed a fancied injury to separate him from Addison, he had still to boast of the friendship of men like Gay, Arbuthnot, and Swift; and they had to boast of his. He nursed his mother in extreme old age with anxious devotion, and mourned her death with unaffected grief. In his best satirical mood, the best in English verse, he did not hesitate to arraign the highest as well as the lowest; not even Swift could be so fearless. Such things are to be remembered of this correct versifier and merciless satirist Pope: that with only half the body, and hardly more than half the bodily experience, of a man, he had his full share of a man's failings and a man's virtues; and that the failings were on the whole upon a less significant plane than the virtues. Much has been written of Pope's attitude toward women, and much has been written of his acrid habit of mind. The relation between these facts has been, perhaps, insufficiently grasped. Pope was not by nature a celibate or a hater of women. He was, on the contrary, fond of their society, and anxious to make himself agreeable to them. failure with Lady Mary Wortley Montagu was deserved; the relation was a mere affair of gallantry, which she took good care to snuff out when the adorer's protestations began to weary her. She was not a womanly person, and forestalled much public indignation at Pope's subsequent abuse by adopting an equally brutal system of retort.

His

His failure with Martha Blount was of a very different sort, and of far greater significance. She was the younger of two daughters belonging to one of the Roman Catholic families in Pope's Windsor Forest circle of acquaintance. With her and with her sister Teresa, Pope was for many years upon terms of the closest intimacy. They were not much alike; and though Pope made a habit of addressing them with guarded impartiality in his correspondence, it is to be seen almost from the first that his feeling for the more practical and worldly older sister was less warm than his feeling for the amiable and feminine "Patty." Eventually, after years of friendship, the poet made a few indirect overtures to Martha in the direction of marriage; and at last ventured to express himself plainly to Teresa. To his unspeakable humiliation and grief, she treated his honest declaration as an affront to her sister, and upon precisely the painful ground of his deformity, which had for so many years kept him from speaking. Pope could not help feeling that however Martha might, if left to herself, have received his advances, it

was now out of the question to pursue them. His behavior under the circumstances was full of dignity. It was impossible for the friendship to be renewed upon the old footing, but his only revenge beyond that of the necessary withdrawal from familiar intercourse was to settle a pension upon Teresa at the time, and to leave most of his property by will to Martha. We can hardly imagine Pope madly in love, but that he had a calm and steadfast affection for Martha Blount we cannot doubt. He was disposed to marry, and he would have liked to marry her. She represented the ideal of womanhood in his mind; and to her, in the heat of his most savage bouts of idol-breaking, he pauses to raise a white shaft of love and faith.

If the present editor, after a careful and well-rewarded study of the poet and the man, has any mite of interpretation to offer, it is not that Pope was a greater poet, but that he was a better man, than he is commonly painted; an unamiable man, yet not for that reason altogether unworthy of regard; a man with little meannesses carried upon his sleeve for all the world to mock at, and with the large magnanimity which could face the world alone, without advantages of birth or wealth or education or even health, and win a great victory. Such a man cannot conceivably be supposed to have stumbled upon success. Not only inspired cleverness of hand, but force of character and sanity of mind must be responsible for his work. After the lapse of nearly two centuries it should perhaps be right to indulge ourselves somewhat more sparingly in condemnation of his foibles, and to recall more willingly the sound kernel of character which is the basis of his personality. Whatever slander he may have retailed about the camp-fire, whatever foolish vanity he may have had in his uniform, Pope fought the good fight. 'After all,' he wrote to Bishop Atterbury, who was trying to make a Protestant of him, 'I verily believe your Lordship and I are both of the same religion, if we were thoroughly understood by one another, and that all honest and reasonable Christians would be so, if they did but talk together every day; and had nothing to do together but to serve God and live in peace with their neighbors.'

ANDOVER, March, 1903.

H. W. B.

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