Poetry. Alexander Pope

which he did at Oxford in 1716, shortly after her going abroad, and which appeared the next year. His passion was not requited—nay, was treated with contempt and ridicule; and he became in after years a bitter enemy and foul-mouthed detractor of the lady, although after her return, in 1718, she resided near him at Twickenham, and they seemed outwardly on good terms.

      In 1717, and the succeeding year, Pope lost successively his father, Parnell, Garth, and Rowe, and bitterly felt their loss. He finished, as we have seen, the "Iliad" in 1718; but the fifth and sixth volumes, which were the last, did not appear till 1720. Its success, which at the time was triumphant, roused against him the whole host of envy and detraction. Dennis, and all Grub Street with him, were moved to assail him. Pamphlets after pamphlets were published, all of which, after reading with writhing anguish, Pope had the resolution to bind up into volumes—a great collection of calumny, which he preserved, probably, for purposes of future revenge. His own friends, on the other hand, hailed his work with applause—Gay writing a most graceful and elegant poem, in ottava rima, entitled, "Mr. Pope's Welcome Home from Greece," in which his different friends are pictured as receiving him home on the shores of Britain, after an absence of six years. Bentley, that stern old Grecian, avoided the extremes of a howling Grub Street on the one hand, and a flattering aristocracy on the other, and expressed what is, we think, the just opinion when he said, "It is a pretty poem, but it is not Homer."

      In 1721, he issued a selection from the poems of Parnell, and prefixed a very beautiful dedication to the Earl of Oxford, commencing with—

      "Such were the notes thy once-loved poet sung, Till death untimely stopp'd his tuneful tongue. Oh, just beheld and lost, admired and mourn'd, With softest manners, gentlest arts adorn'd!"

      In 1722, he engaged to translate the "Odyssey." He employed Broome and Fenton as his assistants in the work; and the portions translated by them were thought as good as his. He remunerated them very handsomely. Of this work, the first three quarto volumes appeared in 1725; and the fourth and fifth, which completed the work, the following year. Pope sold the copyright to Lintot for £600.

      He was busy at this time, too, with an edition of Shakspeare—not quite worthy of either poet. It appeared in six volumes, quarto, in 1725. His preface was good, but he was deficient in antiquarian lore; and his mortification was extreme when Theobald, destined to figure in "The Dunciad," a mere plodding hack, not only in his "Shakspeare Restored," exposed many blunders in Pope's edition; but issued, some years afterwards, an edition of his own, which was much better received by the public.

      In 1726, there was a great gathering of the Tory wits at Twickenham. Swift had come from Ireland, and resided for some time with Pope. Bolingbroke came over occasionally from Dawley; and Gay was often there to laugh with, and be laughed at by, the rest. Swift had "Gulliver's Travels"—the most ingenious and elaborate libel against man and God ever written—in his pocket, nearly ready for publication; and we may conceive the grim, sardonic smile with which he read it to his friends, and their tumultuous mirth. Gay was projecting his "Beggars' Opera," and Pope preparing some of his witty "Miscellanies." At the end of two months, the Dean was hurried home by the tidings of Stella's illness. He left the "Travels" behind him, for the copyright of which Pope procured £300—a sum counted then very large, and which Swift generously handed over to Pope.

      In September this year, when returning in Lord Bolingbroke's coach from Dawley, the poet was overturned in a little rivulet near Twickenhan, and nearly drowned. The unfortunate little man! One is reminded of Gulliver's accident in the Brobdignagian cream-pot. In trying to break the glasses of the coach, which were down, he severely cut his right hand, and lost the use of two of his fingers—an addition to his other deformities not very desirable; and we suspect that Pope thought Voltaire (who had met him at Bolingbroke's) but a miserable comforter, when, in a letter of pretended condolence, he asked—"Is it possible that those fingers which have written 'The Rape of the Lock,' and dressed Homer so becomingly in an English coat, should have been so barbarously treated? Let the hand of Dennis or of your poetasters be cut off; yours is sacred." It was perhaps in keeping that those mutilated fingers were soon to be employed in attacking Dennis, and that the embittered poet was about, with the half of his hand, but with the whole of his heart, to write "The Dunciad."

      In the end of April 1727, we find Swift again in Twickenham, where his irritation at the continued ascendancy of Sir Robert Walpole served to infuse more venom into the "Miscellanies" concocted between him and Pope—two volumes of which appeared in June this year. Gay, also, and the ingenious and admirable Dr. Arbuthnot, contributed their quota to these volumes. Swift speedily fell ill with that giddiness and deafness which were the avant-couriers of his final malady; and in August he left Twickenham, and in October, London and England, for ever.

      In these "Miscellanies" there appeared the famous "Memoirs of Martinus Scriblerus," written chiefly by Pope, in which he lashed the various proficients in the bathos, under the names of flying fishes, swallows, parrots, frogs, eels, &c., and appended the initials of well-known authors to each head. This roused Grub Street, whose malice had nearly fallen asleep, into fresh fury, and he was bitterly assailed in every possible form. Like Hyder Ali, he now—to travesty Burke—"in the recesses of a mind capacious of such things, determined to leave all Duncedom an everlasting monument of vengeance, and became at length so confident of his force, so collected in his might, that he made no secret whatever of his dreadful resolution, but, compounding all the materials of fun, sarcasm, irony, and invective, into one black cloud, he hung for a while on the declivities of Richmond Hill; and whilst the authors were idly and stupidly gazing on this menacing meteor which blackened all their horizon, it suddenly burst and poured down the whole of its contents on the garrets of Grub Street. Then issued a scene of (ludicrous) woe, the like of which no eye had seen, no heart conceived, and which no tongue can adequately tell. All the horrors of literary war before known or heard of—(MacFlecknoe, the Rehearsal, &c.)—were mercy to the new tempest of havoc which burst from the brain of this remorseless poet. A storm of universal laughter filled every bookseller's shop, and penetrated into the remotest attics. The miserable dunces, in part, were stricken mad with rage—in part, dumb with consternation. Some fled for refuge to ale, and others to ink; while not a few fell, or feared to fall, into the 'jaws of famine.'" This singular poem was written in 1727. It was first printed surreptitiously (i.e., with the connivance of the author) in Dublin, and then reprinted in London. The first perfect edition, however, did not appear in London till 1729. On the day of its publication, according to Pope, a crowd of authors besieged the publisher's shop; and by entreaties, threats, nay, cries of treason, tried to hinder its appearance. What a scene it must have been—of teeth gnashing above ragged coats, and eyes glaring through old periwigs—of faces livid with famine and ferocity; while, to complete the confusion, hawkers, booksellers, and even lords, were mixed with the crowd, clamouring for its issue! And as, says Pope, "there is no stopping a torrent with a finger, out it came." The consequence he had foreseen. A universal howl of rage and pain burst from the aggrieved dunces, on whose naked sides the hot pitch had fallen. They pushed their rejoinders beyond the limits of civilised literary warfare; and although Pope had been coarse in his language, they were coarser far, and their blackguardism was not redeemed by wit or genius. Pope felt, or seemed to feel, entire indifference as to these assaults. On some of them, indeed, he could afford to look down with contempt, on account of their obvious animus and gross language. Others, again, were neutralised by the fact, that their authors had provoked reprisals by their previous insults or ingratitude to Pope. Many, however, were too obscure for his notice; and some, such as Aaron Hill and Bentley, did not deserve to be classed with the Theobalds and Ralphs. To Hill, he, after some finessing, was compelled to make an apology. Altogether, although this production increased Pope's fame, and the conception of his power, it did not tend to shew him in the most amiable light, or perhaps to promote his own comfort or peace of mind. After having emptied out his bile in "The Dunciad," he ought to have become mellower in temper, and resigned satire for ever. He continued, on the contrary, as ill-natured as before; and although he afterwards flew at higher game, the iron had entered into his soul, and he remained a satirist, and therefore an unhappy man, for life.

      In 1731 appeared an "Epistle on Taste," which was very favourably received; only his enemies accused him of having satirised the Duke of Chandos in it—a man who had befriended Pope, and had lent him