Pope -- Part 1

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_ Alexander Pope was born in London, May 22, 1688, of parents whose rank or station was never ascertained: we are informed that they were of "gentle blood;" that his father was of a family of which the Earl of Downe was the head, and that his mother was the daughter of William Turner, Esquire, of York, who had likewise three sons, one of whom had the honour of being killed, and the other of dying, in the service of Charles the First; the third was made a general officer in Spain, from whom the sister inherited what sequestrations and forfeitures had left in the family. This, and this only, is told by Pope, who is more willing, as I have heard observed, to show what his father was not, than what he was. It is allowed that he grew rich by trade; but whether in a shop or on the Exchange was never discovered till Mr. Tyers told, on the authority of Mrs. Racket, that he was a linendraper in the Strand. Both parents were Papists.

Pope was from his birth of a constitution tender and delicate, but is said to have shown remarkable gentleness and sweetness of disposition. The weakness of his body continued through his life, but the mildness of his mind perhaps ended with his childhood. His voice when he was young was so pleasing, that he was called in fondness "The Little Nightingale."

Being not sent early to school, he was taught to read by an aunt; and, when he was seven or eight years old, became a lover of books. He first learned to write by imitating printed books, a species of penmanship in which he retained great excellence through his whole life, though his ordinary hand was not elegant. When he was about eight he was placed in Hampshire, under Taverner, a Romish priest, who, by a method very rarely practised, taught him the Greek and Latin rudiments together. He was now first regularly initiated in poetry by the perusal of "Ogilby's Homer" and "Sandys' Ovid." Ogilby's assistance he never repaid with any praise; but of Sandys he declared, in his notes to the "Iliad," that English poetry owed much of its beauty to his translations. Sandys very rarely attempted original composition.

From the care of Taverner, under whom his proficiency was considerable, he was removed to a school at Twyford, near Winchester, and again to another school about Hyde Park Corner, from which he used sometimes to stroll to the play-hones, and was so delighted with theatrical exhibitions, that he formed a kind of play from "Ogilby's Iliad," with some verses of his own intermixed, which he persuaded his schoolfellows to act, with the addition of his master's gardener, who personated Ajax.

At the two last schools he used to represent himself as having lost part of what Taverner had taught him, and on his master at Twyford he had already exercised his poetry in a lampoon. Yet under those masters he translated more than a fourth part of the "Metamorphoses." If he kept the same proportion in his other exercises, it cannot be thought that his loss was great. He tells of himself, in his poems, that "he lisped in numbers;" and used to say that he could not remember the time when he began to make verses. In the style of fiction, it might have been said of him, as of Pindar, that when he lay in his cradle "the bees swarmed about his mouth."

About the time of the Revolution his father, who was undoubtedly disappointed by the sudden blast of Popish prosperity, quitted his trade, and retired to Binfield, in Windsor Forest, with about twenty thousand pounds, for which, being conscientiously determined not to entrust it to the Government, he found no better use than that of locking it up in a chest, and taking from it what his expenses required; and his life was long enough to consume a great part of it before his son came to the inheritance.

To Binfield Pope was called by his father when he was about twelve years old, and there he had for a few months the assistance of one Deane, another priest, of whom he learned only to construe a little of "Tully's Offices." How Mr. Deane could spend with a boy who had translated so much of "Ovid" some months over a small part of "Tully's Offices," it is now vain to inquire. Of a youth so successfully employed, and so conspicuously improved, a minute account must be naturally desired; but curiosity must be contented with confused, imperfect, and sometimes improbable intelligence. Pope, finding little advantage from external help, resolved thenceforward to direct himself, and at twelve formed a plan of study, which he completed with little other incitement than the desire of excellence. His primary and principal purpose was to be a poet, with which his father accidentally concurred by proposing subjects and obliging him to correct his performances by many revisals, after which the old gentleman, when he was satisfied, would say, "These are good rhymes." In his perusal of the English poets he soon distinguished the versification of Dryden, which he considered as the model to be studied, and was impressed with such veneration for his instructor, that he persuaded some friends to take him to the coffee-house which Dryden frequented, and pleased himself with having seen him.

Dryden died May 1, 1701, some days before Pope was twelve; so early must he therefore have felt the power of harmony, and the zeal of genius. Who does not wish that Dryden could have known the value of the homage that was paid him, and foreseen the greatness of his young admirer?

The earliest of Pope's productions is his "Ode on Solitude," written before he was twelve, in which there is nothing more than other forward boys have attained, and which is not equal to Cowley's performance at the same age. His time was now wholly spent in reading and writing. As he read the classics he amused himself with translating them, and at fourteen made a version of the first book of the "Thebais," which, with some revision, he afterwards published. He must have been at this time, if he had no help, a considerable proficient in the Latin tongue.

By Dryden's fables, which had then been not long published, and were much in the hands of poetical readers, he was tempted to try his own skill in giving Chaucer a more fashionable appearance, and put "January and May" and the "Prologue of the Wife of Bath" into modern English. He translated likewise the Epistle of "Sappho to Phaon" from Ovid, to complete the version, which was before imperfect, and wrote some other small pieces, which he afterwards printed. He sometimes imitated the English poets, and professed to have written at fourteen his poem upon "Silence," after Rochester's "Nothing." He had now formed his versification, and the smoothness of his numbers surpassed his original; but this is a small part of his praise; he discovers such acquaintance both with human life and public affairs as is not easily conceived to have been attainable by a boy of fourteen in Windsor Forest.

Next year he was desirous of opening to himself new sources of knowledge, by making himself acquainted with modern languages, and removed for a time to London, that he might study French and Italian, which, as he desired nothing more than to read them, were by diligent application soon despatched. Of Italian learning he does not appear to have ever made much use in his subsequent studies. He then returned to Binfield, and delighted himself with his own poetry. He tried all styles, and many subjects. He wrote a comedy, a tragedy, an epic poem, with panegyrics on all the princes of Europe; and, as he confesses, "thought himself the greatest genius that ever was." Self-confidence is the first requisite to great undertakings. He, indeed, who forms his opinion of himself in solitude, without knowing the powers of other men, is very liable to error; but it was the felicity of Pope to rate himself at his real value. Most of his puerile productions were, by his maturer judgment, afterwards destroyed. "Alcander," the epic poem, was burnt by the persuasion of Atterbury. The tragedy was founded on the legend of St. Genevieve. Of the comedy there is no account. Concerning his studies, it is related that he translated "Tully on Old Age," and that, besides his books of poetry and criticisms, he read "Temple's Essays" and "Locke on Human Understanding." His reading, though his favourite authors are not known, appears to have been sufficiently extensive and multifarious, for his early pieces show with sufficient evidence his knowledge of books. He that is pleased with himself easily imagines that he shall please others. Sir William Trumbull, who had been Ambassador at Constantinople, and Secretary of State, when he retired from business, fixed his residence in the neighbourhood of Binfield. Pope, not yet sixteen, was introduced to the statesman of sixty, and so distinguished himself that their interviews ended in friendship and correspondence. Pope was, through his whole life, ambitious of splendid acquaintance; and he seems to have wanted neither diligence nor success in attracting the notice of the great, for, from his first entrance into the world, and his entrance was very early, he was admitted to familiarity with those whose rank or station made them most conspicuous.

From the age of sixteen the life of Pope, as an author, may be properly computed. He now wrote his pastorals, which were shown to the poets and critics of that time. As they well deserved, they were read with admiration, and many praises were bestowed upon them and upon the preface, which is both elegant and learned in a high degree; they were, however, not published till five years afterwards.

Cowley, Milton, and Pope are distinguished among the English poets by the early exertion of their powers, but the works of Cowley alone were published in his childhood, and, therefore, of him only can it be certain that his puerile performances received no improvement from his maturer studies.

At this time began his acquaintance with Wycherley, a man who seems to have had among his contemporaries his full share of reputation, to have been esteemed without virtue, and caressed without good humour. Pope was proud of his notice. Wycherley wrote verses in his praise, which he was charged by Dennis with writing to himself, and they agreed for a while to flatter one another. It is pleasant to remark how soon Pope learned the cant of an author, and began to treat critics with contempt, though he had yet suffered nothing from them. But the fondness of Wycherley was too violent to last. His esteem of Pope was such that he submitted some poems to his revision, and when Pope, perhaps proud of such confidence, was sufficiently bold in his criticisms, and liberal in his alterations, the old scribbler was angry to see his pages defaced, and felt more pain from the detection than content from the amendment of his faults. They parted, but Pope always considered him with kindness, and visited him a little time before he died. Another of his early correspondents was Mr. Cromwell, of whom I have learned nothing particular, but that he used to ride a-hunting in a tie-wig. He was fond, and perhaps vain, of amusing himself with poetry and criticism, and sometimes sent his performances to Pope, who did not forbear such remarks as were now and then unwelcome. Pope, in his turn, put the juvenile version of "Statius" into his hands for correction. Their correspondence afforded the public its first knowledge of Pope's epistolary powers, for his letters were given by Cromwell to one Mrs. Thomas, and she many years afterwards sold them to Curll, who inserted them in a volume of his "Miscellanies."

Walsh, a name yet preserved among the minor poets, was one of his first encouragers. His regard was gained by the pastorals, and from him Pope received the counsel from which he seems to have regulated his studies. Walsh advised him to correctness, which, as he told him, the English poets had hitherto neglected, and which, therefore, was left to him as a basis of fame; and, being delighted with rural poems, recommended to him to write a pastoral comedy, like those which are read so eagerly in Italy, a design which Pope probably did not approve, as he did not follow it.

Pope had now declared himself a poet, and, thinking himself entitled to poetical conversation, began at seventeen to frequent Will's, a coffee-house on the north side of Russell Street, in Covent Garden, where the wits of that time used to assemble, and where Dryden had, when he lived, been accustomed to preside. During this period of his life he was indefatigably diligent and insatiably curious, wanting health for violent and money for expensive pleasures, and having excited in himself very strong desires of intellectual eminence, he spent much of his time over his books; but he read only to store his mind with facts and images, seizing all that his authors presented with undistinguishing voracity, and with an appetite for knowledge too eager to be nice. In a mind like his, however, all the faculties were at once involuntarily improving. Judgment is forced upon us by experience. He that reads many books must compare one opinion or one style with another; and, when he compares, must necessarily distinguish, reject, and prefer. But the account given by himself of his studies was, that from fourteen to twenty he read only for amusement, from twenty to twenty-seven for improvement and instruction; that in the first part of his time he desired only to know, and in the second he endeavoured to judge.

The Pastorals, which had been for some time handed about among poets and critics, were at last printed (1709) in Tonson's "Miscellany," in a volume which began with the Pastorals of Philips, and ended with those of Pope. The same year was written the "Essay on Criticism," a work which displays such extent of comprehension, such nicety of distinction, such acquaintance with mankind, and such knowledge both of ancient and modern learning, as are not often attained by the maturest age and longest experience. It was published about two years afterwards, and, being praised by Addison in the Spectator, with sufficient liberality, met with so much favour as enraged Dennis, "who," he says, "found himself attacked, without any manner of provocation on his side, and attacked in his person instead of his writings, by one who was wholly a stranger to him, at a time when all the world knew he was persecuted by fortune; and not only saw that this was attempted in a clandestine manner, with the utmost falsehood and calumny, but found that all this was done by a little, affected hypocrite, who had nothing in his mouth at the same time but truth, candour, friendship, good-nature, humanity, and magnanimity. How the attack was clandestine is not easily perceived, nor how his person is depreciated; but he seems to have known something of Pope's character, in whom may be discovered an appetite to talk too frequently of his own virtues. The pamphlet is such as rage might be expected to dictate. He supposes himself to be asked two questions; whether the essay will succeed, and who or what is the author.

Its success he admits to be secured by the false opinions then prevalent; the author he concludes to be "young and raw."

"First, because he discovers a sufficiency beyond his little ability, and hath rashly undertaken a task infinitely above his force. Secondly, while this little author struts and affects the dictatorian air, he plainly shows that at the same time he is under the rod: and, while he pretends to give laws to others, is a pedantic slave to authority and opinion. Thirdly, he hath, like schoolboys, borrowed both from living and dead. Fourthly, he knows not his own mind, and frequently contradicts himself. Fifthly, he is almost perpetually in the wrong."

All these positions he attempts to prove by quotations and remarks; but his desire to do mischief is greater than his power. He has, however, justly criticised some passages in these lines:-

"There are whom Heaven has blessed with store of wit,
Yet want as much again to manage it:
For wit and judgment ever are at strife--"

It is apparent that wit has two meanings, and that what is wanted, though called wit, is truly judgment. So far Dennis is undoubtedly right: but not content with argument, he will have a little mirth, and triumphs over the first couplet in terms too elegant to be forgotten. "By the way, what rare numbers are here! Would not one swear that this youngster had espoused some antiquated muse, who had sued out a divorce on account of impotence, from some superannuated sinner; and, having been p--d by her former spouse, has got the gout in her decrepit age, which makes her hobble so damnably?" This was the man who would reform a nation sinking into barbarity.

In another place Pope himself allowed that Dennis had detected one of those blunders which are called "bulls." The first edition had this line:-

"What is this wit -
Where wanted scorned; and envied where acquired?"

"How," says the critic, "can wit be scorned where it is not? Is not this a figure frequently employed in Hibernian land! The person that wants this wit may indeed be scorned, but the scorn shows the honour which the contemner has for wit." Of this remark Pope made the proper use, by correcting the passage.

I have preserved, I think, all that is reasonable in Dennis's criticism; it remains that justice be done to his delicacy. "For his acquaintance," says Dennis, "he names Mr. Walsh, who had by no means the qualification which this author reckons absolutely necessary to a critic, it being very certain that he was, like this essayer a very indifferent poet; he loved to be well dressed; and I remember a little young gentleman whom Mr. Walsh used to take into his company as a double foil to his person and capacity. Inquire between Sunning Hill and Oakingham, for a young, short, equal, gentleman, the very bow of the God of Love, and tell me whether he be a proper author to make personal reflections? He may extol the ancients, but he has reason to thank the gods that he was born a modern; for had he been born of Grecian parents, and his father consequently had by law had the absolute disposal of him, his life had been no longer than that of one of his poems, the life of half a day. Let the person of a gentleman of his parts be never so contemptible, his inward man is ten times more ridiculous; it being impossible that his outward form, though it be that of downright monkey, should differ so much from human shape as his unthinking, immaterial part does from human understanding." Thus began the hostility between Pope and Dennis, which, though it was suspended for a short time, never was appeased. Pope seems, at first, to have attacked him wantonly; but though he always professed to despise him, he discovers, by mentioning him very often, that he felt his force or his venom.

Of this essay, Pope declared that he did not expect the sale to be quick, because "not one gentleman in sixty, even of liberal education, could understand it." The gentleman, and the education of that time, seem to have been of a lower character than they are of this. He mentioned a thousand copies as a numerous impression.

Dennis was not his only censurer; the zealous Papists thought the monks treated with too much contempt, and Erasmus too studiously praised; but to these objections he had not much regard.

The "Essay," has been translated into French by Hamilton, author of the "Comte de Grammont," whose version was never printed, by Robotham, secretary to the king for Hanover, and by Resnel; and commented by Dr. Warburton, who has discovered in it such order and connection as was not perceived by Addison, nor, as it is said, intended by the author.

Almost every poem, consisting of precepts, is so far arbitrary and immethodical, that many of the paragraphs may change places with no apparent inconvenience; for of two or more positions, depending upon some remote and general principle, there is seldom any cogent reason why one should precede the other. But for the order in which they stand, whatever it be, a little ingenuity may easily give a reason. "It is possible," says Hooker, "that, by long circumduction, from any one truth all truth may be inferred." Of all homogeneous truths, at least of all truths respecting the same general end, in whatever series they may be produced, a concatenation by intermediate ideas may be formed, such as, when it is once shown, shall appear natural; but if this order be reversed, another mode of connection equally spacious may be found or made. Aristotle is praised for naming fortitude first of the cardinal virtues, as that without which no other virtue can steadily be practised; but he might, with equal propriety, have placed prudence and justice before it; since without prudence fortitude is mad; without justice, it is mischievous. As the end of method is perspicuity, that series is sufficiently regular that avoids obscurity; and where there is no obscurity, it will not be difficult to discover method.

In the Spectator was published the "Messiah," which he first submitted to the perusal of Steele, and corrected in compliance with his criticisms. It is reasonable to infer from his "Letters" that the verses on the "Unfortunate Lady" were written about the time when his "Essay" was published. The lady's name and adventures I have sought with fruitless inquiry. I can therefore tell no more than I have learned from Mr. Ruffhead, who writes with the confidence of one who could trust his information. She was a woman of eminent rank and large fortune, the ward of an uncle, who, having given her a proper education, expected, like other guardians, that she should make at least an equal match; and such he proposed to her, but found it rejected in favour of a young gentleman of inferior condition. Having discovered the correspondence between the two lovers, and finding the young lady determined to abide by her own choice, he supposed that separation might do what can rarely be done by arguments, and sent her into a foreign country, where she was obliged to converse only with those from whom her uncle had nothing to fear. Her lover took care to repeat his vows; but his letters were intercepted and carried to her guardian, who directed her to be watched with still greater vigilance, till of this restraint she grow so impatient that she bribed a woman servant to procure her a sword, which she directed to her heart.

From this account, given with evident intention to raise the lady's character, it does not appear that she had any claim to praise nor much to compassion. She seems to have been impatient, violent, and ungovernable. Her uncle's power could not have lasted long; the hour of liberty and choice would have come in time. But her desires were too hot for delay, and she liked self-murder better than suspense. Nor is it discovered that the uncle, whoever he was, is with much justice delivered to posterity as "a false guardian." He seems to have done only that for which a guardian is appointed; he endeavoured to direct his niece till she should be able to direct herself. Poetry has not often been worse employed than in dignifying the amorous fiery of a raving girl.

Not long after he wrote the "Rape of the Lock," the most airy, the most ingenious, and the most delightful off all his compositions, occasioned by a frolic of gallantry, rather too familiar, in which Lord Petre cut off a lock of Mrs. Arabella Fermor's hair. This, whether stealth or violence, was so much resented that the commerce of the two families, before very friendly, was interrupted. Mr. Caryl, a gentleman who, being secretary to King James's queen, had followed his mistress into France, and who, being the author of Sir Solomon Single, a comedy, and some translations, was entitled to the notice of a wit, solicited Pope to endeavour a reconciliation by a ludicrous poem which might bring both the parties to a better temper. In compliance with Caryl's request, though his name was for a long time marked only by the first and last letter, "C--l," a poem of two cantos, was written (1711), as is said, in a fortnight, and sent to the offended lady, who liked it well enough to show it; and, with the usual process of literary transactions, the author, dreading a surreptitious edition, was forced to publish it.

The event is said to have been such as was desired, the pacification and diversion of all to whom it related, except Sir George Brown, who complained with some bitterness that, in the character of Sir Plume, he was made to talk nonsense. Whether all this be true I have some doubt; for at Paris, a few years ago, a niece of Mrs. Fermor, who presided in an English convent, mentioned Pope's work with very little gratitude, rather as an insult than an honour; and she may be supposed to have inherited the opinion of her family. At its first appearance at was termed by Addison "merum sal." Pope, however, saw that it was capable of improvement; and, having luckily contrived to borrow his machinery from the Rosicrucians, imparted the scheme with which his head was teeming to Addison, who told him that his work, as it stood, was "a delicious little thing," and gave him no encouragement to retouch it.

This has been too hastily considered as an instance of Addison's jealousy, for, as he could not guess the conduct of the new design, or the possibilities of pleasure comprised in a fiction of which there had been no examples, he might very reasonably and kindly persuade the author to acquiesce in his own prosperity, and forbear an attempt which he considered as an unnecessary hazard. Addison's counsel was happily rejected. Pope foresaw the future efflorescence of imagery then budding in his mind, and resolved to spare no art or industry of cultivation. The soft luxuriance of his fancy was already shooting, and all the gay varieties of diction were ready at his hand to colour and embellish it. His attempt was justified by its success. The "Rape of the Lock" stands forward, in the classes of literature, as the most exquisite example of ludicrous poetry. Berkeley congratulated him upon the display of powers more truly poetical than he had shown before with elegance of description and justness of precepts he had now exhibited boundless fertility of invention. He always considered the intermixture of the machinery with the action as his most successful exertion of poetical art. He, indeed, could never afterwards produce anything of such unexampled excellence. Those performances, which strike with wonder, are combinations of skilful genius with happy casualty; and it is not likely that any felicity, like the discovery of a new race of preternatural agents, should happen twice to the same man. Of this poem the author was, I think, allowed to enjoy the praise for a long time without disturbance. Many years afterwards Dennis published some remarks upon it with very little force and with no effect; for the opinion of the public was already settled, and it was no longer at the mercy of criticism.

About this time he published the "Temple of Fame," which, as he tells Steele in their correspondence, he had written two years before--that is, when he was only twenty-two years old, an early time of life for so much learning and so much observation as that work exhibits. On this poem Dennis afterwards published some remarks, of which the most reasonable is that some of the lines represent motion as exhibited by sculpture.

Of the Epistle from "Eloisa to Abelard," I do not know the date. His first inclination to attempt a composition of that tender kind arose, as Mr. Savage told me, from his perusal of Prior's "Nut-brown Maid." How much he has surpassed Prior's work it is not necessary to mention, when perhaps it may be said, with justice, that he has excelled every composition of the same kind. The mixture of religious hope and resignation gives an elevation and dignity to disappointed love, which images merely natural cannot bestow. The gloom of a convent strikes the imagination with far greater force than the solitude of a grove. This piece was, however, not much his favourite in his later years, though I never heard upon what principle he slighted it.

In the next year (1713) he published "Windsor Forest," of which part was, as he relates, written at sixteen, about the same time as his Pastorals, and the latter part was added afterwards. Where the addition begins we are not told. The lines relating to the peace confess their own date. It is dedicated to Lord Lansdowne, who was then in high reputation and influence among the Tories; and it is said that the conclusion of the poem gave great pain to Addison, both as a poet and a politician. Reports like this are often spread with boldness very disproportionate to their evidence. Why should Addison receive any particular disturbance from the last lines of "Windsor Forest"? If contrariety of opinion could poison a politician, he could not live a day; and, as a poet, he must have felt Pope's force of genius much more from many other parts of his works. The pain that Addison might feel it is not likely that he would confess; and it is certain that he so well suppressed his discontent that Pope now thought himself his favourite, for, having been consulted in the revisal of "Cato" he introduced it by a prologue; and, when Dennis published his remarks, undertook, not indeed to vindicate, but to revenge his friend, by a "Narrative of the Frenzy of John Dennis."

There is reason to believe that Addison gave no encouragement to this disingenuous hostility, for, says Pope, in a letter to him, "indeed your opinion, that 'tis entirely to be neglected, would be my own in my own case; but I felt more warmth here than I did when I first saw his book against myself (though, indeed, in two minutes it made me heartily merry)." Addison was not a man on whom such cant of sensibility could make much impression. He left the pamphlet to itself, having disowned it to Dennis, and perhaps did not think Pope to have deserved much by his officiousness.

This year was printed in the Guardian the ironical comparison between the pastorals of Philips and Pope, a composition of artifice, criticism, and literature, to which nothing equal will easily be found. The superiority of Pope is so ingeniously dissembled, and the feeble lines of Philips so skilfully preferred, that Steele, being deceived, was unwilling to print the paper, lest Pope should be offended. Addison immediately saw the writer's design, and, as it seems, had malice enough to conceal his discovery, and to permit a publication which, by making his friend Philips ridiculous, made him for ever an enemy to Pope.

It appears that about this time Pope had a strong inclination to unite the art of painting with that of poetry, and put himself under the tuition of Jervas. He was near-sighted, and therefore not formed by nature for a painter; he tried, however, how far he could advance, and sometimes persuaded his friends to sit. A picture of Betterton, supposed to be drawn by him, was in the possession of Lord Mansfield. If this was taken from the life, he must have begun to paint earlier, for Betterton was now dead. Pope's ambition of this new art produced some encomiastic verses to Jervas, which certainly show his power as a poet; but I have been told that they betray his ignorance of painting. He appears to have regarded Betterton with kindness and esteem, and after his death published, under his name, a version into modern English of Chaucer's Prologues and one of his Tales, which, as was related by Mr. Harte, were believed to have been the performance of Pope himself by Fenton, who made him a gay offer of five pounds if he would show them in the hand of Betterton.

The next year (1713) produced a bolder attempt, by which profit was sought as well as praise. The poems which he had hitherto written, however they might have diffused his name, had made very little addition to his fortune. The allowance which his father made him, though, proportioned to what he had, it might be liberal, could not be large; his religion hindered him from the occupation of any civil employment; and he complained that he wanted even money to buy books. He therefore resolved to try how far the favour of the public extended by soliciting a subscription to a version of the "Iliad," with large notes. To print by subscription was, for some time, a practice peculiar to the English. The first considerable work for which this expedient was employed is said to have been Dryden's "Virgil," and it had been tried again with great success when the Tatlers were collected into volumes.

There was reason to believe that Pope's attempt would be successful. He was in the full bloom of reputation and was personally known to almost all whom dignity of employment or splendour of reputation had made eminent; he conversed indifferently with both parties, and never disturbed the public with his political opinions; and it might be naturally expected, as each faction then boasted its literary zeal, that the great men, who on other occasions practised all the violence of opposition, would emulate each other in their encouragement of a poet who delighted all, and by whom none had been offended. With these hopes, he offered an English "Iliad" to subscribers, in six volumes in quarto, for six guineas, a sum according to the value of money at that time by no means inconsiderable, and greater than I believe to have been ever asked before. His proposal, however, was very favourably received, and the patrons of literature were busy to recommend his undertaking and promote his interest. Lord Oxford, indeed, lamented that such a genius should be wasted upon a work not original, but proposed no means by which he might live without it. Addison recommended caution and moderation, and advised him not to be content with the praise of half the nation when he might be universally favoured.

The greatness of the design, the popularity of the author, and the attention of the literary world, naturally raised such expectations of the future sale, that the booksellers made their offers with great eagerness; but the highest bidder was Bernard Lintot, who became proprietor on condition of supplying, at his own expense, all the copies which were to be delivered to subscribers, or presented to friends, and paying two hundred pounds for every volume.

Of the quartos it was, I believe, stipulated that none should be printed but for the author, that the subscription might not be depreciated; but Lintot impressed the same pages upon a small folio, and paper perhaps a little thinner, and sold exactly at half the price, for half a guinea each volume, books so little inferior to the quartos that, by fraud of trade, those folios being afterwards shortened by cutting away the top and bottom, were sold as copies printed for the subscribers.

Lintot printed two hundred and fifty on royal paper in folio for two guineas a volume; of the small folio, having printed seventeen hundred and fifty copies of the first volume, he reduced the number in the other volumes to a thousand. It is unpleasant to relate that the bookseller, after all his hopes and all his liberality, was, by a very unjust and illegal action, defrauded of his profit. An edition of the English "Iliad" was printed in Holland in duodecimo, and imported clandestinely for the gratification of those who were impatient to read what they could not yet afford to buy. This fraud could only be counteracted by an edition equally cheap and more commodious; and Lintot was compelled to contract his folio at once into a duodecimo, and lose the advantage of an intermediate gradation. The notes which in the Dutch copies were placed at the end of each book as they had been in the large volumes, were now subjoined to the text in the same page, and are therefore more easily consulted. Of this edition two thousand five hundred were first printed, and five thousand a few weeks afterwards; but indeed great numbers were necessary to produce considerable profit.

Pope, having now emitted his proposals, and engaged not only his own reputation but in some degree that of his friends who patronised his subscription, began to be frightened at his own undertaking, and finding himself at first embarrassed with difficulties which retarded and oppressed him, he was for a time timorous and uneasy, had his nights disturbed by dreams of long journeys through unknown ways, and wished, as he said, "that somebody would hang him." This misery, however, was not of long continuance; he grew by degrees more acquainted with Homer's images and expressions, and practice increased his facility of versification. In a short time he represents himself as despatching regularly fifty verses a day, which would show him by an easy computation, the termination of his labour. His own diffidence was not his only vexation. He that asks a subscription soon finds that he has enemies. All who do not encourage him defame him. He that wants money would rather be thought angry than poor; and he that wishes to save his money conceals his avarice by his malice. Addison had hinted his suspicion that Pope was too much a Tory; and some of the Tories suspected his principles because he had contributed to the Guardian, which was carried on by Steele.

To those who censured his politics were added enemies more dangerous, who called in question his knowledge of Greek, and his qualifications for a translator of "Homer." To these he made no public opposition, but in one of his letters escapes from them as well as he can. At an age like his, for he was not more than twenty-five, with an irregular education and a course of life of which much seems to have passed in conversation, it is not very likely that he overflowed with Greek. But when he felt himself deficient he sought assistance, and what man of learning would refuse to help him? Minute inquiries into the force of words are less necessary in translating Homer than other poets, because his positions are general, and his representations natural, with very little dependence on local or temporary customs, on those changeable scenes of artificial life, which, by mingling original with accidental notions and crowding the mind with images which time effaces, produces ambiguity in dictation and obscurity in books. To this open display of unadulterated nature it must be ascribed that Homer has fewer passages of doubtful meaning than any other poet either in the learned or in modern languages. I have read of a man who, being by his ignorance of Greek compelled to gratify his curiosity with the Latin printed on the opposite page, declared that from the rude simplicity of the lines literally rendered he formed nobler ideas of the Homeric majesty than from the laboured elegance of polished versions. Those literal translations were always at hand, and from them he could easily obtain his author's sense with sufficient certainty and among the readers of Homer the number is very small of those who find much in the Greek more than in the Latin, except the music of the numbers.

If more help was wanting he had the poetical translation of Eobanus Hessus, an unwearied writer of Latin verses; he had the French Homers of La Valterie and Dacier, and the English of Chapman, Hobbes, and Ogilby. With Chapman, whose work, though now totally neglected, seems to have been popular almost to the end of the last century, he had very frequent consultations, and perhaps never translated any passage till he had read his version, which he indeed has been sometimes suspected of using instead of the original. Notes were likewise to be provided, for the six volumes would have been very little more than six pamphlets without them. What the mere perusal of the text could suggest Pope wanted no assistance to collect or methodise; but more was necessary. Many pages were to be filled, and learning must supply materials to wit and judgment. Something might be gathered from Dacier, but no man loves to be indebted to his contemporaries, and Dacier was accessible to common readers. Eustathius was therefore necessarily consulted. To read Eustathius, of whose work there was then no Latin version, I suspect Pope if he had been willing not to have been able. Some other was therefore to be found who had leisure as well as abilities, and he was doubtless most readily employed who would do much work for little money.

The history of the notes has never been traced. Broome, an his preface to his poems, declares himself the commentator "in part upon the 'Iliad,'" and it appears from Fenton's letter, preserved in the Museum, that Broome was at first engaged in consulting Eustathius; but that after a time, whatever was the reason, he desisted. Another man of Cambridge was then employed, who soon grew weary of the work, and a third, that was recommended by Thirlby, is now discovered to have been Jortin, a man since well known to the learned world, who complained that Pope, having accepted and approved his performance, never testified any curiosity to see him, and who professed to have forgotten the terms on which he worked. The terms which Fenton uses are very mercantile: "I think at first sight that his performance is very commendable, and have sent word for him to finish the seventeenth book, and to send it with his demands for his trouble. I have here enclosed the specimen; if the rest come before the return, I will keep them till I receive your order."

Broome then offered his service a second time, which was probably accepted, as they had afterwards a closer correspondence. Parnell contributed the "Life of Homer," which Pope found so harsh, that he took great pains in correcting it; and by his own diligence, with such help as kindness or money could procure him, in somewhat more than five years he completed his version of the "Iliad," with the notes. He began it in 1712, his twenty-fifth year, and concluded it in 1718, his thirtieth year. When we find him translating fifty lines a day, it is natural to suppose that he would have brought his work to a more speedy conclusion. The "Iliad," containing less than sixteen thousand verses, might have been despatched in less than three hundred and twenty days by fifty verses in a day. The notes, compiled with the assistance of his mercenaries, could not be supposed to require more time than the text. According to this calculation, the progress of Pope may seem to have been slow; but the distance is commonly very great between actual performances and speculative possibility. It is natural to suppose, that as much as has been done to-day may be done to-morrow; but on the morrow some difficulty emerges, or some external impediment obstructs.

Indolence, interruption, business, and pleasure, all take their turns of retardation; and every long work is lengthened by a thousand causes that can, and ten thousand that cannot, be recounted. Perhaps no extensive and multifarious performance was ever effected within the term originally fixed in the undertaker's mind. He that runs against time has an antagonist not subject to casualties.

The encouragement given to this translation, though report seems to have overrated it, was such as the world has not often seen. The subscribers were five hundred and seventy-five. The copies, for which subscriptions were given, were six hundred and fifty-four; and only six hundred and sixty were printed. For these copies Pope had nothing to pay. He therefore received, including the two hundred pounds a volume, five thousand three hundred and twenty pounds, four shillings, without deduction, as the books were supplied by Lintot.

By the success of his subscription Pope was relieved from those pecuniary distresses with which, notwithstanding his popularity, he had hitherto struggled. Lord Oxford had often lamented his disqualification for public employment, but never proposed a pension. While the translation of "Homer" was in its progress, Mr. Craggs, then Secretary of State, offered to procure him a pension, which, at least during his ministry, might be enjoyed with secrecy. This was not accepted by Pope, who told him, however, that, if he should be pressed with want of money, he would send to him for occasional supplies. Craggs was not long in power, and was never solicited for money by Pope, who disdained to beg what he did not want.

With the product of this subscription, which he had too much discretion to squander, he secured his future life from want, by considerable annuities. The estate of the Duke of Buckingham was found to have been charged with five hundred pounds a year, payable to Pope, which doubtless his translation enabled him to purchase.

It cannot be unwelcome to literary curiosity, that I deduce thus minutely the history of the English "Iliad." It is certainly the noblest version of poetry which the world has ever seen, and its publication must therefore be considered as one of the great events in the annals of learning. To those who have skill to estimate the excellence and difficulty of this great work, it must be very desirable to know how it was performed, and by what gradations it advanced to correctness. Of such an intellectual process the knowledge has very rarely been attainable; but happily there remains the original copy of the "Iliad," which, being obtained by Bolingbroke as a curiosity, descended from him to Mallet, and is now, by the solicitation of the late Dr. Maty, reposited in the Museum. Between this manuscript, which is written upon accidental fragments of paper, and the printed edition, there must have been an intermediate copy, that was perhaps destroyed as it returned from the press.

From the first copy I have procured a few transcripts, and shall exhibit first the printed lines; then, in a small print, those of the manuscripts, with all their variations. Those words in the small print, which are given in italics, are cancelled in the copy, and the words placed under them adopted in their stead:

The beginning of the first book stands thus:-

The wrath of Peleus' son, the direful spring
Of all the Grecian woes, O Goddess, sing,
That wrath which hurled to Pluto's gloomy reign
The souls of mighty chiefs untimely slain.

The stern Pelides' rage, O Goddess, sing,
wrath
Of all the woes of Greece too fatal spring,
Grecian
That screwed with warriors dead the Phrygian plain,
heroes
And peopled the dark with heroes slain:
filled the shady hell with chiefs untimely

Whose limbs, unburied on the naked shore,
Devouring dogs and hungry vultures tore,
Since great Achilles and Atrides strove;
Such was the sovereign doom, and such the will of Jove.

Whose limbs, unburied on the hostile shore,
Devouring dogs and greedy vultures tore,
Since first Atrides and Achilles strove;
Such was the sovereign doom, and such the will of Jove.

Declare, O Muse, in what ill-fated hour
Sprung the fierce strife from what offended Power?
Latona's son a dire contagion spread,
And heaped the camp with mountains of the dead;

The King of Men his reverend priest defied,
And for the King's offence the people died.

Declare, O Goddess, what offended Power
Enflamed their rage in that ill-omened hour;
anger fatal, hapless
Phoebus himself the dire debate procured,
fierce
To avenge the wrongs his injured priest endured;
For this the god a dire infection spread,
And heaped the camp with millions of the dead:
The King of men the sacred sire defied,
And for the King's offence the people died.

For Chryses sought with costly gifts to gain
His captive daughter from the Victor's chain;
Suppliant the venerable father stands,
Apollo's awful ensigns grace his hands,
By these he begs, and, lowly bending down,
Extends the sceptre and the laurel crown.

For Chryses sought by presents to regain
costly gifts to gain
His captive daughter from the Victor's chain;
Suppliant the venerable father stands,
Apollo's awful ensigns graced his hands.
By these he begs, and, lowly bending down
The golden sceptre and the laurel crown,
Presents the sceptre
For these as ensigns of his god he bare,
The god who sends his golden shaft afar;
Then low on earth the venerable man,
Suppliant before the brother kings began.

He sued to all, but chief implored for grace,
The brother kings of Atreus' royal race;
Ye kings and warriors, may your vows be crowned,
And Troy's proud walls lie level with the ground;
May Jove restore you, when your toils are o'er,
Safe to the pleasures of your native shore.

To all he sued, but chief implored for grace
The brother kings of Atreus' royal race.
Ye sons of Atreus, may your vows be crowned,
kings and warriors
Your labours, by the gods be all your labours crowned;
So may the gods your arms with conquest bless,
And Troy's proud walls lie level with the ground;
Till laid
And crown your labours with desired success;
May Jove restore you when your toils are o'er
Safe to the pleasures of your native shore.

But, oh! relieve a wretched parent's pain,
And give Chryses to these arms again;
If mercy fail, yet let my present move,
And dread avenging Phoebus, son of Jove.

But, oh! relieve a hapless parent's pain,
And give my daughter to these arms again;
Receive my gifts, if mercy fails, yet let my present move,
And fear the god who deals his darts around,
avenging Phoebus, son of Jove.

The Greeks, in shouts, their joint assent declare,
The priest to reverence, and release the fair:
Not so Atrides; he, with kingly pride,
Repulsed the sacred sire, and thus replied.

He said, the Greeks their joint assent declare,
The father said, the generous Greeks relent,
To accept the ransom, and restore the fair:
Revere the priest, and speak their joint assent;
Not so the tyrant; he, with kingly pride,
Atrides,
Repulsed the sacred sire, and thus replied
[Not so the tyrant. DRYDEN.]

Of these lines, and of the whole first book, I am told that there was yet a former copy, more varied, and more deformed with interlineations.

The beginning of the second book varies very little from the printed page, and is therefore set down without any parallel. The few slight differences do not require to be elaborately displayed.

Now pleasing sleep had sealed each mortal eye:
Stretched in the tents the Grecian leaders lie;
The Immortals slumbered on their thrones above,
All but the ever-wakeful eye of Jove.
To honour Thetis' son he bends his care,
And plunge the Greeks in all the woes of war.
Then bids an empty phantom rise to sight,
And thus commands the vision of the night:
directs
Fly hence, delusive dream, and, light as air,
To Agamemnon's royal tent repair;
Bid him in arms draw forth the embattled train,
March all his legions to the dusty plain.
Now tell the King 'tis given him to destroy
Declare even now
The lofty walls of wide-extended Troy;
towers
For now no more the gods with fate contend;
At Juno's suit the heavenly factions end.
Destruction hovers o'er yon devoted wall,
hangs
And nodding Ilion waits the impending fall.

Invocation to the catalogue of ships.

Say, virgins, seated round the throne divine,
All-knowing goddesses! immortal nine!
Since earth's wide regions, heaven's unmeasured height,
And hell's abyss, hide nothing from your sight
(We, wretched mortals! lost in doubts below,
But guess by rumour, and but boast we know),
Oh! say what heroes, fired by thirst of fame,
Or urged by wrongs, to Troy's destruction came!
To count them all demands a thousand tongues,
A throat of brass and adamantine lungs.

Now virgin goddesses, immortal nine!
That round Olympus' heavenly summit shine,
Who see through heaven and earth, and hell profound,
And all things know, and all things can resound!
Relate what armies sought the Trojan land,
What nations followed, and what chiefs command;
(For doubtful fame distracts mankind below,
And nothing can we tell, and nothing know)
Without your aid, to count the unnumbered train,
A thousand mouths, a thousand tongues, were vain.

Book V. v. 1.

But Pallas now Tydides' soul inspires,
Fills with her force, and warms with all her fires:
Above the Greeks his deathless fame to raise,
And crown her hero with distinguished praise,
High on his helm celestial lightnings play,
His beamy shield emits a living ray;
The unwearied blaze incessant streams supplies,
Like the red star that fires the autumnal skies.
But Pallas now Tydides' soul inspires,
Fills with her rage, and warms with all her fires;
force
O'er all the Greeks decrees his fame to raise,
Above the Greeks her warrior's fame to raise,
his deathless
And crown her hero with immortal praise:
distinguished
Bright from his beamy crest the lightnings play,
High on helm
From his broad buckler flashed the living ray;
High on his helm celestial lightnings play,
His beamy shield emits a living ray;
The goddess with her breath the flame supplies,
Bright as the star whose fires in autumn rise;
Her breath divine thick streaming flames supplies,
Bright as the star that fires the autumnal skies:
The unwearied blaze incessant streams supplies,
Like the red star that fires the autumnal skies.

When fresh he rears his radiant orb to sight,
And bathed in ocean shoots a keener light,
Such glories Pallas on the chief bestowed,
Such from his arms the fierce effulgence flowed;
Onward she drives him, furious to engage,
Where the fight burns, and where the thickest rage.

When fresh he rears his radiant orb to sight,
And gilds old ocean with a blaze of light,
Bright as the star that fires the autumnal skies,
Fresh from the deep, and gilds the seas and skies:
Such glories Pallas on her chief bestowed,
Such sparkling rays from his bright armour flowed,
Such sparkling rays from his bright armour flowed,
Onward she drives him headlong to engage, furious
Where the war bleeds, and where the fiercest rage.
fight burns, thickest

The sons of Dares first the combat sought,
A wealthy priest, but rich without a fault;
In Vulcan's fane the father's days were led,
The sons to toils of glorious battle bred;

There lived a Trojan--Dares was his name,
The priest of Vulcan, rich, yet void of blame;
The sons of Dares first the combat sought,
A wealthy priest, but rich without a fault.

Conclusion of Book VIII. v. 687.

As when the moon, refulgent lamp of night,
O'er heaven's clear azure spreads her sacred light,
When not a breath disturbs the deep serene,
And not a cloud o'ercasts the solemn scene;
Around her throne the vivid planets roll,
And stars unnumbered gild the glowing pole:
O'er the dark trees a yellower verdure shed,
And tip with silver every mountain's head:
Then shine the vales--the rocks in prospect rise,
A flood of glory bursts from all the skies;
The conscious swains, rejoicing in the sight,
Eye the blue vault, and bless the useful light.
So many flames before proud Ilion blaze,
And lighten glimmering Xanthus with their rays;
The long reflections of the distant fires
Gleam on the walls, and tremble on the spires.
A thousand piles the dusky horrors gild,
And shoot a shady lustre o'er the field;
Full fifty guards each flaming pile attend,
Whose umbered arms by fits thick flashes send;
Loud neigh the coursers o'er their heaps of corn,
And ardent warriors wait the rising morn.

As when in stillness of the silent night,
As when the moon in all her lustre bright,
As when the moon, refulgent lamp of night,
O'er Heaven's clear azure sheds her silver light;
pure spreads sacred
As still in air the trembling lustre stood,
And o'er its golden border shoots a flood;
When no loose gale disturbs the deep serene,
not a breath
And no dim cloud o'ercasts the solemn scene;
not a
Around her silver throne the planets glow,
And stars unnumbered trembling beams bestow;
Around her throne the vivid planets roll,
And stars unnumbered gild the glowing pole:
Clear gleams of light o'er the dark trees are seen,
o'er the dark trees a yellow sheds
O'er the dark trees a yellower green they shed,
gleam
verdure
And tip with silver all the mountain heads
forest
And tip with silver every mountain's head.
The valleys open, and the forests rise,
The vales appear, the rocks in prospect rise,
Then shine the vales, the rocks in prospect rise,
All nature stands revealed before our eyes;
A flood of glory bursts from all the skies.
The conscious shepherd, joyful at the sight,
Eyes the blue vault, and numbers every light.
The conscious swains rejoicing at the sight,
shepherds gazing with delight
Eye the blue vault, and bless the vivid light.
glorious
useful
So many flames before the navy blaze,
proud Ilion
And lighten glimmering Xanthus with their rays,
Wide o'er the fields to Troy extend the gleams,
And tip the distant spires with fainter beams;
The long reflections of the distant fires
Gild the high walls, and tremble on the spires;
Gleam on the walls, and tremble on the spires;
A thousand fires at distant stations bright,
Gild the dark prospect, and dispel the night.

Of these specimens every man who has cultivated poetry, or who delights to trace the mind from the rudeness of its first conceptions to the elegance of its last, will naturally desire a great number; but most other readers are already tired, and I am not writing only to poets and philosophers.

The "Iliad" was published volume by volume, as the translation proceeded. The four first books appeared in 1713. The expectation of this work was undoubtedly high, and every man who had connected his name with criticism or poetry was desirous of such intelligence as might enable him to talk upon the popular topic. Halifax, who, by having been first a poet, and then a patron of poetry, had acquired the right of being a judge, was willing to hear some books while they were yet unpublished. Of this rehearsal Pope afterwards gave the following account:-

"The famous Lord Halifax was rather a pretender to taste than really possessed of it. When I had finished the two or three first books of my translation of the 'Iliad,' that lord desired to have the pleasure of hearing them read at his house. Addison, Congreve, and Garth were there at the reading. In four or five places Lord Halifax stopped me very civilly, and with a speech each time of much the same kind, 'I beg your pardon, Mr. Pope, but there is something in that passage that does not please me. Be so good as to mark the place, and consider it a little at your leisure. I am sure you can give it a little turn.' I returned from Lord Halifax's with Dr. Garth in his chariot, and as we were going along was saying to the Doctor that my lord had laid me under a great deal of difficulty by such loose and general observations; that I had been thinking over the passages almost ever since, and could not guess at what it was that offended his lordship in either of them. Garth laughed heartily at my embarrassment: said I had not been long enough acquainted with Lord Halifax to know his way yet; that I need not puzzle myself about looking those places over and over when I got home. 'All you need do,' says he, 'is to leave them just as they are, call on Lord Halifax two or three months hence, thank him for his kind observations on those passages, and then read them to him as altered. I have known him much longer than you have, and will be answerable for the event.' I followed his advice, waited on Lord Halifax some time after; said I hoped he would find his objections to those passages removed; read them to him exactly as they were at first; and his lordship was extremely pleased with them, and cried out, 'Ay, now they are perfectly right; nothing can be better.'"

It is seldom that the great or the wise suspect that they are despised or cheated. Halifax, thinking this a lucky opportunity of securing immortality, made some advances of favour and some overtures of advantage to Pope, which he seems to have received with sullen coldness. All our knowledge of this transaction is derived from a single letter (December 1, 1714), in which Pope says, "I am obliged to you, both for the favours you have done me and those you intend me. I distrust neither your will nor your memory when it is to do good; and if I ever become troublesome or solicitous, it must not be out of expectation, but out of gratitude. Your lordship may cause me to live agreeably in the town, or contentedly in the country, which is really all the difference I set between an easy fortune and a small one. It is indeed a high strain of generosity in you to think of making me easy all my life, only because I have been so happy as to divert you some few hours; but, if I may have leave to add it is because you think me no enemy to my native country, there will appear a better reason; for I must of consequence be very much (as I sincerely am) yours, &c."

These voluntary offers, and this faint acceptance, ended without effect. The patron was not accustomed to such frigid gratitude; and the poet fed his own pride with the dignity of independence. They probably were suspicious of each other. Pope would not dedicate till he saw at what rate his praise was valued; he would be "troublesome out of gratitude, not expectation." Halifax thought himself entitled to confidence, and would give nothing unless he knew what he should receive. Their commerce had its beginning in hope of praise on one side and of money on the other, and ended because Pope was less eager of money than Halifax of praise. It is not likely that Halifax had any personal benevolence to Pope; it is evident that Pope looked on Halifax with scorn and hatred.

The reputation of this great work failed of gaining him a patron but it deprived him of a friend. Addison and he were now at the head of poetry and criticism, and both in such a state of elevation that, like the two rivals in the Roman State, one could no longer bear an equal, nor the other a superior. Of the gradual abatement of kindness between friends, the beginning is often scarcely discernible to themselves, and the process is continued by petty provocations, and incivilities sometimes peevishly returned, and sometimes contemptuously neglected, which would escape all attention but that of pride, and drop from any memory but that of resentment. That the quarrel of these two wits should be minutely deduced is not to be expected from a writer to whom, as Homer says, "nothing but rumour has reached, and who has no personal knowledge." _

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