To imagine Pope at his best, we must place ourselves in Twickenham on some fine day, when the long disease has relaxed its grasp for a moment; when he has taken a turn through his garden, and comforted his poor frame with potted lampreys and a gla.s.s or two from his frugal pint.

Suppose two or three friends to be sitting with him, the stately Bolingbroke or the mercurial Bathurst, with one of the patriotic hopes of mankind, Marchmont or Lyttelton, to stimulate his ardour, and the amiable Spence, or Mrs. Patty Blount to listen reverentially to his morality. Let the conversation kindle into vivacity, and host and guests fall into a friendly rivalry, whetting each other's wits by lively repartee, and airing the little fragments of worldly wisdom which pa.s.s muster for profound observation at Court; for a time they talk plat.i.tudes, though striking out now and then brilliant flashes, as from the collision of polished rapiers; they diverge, perhaps, into literature, and Pope shines in discussing the secrets of the art to which his whole life has been devoted with untiring fidelity. Suddenly the mention of some noted name provokes a startling outburst of personal invective from Pope; his friends judiciously divert the current of wrath into a new channel, and he becomes for the moment a generous patriot declaiming against the growth of luxury; the mention of some sympathizing friend brings out a compliment, so exquisitely turned, as to be a permanent t.i.tle of honour, conferred by genius instead of power; or the thought of his parents makes his voice tremble, and his eyes shine with pathetic softness; and you forgive the occasional affectation which you can never quite forget, or even the occasional grossness or harshness of sentiment which contrasts so strongly with the superficial polish. A genuine report of even the best conversation would be intolerably prosy and unimaginative. But imagine the very pith and essence of such talk brought to a focus, concentrated into the smallest possible s.p.a.ce with the infinite dexterity of a thoroughly trained hand, and you have the kind of writing in which Pope is unrivalled; polished prose with occasional gleams of genuine poetry--the epistle to Arbuthnot and the epilogue to the Satires.

One point remains to be briefly noticed. The virtue on which Pope prided himself was correctness; and I have interpreted this to mean the quality which is gained by incessant labour, guided by quick feeling, and always under the strict supervision of common sense. The next literary revolution led to a depreciation of this quality. Warton (like Macaulay long afterwards) argued that in a higher sense, the Elizabethan poets were really as correct as Pope. Their poetry embodied a higher and more complex law, though it neglected the narrow cut-and-dried precepts recognized in the Queen Anne period. The new school came to express too undiscriminating a contempt for the whole theory and practice of Pope and his followers. Pope, said Cowper, and a thousand critics have echoed his words,--

Made poetry a mere mechanic art And every warbler had his tune by heart.

Without discussing the wider question, I may here briefly remark that this judgment, taken absolutely, gives a very false impression of Pope's artistic quality. Pope is undoubtedly monotonous. Except in one or two lyrics, such as the Ode on St. Cecilia's Day, which must be reckoned amongst his utter failures, he invariably employed the same metre. The discontinuity of his style, and the strict rules which he adopted, tend to disintegrate his poems. They are a series of brilliant pa.s.sages, often of brilliant couplets, stuck together in a conglomerate; and as the inferior connecting matter decays, the interstices open and allow the whole to fall into ruin. To read a series of such couplets, each complete in itself, and each so constructed as to allow of a very small variety of form, is naturally to receive an impression of monotony.

Pope's ant.i.theses fall into a few common forms, which are repeated over and over again, and seem copy to each other. And, in a sense, such work can be very easily imitated. A very inferior artist can obtain most of his efforts, and all the external qualities of his style. One ten-syllabled rhyming couplet, with the whole sense strictly confined within its limits, and allowing only of such variety as follows from changing the pauses, is undoubtedly very much like another. And accordingly one may read in any collection of British poets innumerable pages of versification which--if you do not look too close--are exactly like Pope. All poets who have any marked style are more or less imitable; in the present age of revivals, a clever versifier is capable of adopting the manners of his leading contemporaries, or that of any poet from Spenser to Sh.e.l.ley or Keats. The quant.i.ty of work scarcely distinguishable from that of the worst pa.s.sages in Mr. Tennyson, Mr.

Browning, and Mr. Swinburne, seems to be limited only by the supply of stationery at the disposal of practised performers. That which makes the imitations of Pope prominent is partly the extent of his sovereignty; the vast number of writers who confined themselves exclusively to his style; and partly the fact that what is easily imitable in him is so conspicuous an element of the whole. The rigid framework which he adopted is easily definable with mathematical precision. The difference between the best work of Pope and the ordinary work of his followers is confined within narrow limits, and not easily perceived at a glance. The difference between blank verse in the hands of its few masters and in the hands of a third-rate imitator strikes the ear in every line. Far more is left to the individual idiosyncrasy. But it does not at all follow, and in fact it is quite untrue that the distinction which turns on an apparently insignificant element is therefore unimportant. The value of all good work ultimately depends on touches so fine as to elude the sight. And the proof is that although Pope was so constantly imitated, no later and contemporary writer succeeded in approaching his excellence. Young, of the _Night Thoughts_, was an extraordinarily clever writer and talker, even if he did not (as one of his hearers a.s.serts) eclipse Voltaire by the brilliance of his conversation.

Young's satires show abundance of wit, and one may not be able to say at a glance in what they are inferior to Pope. Yet they have hopelessly perished, whilst Pope's work remains cla.s.sical. Of all the crowd of eighteenth-century writers in Pope's manner, only two made an approach to him worth notice. Johnson's _Vanity of Human Wishes_ surpa.s.ses Pope in general sense of power, and Goldsmith's two poems in the same style have phrases of a higher order than Pope's. But even these poems have not made so deep a mark. In the last generation, Gifford's _Baviad and Maeviad_, and Byron's _English Bards and Scotch Reviewers_, were clever reproductions of the manner; but Gifford is already unreadable, and Byron is pale beside his original; and, therefore, making full allowance for Pope's monotony, and the tiresome prominence of certain mechanical effects, we must, I think, admit that he has after all succeeded in doing with unsurpa.s.sable excellence what innumerable rivals have failed to do as well. The explanation is--if the phrase explains anything--that he was a man of genius, or that he brought to a task, not of the highest cla.s.s, a keenness of sensibility, a conscientious desire to do his very best, and a capacity for taking pains with his work, which enabled him to be as indisputably the first in his own peculiar line, as our greatest men have been in far more lofty undertakings.

The man who could not publish Pastorals without getting into quarrels, was hardly likely to become a professed satirist without giving offence.

Besides numerous stabs administered to old enemies, Pope opened some fresh animosities by pa.s.sages in these poems. Some pointed ridicule was aimed at Montagu, Earl of Halifax, in the Prologue; for there can be no doubt that Halifax[26] was pointed out in the character of Bufo. Pope told a story in later days of an introduction to Halifax, the great patron of the early years of the century, who wished to hear him read his Homer. After the reading Halifax suggested that one pa.s.sage should be improved. Pope retired rather puzzled by his vague remarks, but, by Garth's advice, returned some time afterwards, and read the same pa.s.sage without alteration. "Ay, now Mr. Pope," said Halifax, "they are perfectly right; nothing can be better!" This little incident perhaps suggested to Pope that Halifax was a humbug, and there seems, as already noticed, to have been some difficulty about the desired dedication of the Iliad. Though Halifax had been dead for twenty years when the Prologue appeared, Pope may have been in the right in satirizing the pompous would-be patron, from whom he had received nothing, and whose pretences he had seen through. But the bitterness of the attack is disagreeable when we add that Pope paid Halifax high compliments in the preface to the Iliad, and boasted of his friendship, shortly after the satire, in the Epilogue to the Satires. A more disagreeable affair at the moment was the description, in the Epistle on Taste, of Canons, the splendid seat of the Duke of Chandos. Chandos, being still alive, resented the attack, and Pope had not the courage to avow his meaning, which might in that case have been justifiable. He declared to Burlington (to whom the epistle was addressed), and to Chandos, that he had not intended Canons, and tried to make peace by saying in another epistle that "gracious Chandos is beloved at sight." This exculpation, says Johnson, was received by the duke "with great magnanimity, as by a man who accepted his excuse, without believing his professions." n.o.body, in fact, believed, and even Warburton let out the secret by a comic oversight. Pope had prophesied in his poem that another age would see the destruction of "Timon's Villa," when laughing Ceres would rea.s.sume the land. Had he lived three years longer, said Warburton in a note, Pope would have seen his prophecy fulfilled, namely, by the destruction of Canons. The note was corrected, but the admission that Canons belonged to Timon had been made.

To such accusations Pope had a general answer. He described the type, not the individual. The fault was with the public, who chose to fit the cap. His friend remonstrates in the Epilogue against his personal satire. "Come on, then, Satire, general, unconfined," exclaims the poet,

Spread thy broad wing and souse on all the kind

Ye reverend atheists. (Friend) Scandal! name them! who?

(Pope) Why, that's the thing you bade me not to do.

Who starved a sister, who forswore a debt, I never named; the town's inquiring yet.

The pois'ning dame-- (F.) You mean-- (P.) I don't. (F.) You do.

(P.) See, now, I keep the secret, and not you!

It must in fact be admitted that from the purely artistic point of view, Pope is right. Prosaic commentators are always asking, Who is meant by a poet, as though a poem were a legal doc.u.ment. It may be interesting, for various purposes, to know who was in the writer's mind, or what fact suggested the general picture. But we have no right to look outside the poem itself, or to infer anything not within the four corners of the statement. It matters not for such purposes whether there was, or was not, any real person corresponding to Sir Balaam, to whom his wife said, when he was enriched by Cornish wreckers, "live like yourself,"

When lo! two puddings smoked upon the board,

in place of the previous one on Sabbath days. Nor does it even matter whether Atticus meant Addison, or Sappho Lady Mary. The satire is equally good, whether its objects are mere names or realities.

But the moral question is quite distinct. In that case we must ask whether Pope used words calculated or intended to fix an imputation upon particular people. Whether he did it in prose or verse, the offence was the same. In many cases he gives real names, and in many others gives unmistakable indications, which must have fixed his satire to particular people. If he had written Addison for Atticus (as he did at first), or Lady Mary for Sappho, or Halifax for Bufo, the insinuation could not have been clearer. His attempt to evade his responsibility was a mere equivocation--a device which he seems to have preferred to direct lying.

The character of Bufo might be equally suitable to others; but no reasonable man could doubt that every one would fix it upon Halifax. In some cases--possibly in that of Chandos--he may have thought that his language was too general to apply, and occasionally it seems that he sometimes tried to evade consequences by adding some inconsistent characteristic to his portraits.

I say this, because I am here forced to notice the worst of all the imputations upon Pope's character. The epistle on the characters of women now includes the famous lines on Atossa, which did not appear till after Pope's death.[27] They were (in 1746) at once applied to the famous Sarah, d.u.c.h.ess of Marlborough; and a story immediately became current that the d.u.c.h.ess had paid Pope 1000_l._ to suppress them, but that he preserved them, with a view to their ultimate publication. This story was repeated by Warton and by Walpole; it has been accepted by Mr.

Carruthers, who suggests, by way of palliation, that Pope was desirous at the time of providing for Martha Blount, and probably took the sum in order to buy an annuity for her. Now, if the story were proved, it must be admitted that it would reveal a baseness in Pope which would be worthy only of the lowest and most venal literary marauders. No more disgraceful imputation could have been made upon Curll, or Curll's miserable dependents. A man who could so prost.i.tute his talents must have been utterly vile. Pope has sins enough to answer for; but his other meannesses were either sacrifices to his morbid vanity, or (like his offence against Swift, or his lies to Aaron Hill and Chandos) collateral results of spasmodic attempts to escape from humiliation. In money-matters he seems to have been generally independent. He refused gifts from his rich friends, and confuted the rather similar calumny that he had received 500_l._ from the Duke of Chandos. If the account rested upon mere contemporary scandal, we might reject it on the ground of its inconsistency with his known character, and its likeness to other fabrications of his enemies. There is, however, further evidence. It is such evidence as would, at most, justify a verdict of "not proven" in a court of justice. But the critic is not bound by legal rules, and has to say what is the most probable solution, without fear or favour.

I cannot here go into the minute details. This much, however, may be taken as established. Pope was printing a new edition of his works at the time of his death. He had just distributed to his friends some copies of the Ethic Epistles, and in those copies the Atossa appeared.

Bolingbroke, to whom Pope had left his unpublished papers, discovered it, and immediately identified it with the d.u.c.h.ess, who (it must be noticed) was still alive. He wrote to Marchmont, one of Pope's executors, that there could be "no excuse for Pope's design of publishing it after the favour you and I know." This is further explained by a note added in pencil by Marchmont's executor, "1000_l._;"

and the son of this executor, who published the Marchmont papers, says that this was the favour received by Pope from the d.u.c.h.ess. This, however, is far from proving a direct bribe. It is, in fact, hardly conceivable that the d.u.c.h.ess and Pope should have made such a bargain in direct black and white, and equally inconceivable that two men like Bolingbroke and Marchmont should have been privy to such a transaction, and spoken of it in such terms. Bolingbroke thinks that the favour received laid Pope under an obligation, but evidently does not think that it implied a contract. Mr. Dilke has further pointed out that there are many touches in the character which distinctly apply to the d.u.c.h.ess of Buckingham, with whom Pope had certainly quarrelled, and which will not apply to the d.u.c.h.ess of Marlborough, who had undoubtedly made friends with him during the last years of his life. Walpole again tells a story, partly confirmed by Warton, that Pope had shown the character to each d.u.c.h.ess (Warton says only to Marlborough), saying that it was meant for the other. The d.u.c.h.ess of Buckingham, he says, believed him; the other had more sense and paid him 1000_l._ to suppress it. Walpole is no trustworthy authority; but the coincidence implies at least that such a story was soon current.

The most probable solution must conform to these data. Pope's Atossa was a portrait which would fit either lady, though it would be naturally applied to the most famous. It seems certain also that Pope had received some favours (possibly the 1000_l._ on some occasion unknown) from the d.u.c.h.ess of Marlborough, which was felt by his friends to make any attack upon her unjustifiable. We can scarcely believe that there should have been a direct compact of the kind described. If Pope had been a person of duly sensitive conscience he would have suppressed his work. But to suppress anything that he had written, and especially a pa.s.sage so carefully laboured, was always agony to him. He preferred, as we may perhaps conjecture, to settle in his own mind that it would fit the d.u.c.h.ess of Buckingham, and possibly introduced some of the touches to which Mr. Dilke refers. He thought it sufficiently disguised to be willing to publish it whilst the person with whom it was naturally identified was still alive. Had she complained, he would have relied upon those touches, and have equivocated as he equivocated to Hill and Chandos. He always seems to have fancied that he could conceal himself by very thin disguises. But he ought to have known, and perhaps did know, that it would be immediately applied to the person who had conferred an obligation. From that guilt no hypothesis can relieve him; but it is certainly not proved, and seems, on the whole, improbable that he was so base as the concessions of his biographers would indicate.

FOOTNOTES:

[24] Spence, pp. 16, 48, 137, 315.

[25] To take an obviously uncertain test, I find that in Bartlett's dictionary of familiar quotations, Shakspeare fills 70 pages; Milton, 23; Pope, 18; Wordsworth, 16; and Byron, 15. The rest are nowhere.

[26] Roscoe's attempt at a denial was conclusively answered by Bowles in one of his pamphlets.

[27] On this subject Mr. Dilke's _Papers of a Critic_.

CHAPTER IX.

THE END.

The last satires were published in 1738. Six years of life still remained to Pope; his intellectual powers were still vigorous, and his pleasure in their exercise had not ceased. The only fruit, however, of his labours during this period was the fourth book of the Dunciad. He spent much time upon bringing out new editions of his works, and upon the various intrigues connected with the Swift correspondence. But his health was beginning to fail. The ricketty framework was giving way, and failing to answer the demands of the fretful and excitable brain. In the spring of 1744 the poet was visibly breaking up; he suffered from dropsical asthma, and seems to have made matters worse by putting himself in the hands of a notorious quack--a Dr. Thomson. The end was evidently near as he completed his fifty-sixth year. Friends, old and new, were often in attendance. Above all, Bolingbroke, the venerated friend of thirty years' standing; Patty Blount, the woman whom he loved best; and the excellent Spence, who preserved some of the last words of the dying man. The scene, as he saw it, was pathetic; perhaps it is not less pathetic to us, for whom it has another side as of grim tragic humour.

Three weeks before his death Pope was sending off copies of the Ethic Epistles--apparently with the Atossa lines--to his friends. "Here I am, like Socrates," he said, "dispensing my morality amongst my friends just as I am dying." Spence watched him as anxiously as his disciples watched Socrates. He was still sensible to kindness. Whenever Miss Blount came in, the failing spirits rallied for a moment. He was always saying something kindly of his friends, "as if his humanity had outlasted his understanding." Bolingbroke, when Spence made the remark, said that he had never known a man with so tender a heart for his own friends or for mankind. "I have known him," he added, "these thirty years, and value myself more for that man's love than--" and his voice was lost in tears.

At moments Pope could still be playful. "Here I am, dying of a hundred good symptoms," he replied to some flattering report, but his mind was beginning to wander. He complained of seeing things as through a curtain. "What's that?" he said, pointing to the air, and then, with a smile of great pleasure, added softly, "'twas a vision." His religious sentiments still edified his hearers. "I am so certain," he said, "of the soul's being immortal, that I seem to feel it within me, as it were by intuition;" and early one morning he rose from bed and tried to begin an essay upon immortality, apparently in a state of semi-delirium. On his last day he sacrificed, as Chesterfield rather cynically observes, his c.o.c.k to aesculapius. Hooke, a zealous Catholic friend, asked him whether he would not send for a priest. "I do not suppose that it is essential," said Pope, "but it will look right, and I heartily thank you for putting me in mind of it." A priest was brought, and Pope received the last sacraments with great fervour and resignation. Next day, on May 30th, 1744, he died so peacefully that his friends could not determine the exact moment of death.

It was a soft and touching end; and yet we must once more look at the other side. Warburton and Bolingbroke both appear to have been at the side of the dying man, and before very long they were to be quarrelling over his grave. Pope's will showed at once that his quarrels were hardly to end with his death. He had quarrelled, though the quarrel had been made up, with the generous Allen, for some cause not ascertainable, except that it arose from the mutual displeasure of Mrs. Allen and Miss Blount. It is pleasant to notice that, in the course of the quarrel, Pope mentioned Warburton, in a letter to Miss Blount, as a sneaking parson; but Warburton was not aware of the flash of sarcasm. Pope, as Johnson puts it, "polluted his will with female resentment." He left a legacy of 150_l._ to Allen, being, as he added, the amount received from his friend--for himself or for charitable purposes; and requested Allen, if he should refuse the legacy for himself, to pay it to the Bath Hospital. Allen adopted this suggestion, saying quietly that Pope had always been a bad accountant, and would have come nearer the truth if he had added a cypher to the figures.

Another fact came to light, which produced a fiercer outburst. Pope, it was found, had printed a whole edition (1500 copies) of the _Patriot King_, Bolingbroke's most polished work. The motive could have been nothing but a desire to preserve to posterity what Pope considered to be a monument worthy of the highest genius, and was so far complimentary to Bolingbroke. Bolingbroke, however, considered it as an act of gross treachery. Pope had received the work on condition of keeping it strictly private, and showing it to only a few friends. Moreover, he had corrected it, arranged it, and altered or omitted pa.s.sages according to his own taste, which naturally did not suit the author's. In 1749 Bolingbroke gave a copy to Mallet for publication, and prefixed an angry statement to expose the breach of trust of "a man on whom the author thought he could entirely depend." Warburton rushed to the defence of Pope and the demolition of Bolingbroke. A savage controversy followed, which survives only in the t.i.tle of one of Bolingbroke's pamphlets, A Familiar Epistle to the most Impudent Man living--a transparent paraphrase for Warburton. Pope's behaviour is too much of a piece with previous underhand transactions, but scarcely deserves further condemnation.

A single touch remains. Pope was buried, by his own directions, in a vault in Twickenham church, near the monument erected to his parents. It contained a simple inscription ending with the words "_Parentibus bene merentibus filius fecit._" To this, as he directed in his will, was to be added simply "_et sibi_." This was done; but seventeen years afterwards the clumsy Warburton erected in the same church another monument to Pope himself, with this stupid inscription. _Poeta loquitur._

_For one who would not lie buried in Westminster Abbey._

Heroes and kings, your distance keep!

In peace let one poor poet sleep Who never flatter'd folks like you; Let Horace blush and Virgil too.

Most of us can tell from experience how grievously our posthumous ceremonials often jar upon the tenderest feelings of survivors. Pope's valued friends seem to have done their best to surround the last scene of his life with painful a.s.sociations; and Pope, alas! was an unconscious accomplice. To us of a later generation it is impossible to close this strange history without a singular mixture of feelings.

Admiration for the extraordinary literary talents, respect for the energy which, under all disadvantages of health and position, turned these talents to the best account; love of the real tender-heartedness which formed the basis of the man's character; pity for the many sufferings to which his morbid sensitiveness exposed him; contempt for the meannesses into which he was hurried; ridicule for the insatiable vanity which prompted his most degrading subterfuges; horror for the bitter animosities which must have tortured the man who cherished them even more than his victims--are suggested simultaneously by the name of Pope. As we look at him in one or other aspect, each feeling may come uppermost in turn. The most abiding sentiment--when we think of him as a literary phenomenon--is admiration for the exquisite skill which enabled him to discharge a function, not of the highest kind, with a perfection rare in any department of literature. It is more difficult to say what will be the final element in our feeling about the man. Let us hope that it may be the pity which, after a certain lapse of years, we may be excused for conceding to the victim of moral as well as physical diseases.

THE END.

WORDSWORTH. By F. W. H. MYERS.

SWIFT. By JOHN MORLEY.

BYRON. By Professor NICHOL.

ADAM SMITH. By LEONARD H. COURTNEY.

BENTLEY. By Professor R. C. JEBB.

LANDOR. By Professor SIDNEY COLVIN.