Lives of the English Poets : Prior, Congreve, Blackmore, Pope Part 11

The copious notes with which the version is accompanied, and by which it is recommended to many readers, though they were undoubtedly written to swell the volumes, ought not to pa.s.s without praise: commentaries which attract the reader by the pleasure of perusal have not often appeared; the notes of others are read to clear difficulties; those of Pope to vary entertainment. It has, however, been objected, with sufficient reason, that there is in the commentary too much of unseasonable levity and affected gaiety; that too many appeals are made to the ladies, and the ease which is so carefully preserved is sometimes the ease of a trifler. Every art has its terms, and every kind of instruction its proper style; the gravity of common critics may be tedious, but is less despicable than childish merriment.

Of the "Odyssey" nothing remains to be observed; the same general praise may be given to both translations, and a particular examination of either would require a large volume. The notes were written by Broome, who endeavoured, not unsuccessfully, to imitate his master.

Of the "Dunciad" the hint is confessedly taken from Dryden's "Mac Flecknoe;" but the plan is so enlarged and diversified as justly to claim the praise of an original, and affords the best specimen that has yet appeared of personal satire ludicrously pompous. That the design was moral, whatever the author might tell either his readers or himself, I am not convinced. The first motive was the desire of revenging the contempt with which Theobald had treated his Shakspeare, and regaining the honour which he had lost, by crus.h.i.+ng his opponent. Theobald was not of bulk enough to fill a poem, and therefore it was necessary to find other enemies with other names, at whose expense he might divert the public.

In this design there was petulance and malignity enough; but I cannot think it very criminal. An author places himself uncalled before the tribunal of criticism, and solicits fame at the hazard of disgrace. Dulness or deformity are not culpable in themselves, but may be very justly reproached when they pretend to the honour of wit or the influence of beauty. If bad writers were to pa.s.s without reprehension, what should restrain them? impune diem consumpserit ingens Telephus; and upon bad writers only will censure have much effect. The satire which brought Theobald and Moore into contempt dropped impotent from Bentley, like the javelin of Priam. All truth is valuable, and satirical criticism may be considered as useful when it rectifies error and improves judgment; he that refines the public taste is a public benefactor. The beauties of this poem are well known; its chief fault is the grossness of its images. Pope and Swift had an unnatural delight in ideas physically impure, such as every other tongue utters with unwillingness, and of which every ear shrinks from the mention. But even this fault, offensive as it is, may be forgiven for the excellence of other pa.s.sages; such as the formation and dissolution of Moore, the account of the Traveller, the misfortune of the Florist, and the crowded thoughts and stately numbers which dignify the concluding paragraph. The alterations which have been made in the "Dunciad," not always for the better, require that it should be published, as in the present collection, with all its variations.

The "Essay on Man" was a work of great labour and long consideration, but certainly not the happiest of Pope's performances. The subject is perhaps not very proper for poetry; and the poet was not sufficiently master of his subject; metaphysical morality was to him a new study; he was proud of his acquisitions, and, supposing himself master of great secrets, was in haste to teach what he had not learned. Thus he tells us, in the first Epistle, that from the nature of the Supreme Being may be deduced an order of beings such as mankind, because infinite excellence can do only what is best. He finds out that these beings must be "somewhere;" and that "all the question is, whether man be in a wrong place." Surely if, according to the poet's Leibnitzian reasoning, we may infer that man ought to be, only because he is, we may allow that his place is the right place, because he has it.

Supreme Wisdom is not less infallible in disposing than in creating.

But what is meant by SOMEWHERE, and PLACE, and WRONG PIECE, it had been in vain to ask Pope, who probably had never asked himself.

Having exalted himself into the chair of wisdom, he tells us much that every man knows, and much that he does not know himself; that we see but little, and that the order of the universe is beyond our comprehension; an opinion not very uncommon; and that there is a chain of subordinate beings "from infinite to nothing," of which himself and his readers are equally ignorant. But he gives us one comfort, which without his help he supposes unattainable, in the position "that though we are fools, yet G.o.d is wise."

This essay affords an egregious instance of the predominance of genius, the dazzling splendour of imagery, and the seductive powers of eloquence. Never was penury of knowledge and vulgarity of sentiment so happily disguised. The reader feels his mind full, though he learns nothing; and, when he meets it in its new array, no longer knows the talk of his mother and his nurse. When these wonder-working sounds sink into sense, and the doctrine of the essay, disrobed of its ornaments, is left to the powers of its naked excellence, what shall we discover? That we are, in comparison with our Creator, very weak and ignorant; that we do not uphold the chain of existence; and that we could not make one another with more skill than we are made. We may learn yet more that the arts of human life were copied from the instinctive operations of other animals; that if the world be made for man, it may be said that man was made for geese. To these profound principles of natural knowledge are added some moral instructions equally new; that self-interest, well understood, will produce social concord; that men are mutual gainers by mutual benefits; that evil is sometimes balanced by good; that human advantages are unstable and fallacious, of uncertain duration and doubtful effect; that our true honour is not to have a great part, but to act it well; that virtue only is our own; and that happiness is always in our power. Surely a man of no very comprehensive search may venture to say that he has heard all this before; but it was never till now recommended by such a blaze of embellishments, or such sweetness of melody. The vigorous contraction of some thoughts, the luxuriant amplification of others, the incidental ill.u.s.trations, and sometimes the dignity, sometimes the softness of the verses, enchain philosophy, suspend criticism, and oppress judgment by overpowering pleasure. This is true of many paragraphs; yet, if I had undertaken to exemplify Pope's felicity of composition before a rigid critic, I should not select the "Essay on Man;" for it contains more lines unsuccessfully laboured, more harshness of diction, and more thoughts imperfectly expressed, more levity without elegance, and more heaviness without strength, than will easily be found in all his other works.

The "Characters of Men and Women" are the product of diligent speculation upon human life; much labour has been bestowed upon them, and Pope very seldom laboured in vain. That his excellence may be properly estimated, I recommend a comparison of his "Characters of Women" with Boileau's Satire; it will then be seen with how much more perspicacity female nature is investigated, and female excellence selected; and he surely is no mean writer to whom Boileau should be found inferior. The "Characters of Men," however, are written with more, if not with deeper, thought, and exhibit many pa.s.sages exquisitely beautiful. The "Gem and the Flower" will not easily be equalled. In the women's part are some defects; the character of Atossa is not so neatly finished as that of Clodio, and some of the female characters may be found, perhaps, more frequently among men; what is said of Philomede was true of Prior.

In the Epistles to Lord Bathurst and Lord Burlington, Dr. Warburton has endeavoured to find a train of thought which was never in the writer's head, and, to support his hypothesis, has printed that first which was published last. In one the most valuable pa.s.sage is perhaps the Elegy on Good Sense, and the other the end of the Duke of Buckingham.

The Epistle to Arbuthnot, now arbitrarily called the "Prologue to the Satires," is a performance consisting, as it seems, of many fragments wrought into one design, which, by this union of scattered beauties, contains more striking paragraphs than could probably have been brought together into an occasional work. As there is no stronger motive to exertion than self-defence, no part has more elegance, spirit, or dignity, than the poet's vindication of his own character. The meanest pa.s.sage is the satire upon Sporus.

Of the two poems which derived their names from the year, and which are called the "Epilogue to the Satires," it was very justly remarked by Savage that the second was in the whole more strongly conceived, and more equally supported, but that it had no single pa.s.sages equal to the contention in the first for the dignity of Vice and the celebration of the triumph of Corruption.

The "Imitations of Horace" seem to have been written as relaxations of his genius. This employment became his favourite by its facility; the plan was ready to his hand, and nothing was required but to accommodate as he could the sentiments of an old author to recent facts or familiar images; but what is easy is seldom excellent. Such imitations cannot give pleasure to common readers; the man of learning may be sometimes surprised and delighted by an unexpected parallel, but the comparison requires knowledge of the original, which will likewise often detect strained applications.

Between Roman images and English manners there will be an irreconcilable dissimilitude, and the works will be generally uncouth and parti-coloured, neither original nor translated, neither ancient nor modern.

Pope had, in proportions very nicely adjusted to each other, all the qualities that const.i.tute genius. He had INTENTION, by which new trains of events are formed and new scenes of imagery displayed, as in the "Rape of the Lock," and by which extrinsic and advent.i.tious embellishments and ill.u.s.trations are connected with a known subject, as in the "Essay on Criticism." He had IMAGINATION, which strongly impresses on the writer's mind, and enables him to convey to the reader the various forms of nature, incidents of life, and energies of pa.s.sion, as in his "Eloisa," "Windsor Forest," and "Ethic Epistles." He had JUDGMENT, which selects from life or Nature what the present purpose requires, and by separating the essence of things from its concomitants, often makes the representation more powerful than the reality; and he had colours of language always before him, ready to decorate his matter with every grace of elegant expression, as when he accommodates his diction to the wonderful multiplicity of Homer's sentiments and descriptions.

Poetical expression includes sound as well as meaning. "Music,"

says Dryden, "is inarticulate poetry;" among the excellences of Pope, therefore, must be mentioned the melody of his metre. By perusing the works of Dryden, he discovered the most perfect fabric of English verse, and habituated himself to that only which he found the best; in consequence of which restraint his poetry has been censured as too uniformly musical, and as glutting the ear with unvaried sweetness. I suspect this objection to be the cant of those who judge by principles rather than perception, and who would even themselves have less pleasure in his works if he had tried to relieve attention by studied discords, or affected to break his lines and vary his pauses. But though he was thus careful of his versification, he did not oppress his powers with superfluous rigour. He seems to have thought with Boileau that the practice of writing might be refined till the difficulty should overbalance the advantage. The construction of the language is not always strictly grammatical; with those rhymes which prescription had conjoined he contented himself, without regard to Swift's remonstrances, though there was no striking consonance, nor was he very careful to vary his terminations or to refuse admission, at a small distance, to the same rhymes. To Swift's edict for the exclusion of alexandrines and triplets he paid little regard; he admitted them, but, in the opinion of Fenton, too rarely; he uses them more liberally in his translation than his poems. He has a few double rhymes, and always, I think, unsuccessfully, except once in the "Rape of the Lock."

Expletives he very early ejected from his verses, but he now and then admits an epithet rather commodious than important. Each of the six first lines of the "Iliad" might lose two syllables with very little diminution of the meaning, and sometimes, after all his art and labour, one verse seems to be made for the sake of another.

In his latter productions the diction is sometimes vitiated by French idioms, with which Bolingbroke had perhaps infected him.

I have been told that the couplet by which he declared his own ear to be most gratified was this:-

"Lo, where Maeotis sleeps, and hardly flows The freezing Tanais through a waste of snows."

But the reason of this preference I cannot discover.

It is remarked by Watts that there is scarcely a happy combination of words, or a phrase poetically elegant in the English language, which Pope has not inserted into his version of Homer. How he obtained possession of so many beauties of speech it were desirable to know. That he gleaned from authors, obscure as well as eminent, what he thought brilliant or useful, and preserved it all in a regular collection, is not unlikely. When, in his last years, Hall's "Satires" were shown him, he wished that he had seen them sooner. New sentiments and new images others may produce; but to attempt any further improvement of versification will be dangerous.

Art and diligence have now done their best, and what shall be added will be the effort of tedious toil and needless curiosity. After all this, it is surely superfluous to answer the question that has once been asked, Whether Pope was a poet, otherwise than by asking in return, If Pope be not a poet, where is poetry to be found? To circ.u.mscribe poetry by a definition will only show the narrowness of the definer, though a definition which shall exclude Pope will not easily be made. Let us look round upon the present time and back upon the past; let us inquire to whom the voice of mankind has decreed the wreath of poetry; let their productions be examined, and their claims stated, and the pretensions of Pope will be no more disputed. Had he given the world only his version, the name of poet must have been allowed him: if the writer of the "Iliad" were to cla.s.s his successors he would a.s.sign a very high place to his translator, without requiring any other evidence of genius.

The following letter, of which the original is in the hands of Lord Hardwicke, was communicated to me by the kindness of Mr. Jodrell:-

"To MR. BRIDGES, at the Bishop of London's, at Fulham.

"SIR,--The favour of your letter, with your remarks, can never be enough acknowledged, and the speed with which you discharged so troublesome a task doubles the obligation.

"I must own you have pleased me very much by the commendations so ill bestowed upon me; but I a.s.sure you, much more by the frankness of your censure, which I ought to take the more kindly of the two, as it is more advantage to a scribbler to be improved in his judgment than to be smoothed in his vanity. The greater part of those deviations from the Greek which you have observed I was led into by Chapman and Hobbes; who are, it seems, as much celebrated for their knowledge of the original as they are decried for the badness of their translations. Chapman pretends to have restored the genuine sense of the author from the mistakes of all former explainers in several hundred places; and the Cambridge editors of the large Homer, in Greek and Latin, attributed so much to Hobbes, that they confess they have corrected the old Latin interpretation very often by his version. For my part, I generally took the author's meaning to be as you have explained it; yet their authority, joined to the knowledge of my own imperfectness in the language, overruled me. However, sir, you may be confident, I think you in the right, because you happen to be of my opinion; for men (let them say what they will) never approve any other's sense but as it squares with their own. But you have made me much more proud of and positive in my judgment, since it is strengthened by yours. I think your criticisms which regard the expression very just, and shall make my profit of them; to give you some proof that I am in earnest, I will alter three verses on your bare objection, though I have Mr. Dryden's example for each of them. And this, I hope, you will account no small piece of obedience, from one who values the authority of one true poet above that of twenty critics or commentators. But, though I speak thus of commentators, I will continue to read carefully all I can procure, to make up that way for my own want of critical understanding in the original beauties of Homer. Though the greatest of them are certainly those of invention and design, which are not at all confined to the language; for the distinguis.h.i.+ng excellences of Homer are (by the consent of the best critics of all nations), first in the manners (which include all the speeches, as being no other than the representations of each person's manners by his words): and then in that rapture and fire, which carries you away with him, with that wonderful force, that no man who has a true poetical spirit is master of himself while he reads him. Homer makes you interested and concerned before you are aware, all at once, where Virgil does it by soft degrees. This, I believe, is what a translator of Homer ought princ.i.p.ally to imitate; and it is very hard for any translator to come up to it, because the chief reason why all translations fall short of their originals is, that the very constraint they are obliged to renders them heavy and dispirited.

"The great beauty of Homer's language, as I take it, consists in that n.o.ble simplicity which runs through all his works (and yet his diction, contrary to what one would imagine consistent with simplicity, is at the same time very copious). I don't know how I have run into this pedantry in a letter, but I find I have said too much, as well as spoken too inconsiderately; what farther thoughts I have upon this subject I shall be glad to communicate to you (for my own improvement) when we meet, which is a happiness I very earnestly desire, as I do likewise some opportunity of proving how much I think myself obliged to your friends.h.i.+p, and how truly I am, sir,

"Your most faithful humble servant,

"A. POPE."

The criticism upon Pope's Epitaphs, which was printed in "The Universal Visitor," is placed here, being too minute and particular to be inserted in the Life.

Every art is best taught by example. Nothing contributes more to the cultivation of propriety than remarks on the works of those who have most excelled. I shall therefore endeavour at this VISIT to entertain the young students in poetry with an examination of Pope's Epitaphs.

To define an epitaph is useless; every one knows that it is an inscription on a tomb. An epitaph, therefore, implies no particular character of writing, but may be composed in verse or prose. It is, indeed, commonly panegyrical, because we are seldom distinguished with a stone but by our friends; but it has no rule to restrain or mollify it except this, that it ought not to be longer than common beholders may be expected to have leisure and patience to peruse.

On CHARLES Earl of DORSET, in the church of Wythyham in Suss.e.x.

Dorset, the grace of courts, the Muse's pride, Patron of arts, and judge of nature, died.

The scourge of pride, though sanctified or great, Of fops in learning, and of knaves in state; Yet soft in nature, though severe his lay, His anger moral, and his wisdom gay.

Blest satirist! who touched the means so true, As showed Vice had his hate and pity too.

Blest courtier! who could king and country please, Yet sacred kept his friends.h.i.+p and his ease.

Blest peer! his great forefathers' every grace Reflecting, and reflected on his race; Where other Buckhursts, other Dorsets s.h.i.+ne, And patriots still, or pests, deck the line.

The first distich of this epitaph contains a kind of information which few would want, that the man for whom the tomb was erected DIED. There are indeed some qualities worthy of the praise ascribed to the dead, but none that were likely to exempt him from the lot of man, or incline us much to wonder that he should die. What is meant by "judge of nature" is not easy to say. Nature is not the object of human judgment; for it is in vain to judge where we cannot alter.

If by nature is meant what is commonly called NATURE by the critics, a just representation of things really existing, and actions really performed, nature cannot be properly opposed to ART; nature being, in this sense, only the best effect of ART.

The scourge of pride -

Of this couplet the second line is not what is intended, an ill.u.s.tration of the former. PRIDE in the GREAT, is indeed well enough connected with knaves in state, though KNAVES is a word rather too ludicrous and light; but the mention of SANCTIFIED pride will not lead the thoughts to FOPS IN LEARNING, but rather to some species of tyranny or oppression, something more gloomy and more formidable than foppery.

Yet soft his nature -

This is a high compliment, but was not first bestowed on Dorset by Pope. The next verse is extremely beautiful.

Blest satirist! -

In this distich is another line of which Pope was not the author. I do not mean to blame these imitations with much harshness; in long performances they are scarcely to be avoided, and in shorter they may be indulged, because the train of the composition may naturally involve them, or the scantiness of the subject allow little choice.

However, what is borrowed is not to be enjoyed as our own, and it is the business of critical justice to give every bird of the Muses his proper feather.