10 S. XI. JAK. 23, 1909.] X( )TES AND QUERIES.
LOXDON, SATURDAY, JANUARY 1-3, 1009.
CONTENTS. No. 265.
NOTES : Pope's ' Atticus,' 61 Dodsley's Collection of Poetry, 62 Tooke and Halley Families, 64 Presentation Copy of Burton's 'Anatomy' -"Cummerbund" Essex Martyrs' Memorial "Raised Hamlet on them," 65 Thimbles Lady Honoria Howard "To Rub" at Cards- Great Britain: Early Reference "Shoe," 66 John of Cronstadt 'Jane Eyre' and Minerva Lane, 67.
QUERIES : Edward Kemp, Landscape Gardener Old Trinity House, Worcester Grindleton, 67 Wentworth of Pontefract Sir Samuel Morland Sanderson of Great Bradley, 63 Major VV. Lawlor Blancher of Hull Thomas Bainbridge Clement's Inn Knocker' The Mil- lennial Star ' Essex's Irish Campaign Scottish Law Case Third Foot Guards at Bayonne, 69 Sir Patrick Houston Oxen drawing Carriages Egg good in Parts Malcolm Fleming and the King Waddington Place-Name, 70.
REPLIES : Nicholas Breakspear, Pope Adrian IV., 70 Christmas Day and Lady Day" Christmas Pig" "The Wooset," 71 Orkney Hogmanay Song Befana : Epiphany ' Folkestone Fiery Serpent ' Leg growing after Death Freeholders in the Time of Elizabeth Cockburnspath, 72 Italian Genealogy Abbe deLubersac Ships renamed after the Restoration Capt. Rutherford at Trafalgar, 73 Pierrepont's Refuge Sir H. Walker: Boyne Man-of- War Bruges : its Pronunciation, 74 Surnames ending in -nell Pimlicp : Eyebright, 75 Hynmers of New Inn Index Saying Mendez Pinto, 76 "Y-called": " Y-coled" "Proxege and Senage " Rod of Brickwork Card Terms, 77 Dr. Edward Young Genealogical Cir- culating Library Phillis Wheatley and her Poems, 78.
TTOTES ON BOOKS : Hilton Price on Old Base Metal Spoons 'The Nun Ensign' ' Interme'diaire.'
POPE'S 'ATTICUS.'
IN his essay on Pope, which appears in vol. xv. of the " Author's Edition " of his collected works, De Quincey makes some good play with the so-called " correctness " of the poet. After pointing out that the notion as to this distinctive quality was " first started by Walsh and propagated by Warton," the critic takes up the definite position that " it is not from superior correct- ness that Pope is esteemed more correct, but because the compass and sweep of his performances lie more within the range of ordinary judgments." Then, after discuss- ing what may probably be included under the term " correctness," he categorically affirms " that Pope is not distinguished by correctness ; nay, that, as compared with Shakspeare, he is eminently incorrect." Admitting that in Shakespeare there may be minor defects, every one of which, however, " will always be found irrelevant to the main central thought, or to its expression," he proceeds to elaborate the case against Pope in these characteristic terms :
"Now turn to Pope; the first striking passage which offers itself to our memory is the famous character of Addison, ending thus :
Who would not laugh, if such a man there be,
Who but must weep if Atticus were he ?
Why must we laugh ? Because we find a grotesque
assembly of noble and ignoble qualities. Very well ;
but why, then, must we weep ? Because this assem-
blage is found actually existing in a man of genius.
Well, that is a good reason for weeping ; we weep
for the degradation of human nature. But then
revolves the question, Why must we laugh?
Because, if the belonging to a man of genius were a
sufficient reason for weeping, so much we know
from the very first. The very first line says, ' Peace
to all such. But were there one whose fires true
genius kindles and fair fame inspires.' Thus falls to
the ground the whole antithesis of this famous
character. We are to change our mood from
laughter to tears upon a sudden discovery that the
character belonged to a man of genius ; and this we
had already known from the beginning."
Probably quoting from memory, in the manner characteristic of him, De Quincey transposes the two chief clauses in the culminating couplet of the picture. There is a profound and radical difference between the significance of the double appeal made by the poet and that in the presentment offered by his critic. What Pope asks is, " Who but must laugh ? " the query in- dicating that every student, even every mere observer, of human character will be unable to refrain from merriment over such a fantastic product as the hypothetical delinea- tion brings under his purview. He will laugh, the poet suggests, in spite of himself, because he will consider such a personality as that submitted for his criticism at once abnormal, chimerical, and ridiculous. Such a heterogeneous composite in mortal form the world never witnessed before, and the mere statement of its absurd totality may be expected to receive no serious attention, but simply to provoke Homeric laughter. The very contradiction that such incon- gruous qualities as those conjoined in the sketch offer to the high purpose and the serene dignity associated with genius, is sufficient to preclude every form of appre- ciation except that which spontaneously and joyfully hails a phantasmal flight or the production of a gorgeous caricature. We laugh at the impossible but diverting ab- straction, not because we will, but simply from sheer inability to restrain our mirth. Then, suddenly, we are brought up with a shock, and made to perceive that, from our preconceptions and prejudices, we have somewhat prematurely indulged our hilarity. This is all very well, the poet seems to say, and absolutely in keeping with amiable convention ; but even a constant com- panion and most intimate friend may fail to know all the secrets of a man's character. What would be said if I were to assure you that one known to yourselves, and respected
