FOOTNOTES:
[1] There was only one paper.
[2] Warburton implies that Addison's remark to Pope was made immediately after the essay appeared in the Guardian, in which case Pope could have lost no time in avowing that he was the author of the criticism when once it was in print, for Addison had no suspicion of him from internal evidence. "He did not," says Spence, "discover Mr. Pope's style in the letter on Pastorals, which he published in the Guardian; but then that was a disguised style."
[3] The effect of reality and truth became conspicuous, even when the intention was to show them grovelling and degraded. Gay's pastorals became popular, and were read with delight as just representations of rural manners and occupations, by those who had no interest in the rivalry of the poets, nor knowledge of the critical dispute.—Johnson.
[4] Warton was master of Winchester school.
[5] But if Pope had no invention, and had exhibited in his Pastorals no new or striking images, how could his example have led the way to others, "in point of genius and imagination," whatever it might have done in point of correctness?—Roscoe.
[6] They are not coupled but contra-distinguished, and surely the poet might draw a contrast from Greece without being chargeable with a faulty mixture of British and Grecian ideas.—Ruffhead.
[7] That such causes of complaint will more frequently occur in the Grecian climate is unquestionable; but is it necessary to make a complaint of this kind consistent that every day should be a dog-day? The British shepherd might very consistently describe what he often felt, and we have days in England which might make even a Grecian faint.—Ruffhead.
[8] "New sentiments and new images," says Johnson, in his Life of Pope, "others may produce; but to attempt any further improvement of versification will be dangerous. Art and diligence have done their best, and what shall be added will be the effort of tedious toil and needless curiosity."
[9] Works of Lord Lansdowne, vol. ii. p. 113.
[10] De Quincey's Works, vol. xv. p. 114.
[11] Singer's Spence, p. 162.
[12] Spence, p. 211.
[13] Works of Lady Mary Wortley, ed. Thomas, vol. i. p. 166.
[14] Dryden, Preface to Fables, Ancient and Modern.
[15] Spence, p. 236.
[16] Spence, p. 212.
[17] Œuvres, ed. Beuchot, tom. xxxvii. p. 258.
[18] Lives of the Poets, ed. Cunningham, vol. iii. p. 136. The principle which Johnson derided in his Life of Pope he had upheld in No. 86 of the Rambler: "We are soon wearied with the perpetual recurrence of the same cadence. Necessity has therefore enforced the mixed measure, in which some variation of the accents is allowed. This, though it always injures the harmony of the line considered by itself, yet compensates the loss by relieving us from the continual tyranny of the same sound, and makes us more sensible of the harmony of the pure measure."
[19] Elements of Criticism, 6th ed. vol. ii. p. 143, 155.
[20] Gray's Works, ed. Mitford, vol. v. p. 303.
[21] Trapp's Virgil, vol. i. p. lxxix.
[22] Lives of the Poets, vol. iii. p. 136.
[23] Guardian, No. 30, April 15, 1713.
[24] Guardian, No. 40, April 27, 1713.
[25] Life of Hannah More, vol. i. p. 301.
[26] Pope to Caryll, June 8, 1714.
[27] Nichols, Illustrations of Lit. Hist. vol. vii. 713.