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worth while to understand its real meaning; and the explanation is not very far to seek.


Pope's best writing, I have said, is the essence of conIt has the quick movement, the boldness and brilliance, which we suppose to be the attributes of the best talk. Of course the apparent facility is due to conscientious labour. In the Prologue and Epilogue and the best parts of the imitations of Horace, he shows such consummate mastery of his peculiar style, that we forget the monotonous metre. The opening passage, for example, of the Prologue is written apparently with the perfect freedom of real dialogue; in fact, it is of course far more pointed and compressed than any dialogue could ever be. The dramatic vivacity with which the whole scene is given, shows that he could use metre as the most skilful performer could command a musical instrument. Pope, indeed, shows in the Essay on Criticism, that his view about the uniformity of sound and sense were crude enough; they are analogous to the tricks by which a musician might decently imitate the cries of animals or the murmurs of a crowd; and his art excludes any attempt at rivalling the melody of the great poets who aim at producing a harmony quite independent of the direct meaning of their words. I am only speaking of the felicity with which he can move in metre, without the slightest appearance of restraint, so as to give a kind of idealized representation of the tone of animated verbal intercourse. Whatever comes within this province he can produce with admirable fidelity. Now in such talks as we imagine with Swift and Bolingbroke, we may be quite sure that there would be some very forcible denunciation of corruption-corruption being of course regarded as due to the diabolical agency of Walpole. During his later years,

Pope became a friend of all the Opposition clique, which was undermining the power of the great minister. In his last letters to Swift, Pope speaks of the new circle of promising patriots who were rising round him, and from whom he entertained hopes of the regeneration of this corrupt country. Sentiments of this kind were the staple. talk of the circles in which he moved; and all the young men of promise believed, or persuaded themselves to fancy, that a political millennium would follow the downfall of Walpole. Pope, susceptible as always to the influences of his social surroundings, took in all this, and delighted in figuring himself as the prophet of the new era and the denouncer of wickedness in high places. He sees "old England's genius" dragged in the dust, hears the black trumpet of vice proclaiming that "not to be corrupted is the shame," and declares that he will draw the last pen for freedom, and use his "sacred weapon" in truth's defence.

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 glass 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 pass muster for profound observation at Court; for a time they talk platitudes, 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 title 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 space 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 passages, 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 antitheses 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 verification 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 Shelley or Keats. The quantity of work scarcely distinguishable from that of the worst passages 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 asserts)

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