CHAPTER VIII.
EPISTLES AND SATIRES.
Pope had tried a considerable number of poetical experiments when the Dunciad appeared, but he had not yet discovered in what direction his talents could be most efficiently exerted. Bystanders are sometimes acuter in detecting a man's true forte than the performer himself. In 1722 Atterbury had seen Pope's lines upon Addison, and reported that no piece of his writing was ever so much sought after. "Since you now know," be added, "in what direction your strength lies, I hope you will not suffer that talent to be unemployed." Atterbury seems to have been rather fond of giving advice to Pope, and puts on a decidedly pedagogic air when writing to him. The present suggestion was more likely to fall on willing ears than another made shortly before their final separation. Atterbury then presented Pope with a Bible, and recommended him to study its pages. If Pope had taken to heart some of St. Paul's exhortations to Christian charity, he would scarcely have published his lines upon Addison, and English literature would have lost some of its most brilliant pages.
Satire of the kind represented by those lines was so obviously adapted to Pope's peculiar talent, that we rather wonder at his having taken to it seriously at a comparatively late period, and even then having drifted into it by accident rather than by deliberate adoption. He had aimed, as has been said, at being a philosophic and didactic poet. The Essay on Man formed part of a much larger plan, of which two or three fragmentary sketches are given by Spence.[1] Bolingbroke and Pope wrote to Swift in November, 1729, about a scheme then in course of execution. Bolingbroke declares that Pope is now exerting what was eminently and peculiarly his talents, above all writers, living or dead, without excepting Horace; whilst Pope explained that this was a "system of ethics in the Horatian way." The language seems to apply best to the poems afterwards called the Ethic Epistles, though, at this time, Pope, perhaps, had not a very clear plan in his head, and was working at different parts simultaneously. The Essay on Man, his most distinct scheme, was to form the opening book of his poem. Three others were to treat of knowledge and its limits, of government—ecclesiastical and civil—and of morality. The last book itself involved an elaborate plan. There were to be three epistles about each cardinal virtue-one, for example, upon avarice; another on the contrary extreme of prodigality; and a third, upon the judicious mean of a moderate use of riches. Pope told Spence that he had dropped the plan chiefly because his third book would have provoked every Church on the face of the earth, and he did not care for always being in boiling water. The scheme, however, was far too wide and too systematic for Pope's powers. His spasmodic energy enabled him only to fill up corners of the canvas, and from what he did, it is sufficiently evident that his classification would have been incoherent and his philosophy unequal to the task. Part of his work was used for the fourth book of the Dunciad, and the remainder corresponds to what are now called the Ethic Epistles. These, as they now stand, include five poems. One of these has no real connexion with the others. It is a poem addressed to Addison, "occasioned by his dialogue on medals," written (according to Pope) in 1715, and first published in Tickell's edition of Addison's works in 1721. The epistle to Burlington on taste was afterwards called the Use of Riches, and appended to another with the same title, thus filling a place in the ethical scheme, though devoted to a very subsidiary branch of the subject. It appeared in 1731. The epistle "of the use of riches" appeared in 1732, that of the knowledge and characters of men in 1733, and that of the characters of women in 1735. The last three are all that would seem to belong to the wider treatise contemplated; but Pope composed so much in fragments that it is difficult to say what bits he might have originally intended for any given purpose.
Another distraction seems to have done more than his fear of boiling water to arrest the progress of the elaborate plan. Bolingbroke coming one day into his room, took up a Horace, and observed that the first satire of the second book would suit Pope's style. Pope translated it in a morning or two, and sent it to press almost immediately (1733). The poem had a brilliant success. It contained, amongst other things, the couplet which provoked his war with Lady Mary and Lord Hervey. This, again, led to his putting together the epistle to Arbuthnot, which includes the bitter attack upon Hervey, as part of a general apologia pro vita sua. It was afterwards called the Prologue to the Satires. Of his other imitations of Horace, one appeared in 1734 (the second satire of the second book), and four more (the first and sixth epistles of the first book and the first and second of the second book) in 1738. Finally, in 1737, he published two dialogues, first called "1738" and afterwards "The Epilogue to the Satires," which are in the same vein as the epistle to Arbuthnot. These epistles and imitations of Horace, with the so-called prologue and epilogue, took up the greatest part of Pope's energy during the years in which his intellect was at its best, and show his finest technical qualities. The Essay on Man was on hand during the early part of this period, the epistles and satires representing a ramification from the same inquiry. But the essay shows the weak side of Pope, whilst his most remarkable qualities are best represented by these subsidiary writings. The reason will be sufficiently apparent after a brief examination, which will also give occasion for saying what still remains to be said in regard´ to Pope as a literary artist.
The weakness already conspicuous in the Essay on Man mars the effect of the Ethic Epistles. His work tends to be rather an aggregation than an organic whole. He was (if I may borrow a phrase from the philologists) an agglutinative writer, and composed by sticking together independent fragments. His mode of composition was natural to a mind incapable of sustained and continuous thought. In the epistles, he professes to be working on a plan. The first expounds his favourite theory (also treated in the essay) of a ruling passion." Each man has such a passion, if only you can find it, which explains the apparent inconsistency of his conduct. This theory, which has exposed him to a charge of fatalism (especially from people who did not very well know what fatalism means), is sufficiently striking for his purpose; but it rather turns up at intervals than really binds the epistle into a whole. But the arrangement of his portrait gallery is really unsystematic; the affectation of system is rather in the way. The most striking characters in the essay on women were inserted (whenever composed) some time after its first appearance, and the construction is too loose to make any interruption of the argument perceptible. The poems contain some of Pope's most brilliant bits, but we can scarcely remember them as a whole. The characters of Wharton and Villiers, of Atossa, of the Man of Ross, and Sir Balaam, stand out as brilliant passages which would do almost as well in any other setting. In the imitations of Horace he is, of course, guided by lines already laid down for him; and he has shown admirable skill in translating the substance as well as the words of his author by the nearest equivalents. This peculiar mode of imitation had been tried by other writers, but in Pope's hands it succeeded beyond all precedent. There is so much congeniality between Horace and Pope, and the social orders of which they were the spokesmen, that he can represent his original without giving us any sense of constraint. Yet even here he sometimes obscures the thread of connexion, and we feel more or less clearly that the order of thought is not that which would have spontaneously arisen in his own mind. So, for example, in the imitation of Horace's first epistle of the first book, the references to the Stoical and Epicurean morals imply a connexion of ideas to which nothing corresponds in Pope's reproduction. Horace is describing a genuine experience, while Pope is only putting together a string of commonplaces. The most interesting part of these imitations are those in which Pope takes advantage of the suggestions in Horace to be thoroughly autobiographical. He manages to run his own experience and feelings into the moulds provided for him by his predecessor. One of the happiest passages is that in which he turns the serious panegyric on Augustus into a bitter irony against the other Augustus, whose name was George, and who, according to Lord Hervey, was so contrasted with his prototype, that whereas personal courage was the one weak point of the emperor, it was the one strong point of the English king. As soon as Pope has a chance of expressing his personal antipathies or (to do him bare justice) his personal attachments, his lines begin to glow. When he is trying to preach, to be ethical and philosophical, he is apt to fall into mouthing and to lose his place; but when he can forget his stilts, or point his morality by some concrete and personal instance, every word is alive. And it is this which makes the epilogues, and more especially the prologue to the satires, his most impressive performances. The unity which is very ill-supplied by some ostensible philosophical thesis, or even by the leading strings of Horace, is given by his own intense interest in himself. The best way of learning to enjoy Pope is to get by heart the epistle to Arbuthnot. That epistle is, as I have said, his Apologia. In its some 400 lines, he has managed to compress more of his feelings and thoughts than would fill an ordinary autobiography. It is true that the epistle requires a commentator. It wants some familiarity with the events of Pope's life, and many lines convey only a part of their meaning unless we are familiar not only with the events, but with the characters of the persons mentioned. Passages over which we pass carelessly at the first reading then come out with wonderful freshness, and single phrases throw a sudden light upon hidden depths of feeling. It is also true, unluckily, that parts of it must be read by the rule of contraries. They tell us not what Pope really was, but what he wished others to think him, and what he probably endeavoured to persuade himself that he was. How far he succeeded in imposing upon himself is indeed a very curious question which can never be fully answered. There is the strangest mixture of honesty and hypocrisy. Let me, he says, live my own and die so too—
Maintain a poet's dignity and ease,
And see what friends and read what books I please!
Well, he was independent in his fashion, and we can at least believe that he so far believed in himself. But when he goes on to say that he "can sleep without a poem in his head,
Nor know if Dennis be alive or dead,"
we remember his calling up the maid four times a night in the dreadful winter of 1740 to save a thought, and the features writhing in anguish as he read a hostile pamphlet. Presently he informs us that "he thinks a lie in prose or verse the same"—only too much the same! and that "if he pleased, he pleased by manly ways." Alas! for the manliness. And yet again when he speaks of his parents,
can we doubt that he is speaking from the heart? We should perhaps like to forget that the really exquisite and touching lines in which he speaks of his mother had been so carefully elaborated.
To rock the cradle of declining age,
With lenient acts extend a mother's breath,
Make languor smile and smooth the bed of death,
Explore the thought, explain the asking eye,
And keep awhile one parent from the sky!
If there are more tender and exquisitely expressed lines in the language, I know not where to find them; and yet again I should be glad not to be reminded by a cruel commentator that poor Mrs. Pope had been dead for two years when they were published, and that even this touching effusion has therefore a taint of dramatic affectation.
To me, I confess, it seems most probable, though at first sight incredible, that these utterances were thoroughly sincere for the moment. I fancy that under Pope's elaborate masks of hypocrisy and mystification there was a heart always abnormally sensitive. Unfortunately it was as capable of bitter resentment as of warm affection, and was always liable to be misled by the suggestions of his strangely irritable vanity. And this seems to me to give the true key to Pope's poetical as well as to his personal characteristics.
To explain either, we must remember that he was a man of impulses; at one instant a mere incarnate thrill of gratitude or generosity, and in the next of spite or jealousy. A spasm of wounded vanity would make him for the time as mean and selfish as other men are made by a frenzy of bodily fear. He would instinctively snatch at a lie even when a moment's reflection would have shown that the plain truth would be more convenient, and therefore he had to accumulate lie upon lie, each intended to patch up some previous blunder. Though nominally the poet of reason, he was the very antithesis of the man who is reasonable in the highest sense: who is truthful in word and deed because his conduct is regulated by harmonious and invariable principles. Pope was governed by the instantaneous feeling. His emotion came in sudden jets and gushes, instead of a continuous stream. The same peculiarity deprives his poetry of continuous harmony or profound unity of conception. His lively sense of form and proportion enables him indeed to fill up a simple framework (generally of borrowed design) with an eye to general effect, as in the Rape of the Lock or the first Dunciad. But even there his flight is short; and when a poem should be governed by the evolution of some profound principle or complex mood of sentiment, he becomes incoherent and perplexed. But on the other hand he can perceive admirably all that can be seen at a glance from a single point of view. Though he could not be continuous, he could return again and again to the same point; he could polish, correct, eliminate superfluities, and compress his meaning more and more closely, till he has constructed short passages of imperishable excellence. This microscopic attention to fragments sometimes injures the connexion, and often involves a mutilation of construction. He corrects and prunes too closely. He could, he says, in reference to the Essay on Man, put things more briefly in verse than in prose; one reason being that he could take liberties of this kind not permitted in prose writing. But the injury is compensated by the singular terseness and vivacity of his best style. Scarcely any one, as is often remarked, has left so large a proportion of quotable phrases,[2] and, indeed, to the present he survives chiefly by the current coinage of that kind which bears his image and superscription.
This familiar remark may help us to solve the old problem whether Pope was, or rather in what sense he was, a poet. Much of his work may be fairly described as rhymed prose, differing from prose not in substance or tone of feeling, but only in the form of expression. Every poet has an invisible audience, as an orator has a visible one, who deserve a great part of the merit of his works. Some men may write for the religious or philosophic recluse, and therefore utter the emotions which come to ordinary mortals in the rare moments when the music of the spheres, generally drowned by the din of the commonplace world, becomes audible to their dull senses. Pope, on the other hand, writes for the wits who never listen to such strains, and moreover writes for their ordinary moods. He aims at giving us the refined and doubly distilled essence of the conversation of the statesmen and courtiers of his time. The standard of good writing always implicitly present to his mind is the fitness of his poetry to pass muster when shown by Gay to his duchess, or read after dinner to a party composed of Swift, Bolingbroke, and Congreve. That imaginary audience is always looking over his shoulder, applauding a good hit, chuckling over allusions to the last bit of scandal, and ridiculing any extravagance tending to romance or sentimentalism.
The limitations imposed by such a condition are obvious. As men of taste, Pope's friends would make their bow to the recognized authorities. They would praise Paradise Lost, but a new Milton would be as much out of place with them as the real Milton at the court of Charles II. They would really prefer to have his verses tagged by Dryden, or the Samson polished by Pope. They would have ridiculed Wordsworth's mysticism or Shelley's idealism, as they laughed at the religious "enthusiasm" of Law or Wesley, or the metaphysical subtleties of Berkeley and Hume. They preferred the philosophy of the Essay on Man, which might be appropriated by a common-sense preacher, or the rhetoric of Eloisa and Abelard, bits of which might be used to excellent effect (as indeed Pope himself used the peroration) by a fine gentleman addressing his gallantry to a contemporary Sappho. It is only too easy to expose their shallowness, and therefore to overlook what was genuine in their feelings. After all, Pope's eminent friends were no mere tailor's blocks for the display of laced coats. Swift and Bolingbroke were not enthusiasts nor philosophers, but certainly they were no fools. They liked in the first place thorough polish. They could appreciate a perfectly turned phrase, an epigram which concentrated into a couplet a volume of quick observations, a smart saying from Rochefoucauld or La Bruyère, which gave an edge to worldly wisdom; a really brilliant utterance of one of those maxims, half true and not over profound, but still presenting one aspect of life as they saw it, which have since grown rather threadbare. This sort of moralizing, which is the staple of Pope's epistles upon the ruling passion or upon avarice, strikes us now as unpleasantly obvious. We have got beyond it and want some more refined analysis and more complex psychology. Take, for example, Pope's epistle to Bathurst, which was in hand for two years, and is just 400 lines in length. The simplicity of the remarks is almost comic. Nobody wants to be told now that bribery is facilitated by modern system of credit.
This triteness blinds us to the singular felicity with which the observations have been verified, a felicity which makes many of the phrases still proverbial. The mark is so plain that we do scant justice to the accuracy and precision with which it is hit. Yet when we notice how every epithet tells, and how perfectly the writer does what he tries to do, we may understand why Pope extorted contemporary admiration. We may, for example, read once more the familiar passage about Buckingham. The picture, such as it is, could not be drawn more strikingly with fewer lines.
The floors of plaister and the walls of dung,
On once a flock-bed but repair'd with straw,
With tape-ty'd curtains never meant to draw,
The George and Garter dangling from that bed,
Where tawdry yellow strove with dirty red,
Great Villiers lies! alas, how changed from him,
That life of pleasure and that soul of whim!
Gallant and gay in Cliveden's proud alcove,
The bower of wanton Shrewsbury and love;
As great as gay, at council in a ring
Of mimick'd statesmen, and their merry king.
No wit to flatter left of all his store!
No fool to laugh at, which he valued more.
Thus, victor of his health, of fortune, friends,
And fame, the lord of useless thousands ends
It is as graphic as a page of Dickens, and has the advantage of being less grotesque, if the sentiment is equally obvious. When Pope has made his hit, he does not blur the effect by trying to repeat it.
In these epistles, it must be owned that the sentiment is not only obvious but prosaic. The moral maxims are delivered like advice offered by one sensible man to another, not with the impassioned fervour of a prophet. Nor can Pope often rise to that level at which alone satire is transmuted into the higher class of poetry. To accomplish that feat, if, indeed, it be possible, the poet must not simply ridicule the fantastic tricks of poor mortals, but show how they appear to the angels who weep over them. The petty figures must be projected against a background of the infinite, and we must feel the relations of our tiny eddies of life to the oceanic currents of human history. Pope can never rise above the crowd. He is looking at his equals, not contemplating them from the height which reveals their insignificance. The element, which may fairly be called poetical, is derived from an inferior source; but sometimes has passion enough in it to lift him above mere prose.
In one of his most animated passages, Pope relates his desire to—
Dash the proud gamester in his gilded car,
Bare the mean heart that lurks beneath a star.
For the moment he takes himself seriously; and, indeed, he seems to have persuaded both himself and his friends that he was really a great defender of virtue. Arbuthnot begged him, almost with his dying breath, to continue his "noble disdain and abhorrence of vice," and, with a due regard to his own safety, to try rather to reform than chastise; and Pope accepts the office ostentatiously. His provocation is "the strong antipathy of good to bad," and he exclaims,—
Men not afraid of God, afraid of me.
Safe from the bar, the pulpit, and the throne,
Yet touch'd and shamed by ridicule alone.
If the sentiment provokes a slight incredulity, it is yet worth while to understand its real meaning; and the explanation is not very far to seek.
Pope's best writing, I have said, is the essence of conversation. It has the quick movement, the boldness and brilliance, which we suppose to be the attributes of the best talk. Of course the apparent facility is due to conscientious labour. In the Prologue and Epilogue and the best parts of the imitations of Horace, he shows such consummate mastery of his peculiar style, that we forget the monotonous metre. The opening passage, for example, of the Prologue is written apparently with the perfect freedom of real dialogue; in fact, it is of course far more pointed and compressed than any dialogue could ever be. The dramatic vivacity with which the whole scene is given, shows that he could use metre as the most skilful performer could command a musical instrument. Pope, indeed, shows in the Essay on Criticism, that his view about the uniformity of sound and sense were crude enough; they are analogous to the tricks by which a musician might decently imitate the cries of animals or the murmurs of a crowd; and his art excludes any attempt at rivalling the melody of the great poets who aim at producing a harmony quite independent of the direct meaning of their words. I am only speaking of the felicity with which he can move in metre, without the slightest appearance of restraint, so as to give a kind of idealized representation of the tone of animated verbal intercourse. Whatever comes within this province he can produce with admirable fidelity. Now in such talks as we imagine with Swift and Bolingbroke, we may be quite sure that there would be some very forcible denunciation of corruption—corruption being of course regarded as due to the diabolical agency of Walpole. During his later years, Pope became a friend of all the Opposition clique, which was undermining the power of the great minister. In his last letters to Swift, Pope speaks of the new circle of promising patriots who were rising round him, and from whom he entertained hopes of the regeneration of this corrupt country. Sentiments of this kind were the staple talk of the circles in which he moved; and all the young men of promise believed, or persuaded themselves to fancy, that a political millennium would follow the downfall of Walpole. Pope, susceptible as always to the influences of his social surroundings, took in all this, and delighted in figuring himself as the prophet of the new era and the denouncer of wickedness in high places. He sees "old England's genius" dragged in the dust, hears the black trumpet of vice proclaiming that "not to be corrupted is the shame," and declares that he will draw the last pen for freedom, and use his "sacred weapon" in truth's defence.
To imagine Pope at his best, we must place ourselves in Twickenham on some fine day, when the long disease has relaxed its grasp for a moment; when he has taken a turn through his garden, and comforted his poor frame with potted lampreys and a glass or two from his frugal pint. Suppose two or three friends to be sitting with him, the stately Bolingbroke or the mercurial Bathurst, with one of the patriotic hopes of mankind, Marchmont or Lyttelton, to stimulate his ardour, and the amiable Spence, or Mrs. Patty Blount to listen reverentially to his morality. Let the conversation kindle into vivacity, and host and guests fall into a friendly rivalry, whetting each other's wits by lively repartee, and airing the little fragments of worldly wisdom which pass muster for profound observation at Court; for a time they talk platitudes, though striking out now and then brilliant flashes, as from the collision of polished rapiers; they diverge, perhaps, into literature, and Pope shines in discussing the secrets of the art to which his whole life has been devoted with untiring fidelity. Suddenly the mention of some noted name provokes a startling outburst of personal invective from Pope; his friends judiciously divert the current of wrath into a new channel, and he becomes for the moment a generous patriot declaiming against the growth of luxury; the mention of some sympathizing friend brings out a compliment, so exquisitely turned, as to be a permanent title of honour, conferred by genius instead of power; or the thought of his parents makes his voice tremble, and his eyes shine with pathetic softness; and you forgive the occasional affectation which you can never quite forget, or even the occasional grossness or harshness of sentiment which contrasts so strongly with the superficial polish. A genuine report of even the best conversation would be intolerably prosy and unimaginative. But imagine the very pith and essence of such talk brought to a focus, concentrated into the smallest possible space with the infinite dexterity of a thoroughly trained hand, and you have the kind of writing in which Pope is unrivalled; polished prose with occasional gleams of genuine poetry—the epistle to Arbuthnot and the epilogue to the Satires.
One point remains to be briefly noticed. The virtue on which Pope prided himself was correctness; and I have interpreted this to mean the quality which is gained by incessant labour, guided by quick feeling, and always under the strict supervision of common sense. The next literary revolution led to a depreciation of this quality. Warton (like Macaulay long afterwards) argued that in a higher sense, the Elizabethan poets were really as correct as Pope. Their poetry embodied a higher and more complex law, though it neglected the narrow cut-and-dried precepts recognized in the Queen Anne period. The new school came to express too undiscriminating a contempt for the whole theory and practice of Pope and his followers. Pope, said Cowper, and a thousand critics have echoed his words,—
Without discussing the wider question, I may here briefly remark that this judgment, taken absolutely, gives a very false impression of Pope's artistic quality. Pope is undoubtedly monotonous. Except in one or two lyrics, such as the Ode on St. Cecilia's Day, which must be reckoned amongst his utter failures, he invariably employed the same metre. The discontinuity of his style, and the strict rules which he adopted, tend to disintegrate his poems. They are a series of brilliant passages, often of brilliant couplets, stuck together in a conglomerate; and as the inferior connecting matter decays, the interstices open and allow the whole to fall into ruin. To read a series of such couplets, each complete in itself, and each so constructed as to allow of a very small variety of form, is naturally to receive an impression of monotony. Pope's antitheses fall into a few common forms, which are repeated over and over again, and seem copy to each other. And, in a sense, such work can be very easily imitated. A very inferior artist can obtain most of his efforts, and all the external qualities of his style. One ten-syllabled rhyming couplet, with the whole sense strictly confined within its limits, and allowing only of such variety as follows from changing the pauses, is undoubtedly very much like another. And accordingly one may read in any collection of British poets innumerable pages of verification which—if you do not look too close—are exactly like Pope. All poets who have any marked style are more or less imitable; in the present age of revivals, a clever versifier is capable of adopting the manners of his leading contemporaries, or that of any poet from Spenser to Shelley or Keats. The quantity of work scarcely distinguishable from that of the worst passages in Mr. Tennyson, Mr. Browning, and Mr. Swinburne, seems to be limited only by the supply of stationery at the disposal of practised performers. That which makes the imitations of Pope prominent is partly the extent of his sovereignty; the vast number of writers who confined themselves exclusively to his style; and partly the fact that what is easily imitable in him is so conspicuous an element of the whole. The rigid framework which he adopted is easily definable with mathematical precision. The difference between the best work of Pope and the ordinary work of his followers is confined within narrow limits, and not easily perceived at a glance. The difference between blank verse in the hands of its few masters and in the hands of a third-rate imitator strikes the ear in every line. Far more is left to the individual idiosyncrasy. But it does not at all follow, and in fact it is quite untrue that the distinction which turns on an apparently insignificant element is therefore unimportant. The value of all good work ultimately depends on touches so fine as to elude the sight. And the proof is that although Pope was so constantly imitated, no later and contemporary writer succeeded in approaching his excellence. Young, of the Night Thoughts, was an extraordinarily clever writer and talker, even if he did not (as one of his hearers asserts) eclipse Voltaire by the brilliance of his conversation, Young's satires show abundance of wit, and one may not be able to say at a glance in what they are inferior to Pope. Yet they have hopelessly perished, whilst Pope's work remains classical. Of all the crowd of eighteenth-century writers in Pope's manner, only two made an approach to him worth notice. Johnson's Vanity of Human Wishes surpasses Pope in general sense of power, and Goldsmith's two poems in the same style have phrases of a higher order than Pope's. But even these poems have not made so deep a mark. In the last generation, Gifford's Baviad and Mæviad, and Byron's English Bards and Scotch Reviewers, were clever reproductions of the manner; but Gifford is already unreadable, and Byron is pale beside his original; and, therefore, making full allowance for Pope's monotony, and the tiresome prominence of certain mechanical effects, we must, I think, admit that he has after all succeeded in doing with unsurpassable excellence what innumerable rivals have failed to do as well. The explanation is—if the phrase explains anything—that he was a man of genius, or that he brought to a task, not of the highest class, a keenness of sensibility, a conscientious desire to do his very best, and a capacity for taking pains with his work, which enabled him to be as indisputably the first in his own peculiar line, as our greatest men have been in far more lofty undertakings.
The man who could not publish Pastorals without getting into quarrels, was hardly likely to become a professed satirist without giving offence. Besides numerous stabs administered to old enemies, Pope opened some fresh animosities by passages in these poems. Some pointed ridicule was aimed at Montagu, Earl of Halifax, in the Prologue; for there can be no doubt that Halifax[3] was pointed out in the character of Bufo. Pope told a story in later days of an introduction to Halifax, the great patron of the early years of the century, who wished to hear him read his Homer. After the reading Halifax suggested that one passage should be improved. Pope retired rather puzzled by his vague remarks, but, by Garth's advice, returned some time afterwards, and read the same passage without alteration. "Ay, now Mr. Pope," said Halifax, "they are perfectly right; nothing can be better!" This little incident perhaps suggested to Pope that Halifax was a humbug, and there seems, as already noticed, to have been some difficulty about the desired dedication of the Iliad. Though Halifax had been dead for twenty years when the Prologue appeared, Pope may have been in the right in satirizing the pompous would-be patron, from whom he had received nothing, and whose pretences he had seen through. But the bitterness of the attack is disagreeable when we add that Pope paid Halifax high compliments in the preface to the Iliad, and boasted of his friendship, shortly after the satire, in the Epilogue to the Satires. A more disagreeable affair at the moment was the description, in the Epistle on Taste, of Canons, the splendid seat of the Duke of Chandos. Chandos, being still alive, resented the attack, and Pope had not the courage to avow his meaning, which might in that case have been justifiable. He declared to Burlington (to whom the epistle was addressed), and to Chandos, that he had not intended Canons, and tried to make peace by saying in another epistle that "gracious Chandos is beloved at sight." This exculpation, says Johnson, was received by the duke "with great magnanimity, as by a man who accepted his excuse, without believing his professions." Nobody, in fact, believed, and even Warburton let out the secret by a comic oversight. Pope had prophesied in his poem that another age would see the destruction of "Timon's Villa," when laughing Ceres would reassume the land. Had he lived three years longer, said Warburton in a note, Pope would have seen his prophecy fulfilled, namely, by the destruction of Canons. The note was corrected, but the admission that Canons belonged to Timon had been made.
To such accusations Pope had a general answer. He described the type, not the individual. The fault was with the public, who chose to fit the cap. His friend remonstrates in the Epilogue against his personal satire. "Come on, then, Satire, general, unconfined," exclaims the poet,
*****
Ye reverend atheists. (Friend) Scandal! name them! who?
(Pope) Why, that's the thing you bade me not to do.
Who starved a sister, who forswore a debt,
I never named; the town's inquiring yet.
The pois'ning dame— (F.) You mean— (P.) I don't.
(F.) You do.
(P.) See, now, I keep the secret, and not you!
It must in fact be admitted that from the purely artistic point of view, Pope is right. Prosaic commentators are always asking, Who is meant by a poet, as though a poem were a legal document. It may be interesting, for various purposes, to know who was in the writer's mind, or what fact suggested the general picture. But we have no right to look outside the poem itself, or to infer anything not within the four corners of the statement. It matters not for such purposes whether there was, or was not, any real person corresponding to Sir Balaam, to whom his wife said, when he was enriched by Cornish wreckers, "live like yourself,"
in place of the previous one on Sabbath days. Nor does it even matter whether Atticus meant Addison, or Sappho Lady Mary. The satire is equally good, whether its objects are mere names or realities.
But the moral question is quite distinct. In that case we must ask whether Pope used words calculated or intended to fix an imputation upon particular people. Whether he did it in prose or verse, the offence was the same. In many cases he gives real names, and in many others gives unmistakable indications, which must have fixed his satire to particular people. If he had written Addison for Atticus (as he did at first), or Lady Mary for Sappho, or Halifax for Bufo, the insinuation could not have been clearer. His attempt to evade his responsibility was a mere equivocation—a device which he seems to have preferred to direct lying. The character of Bufo might be equally suitable to others; but no reasonable man could doubt that every one would fix it upon Halifax. In some cases—possibly in that of Chandos—he may have thought that his language was too general to apply, and occasionally it seems that he sometimes tried to evade consequences by adding some inconsistent characteristic to his portraits.
I say this, because I am here forced to notice the worst of all the imputations upon Pope's character. The epistle on the characters of women now includes the famous lines on Atossa, which did not appear till after Pope's death.[4] They were (in 1746) at once applied to the famous Sarah, Duchess of Marlborough; and a story immediately became current that the duchess had paid Pope 1000l. to suppress them, but that he preserved them, with a view to their ultimate publication. This story was repeated by Warton and by Walpole; it has been accepted by Mr. Carruthers, who suggests, by way of palliation, that Pope was desirous at the time of providing for Martha Blount, and probably took the sum in order to buy an annuity for her. Now, if the story were proved, it must be admitted that it would reveal a baseness in Pope which would be worthy only of the lowest and most venal literary marauders. No more disgraceful imputation could have been made upon Curll, or Curll's miserable dependents. A man who could so prostitute his talents must have been utterly vile. Pope has sins enough to answer for; but his other meannesses were either sacrifices to his morbid vanity, or (like his offence against Swift, or his lies to Aaron Hill and Chandos) collateral results of spasmodic attempts to escape from humiliation. In money-matters he seems to have been generally independent. He refused gifts from his rich friends, and confuted the rather similar calumny that he had received 500l. from the Duke of Chandos. If the account rested upon mere contemporary scandal, we might reject it on the ground of its inconsistency with his known character, and its likeness to other fabrications of his enemies. There is, however, further evidence. It is such evidence as would, at most, justify a verdict of "not proven" in a court of justice. But the critic is not bound by legal rules, and has to say what is the most probable solution, without fear or favour.
I cannot here go into the minute details. This much, however, may be taken as established. Pope was printing a new edition of his works at the time of his death. He had just distributed to his friends some copies of the Ethic Epistles, and in those copies the Atossa appeared. Bolingbroke, to whom Pope had left his unpublished papers, discovered it, and immediately identified it with the duchess, who (it must be noticed) was still alive. He wrote to Marchmont, one of Pope's executors, that there could be "no excuse for Pope's design of publishing it after the favour you and I know." This is further explained by a note added in pencil by Marchmont's executor, "1000l;" and the son of this executor, who published the Marchmont papers, says that this was the favour received by Pope from the duchess. This, however, is far from proving a direct bribe. It is, in fact, hardly conceivable that the duchess and Pope should have made such a bargain in direct black and white, and equally inconceivable that two men like Bolingbroke and Marchmont should have been privy to such a transaction, and spoken of it in such terms. Bolingbroke thinks that the favour received laid Pope under an obligation, but evidently does not think that it implied a contract. Mr. Dilke has further pointed out that there are many touches in the character which distinctly apply to the Duchess of Buckingham, with whom Pope had certainly quarrelled, and which will not apply to the Duchess of Marlborough, who had undoubtedly made friends with him during the last years of his life. Walpole again tells a story, partly confirmed by Warton, that Pope had shown the character to each duchess (Warton says only to Marlborough), saying that it was meant for the other. The Duchess of Buckingham, he says, believed him; the other had more sense and paid him 1000l. to suppress it. Walpole is no trustworthy authority; but the coincidence implies at least that such a story was soon current.
The most probable solution must conform to these data. Pope's Atossa was a portrait which would fit either lady, though it would be naturally applied to the most famous. It seems certain also that Pope had received some favours (possibly the 1000l. on some occasion unknown) from the Duchess of Marlborough, which was felt by his friends to make any attack upon her unjustifiable: We can scarcely believe that there should have been a direct compact of the kind described. If Pope had been a person of duly sensitive conscience he would have suppressed his work. But to suppress anything that he had written, and especially a passage so carefully laboured, was always agony to him. He preferred, as we may perhaps conjecture, to settle in his own mind that it would fit the Duchess of Buckingham, and possibly introduced some of the touches to which Mr. Dilke refers. He thought it sufficiently disguised to be willing to publish it whilst the person with whom it was naturally identified was still alive. Had she complained, he would have relied upon those touches, and have equivocated as he equivocated to Hill and Chandos. He always seems to have fancied that he could conceal himself by very thin disguises. But he ought to have known, and perhaps did know, that it would be immediately applied to the person who had conferred an obligation. From that guilt no hypothesis can relieve him; but it is certainly not proved, and seems, on the whole, improbable that he was so base as the concessions of his biographers would indicate.
- ↑ Spence, pp. 16, 48, 137, 315.
- ↑ To take an obviously uncertain test, I find that in Bartlett's dictionary of familiar quotations, Shakspeare fills 70 pages; Milton, 23; Pope, 18; Wordsworth, 16; and Byron, 15. The rest are nowhere.
- ↑ Roscoe's attempt at a denial was conclusively answered by Bowles in one of his pamphlets.
- ↑ On this subject Mr. Dilke's Papers of a Critic.