The Poetical Works of Alexander Pope, Volume 1

by Alexander Pope

Our author's life becomes now little else than a record of multiplying labours and increasing infirmities. In 1734 appeared the fourth part of the "Essay on Man," and the Second Satire of the Second Book of Horace. In 1735 were issued his "Characters of Women: An Epistle to a Lady" (Martha Blount). In this appears his famous character of Atossa—the Duchess of Marlborough. It is said—we fear too truly—that these lines being shewn to her Grace, as a character of the Duchess of Buckingham, she recognised in them her own likeness, and bribed Pope with a thousand pounds to suppress it. He did so religiously—as long as she was alive—and then published it! In the same year he printed a second volume of his "Miscellaneous Works," in folio and quarto, uniform with the "Iliad" and "Odyssey," including a versification of the Satires of Donne; also, anonymously, a production disgraceful to his memory, entitled, "Sober Advice from Horace to the Young Gentlemen about Town," in which he commits many gross indecorums of language, and annexes the name of the great Bentley to several indecent notes. It is said that Bentley, when he read the pamphlet, cried, "'Tis an impudent dog, but I talked against his Homer, and the portentous cub never forgives."

The "Essay on Man" and the "Moral Epistles" were designed to be parts of a great system of ethics, which Pope had long revolved in his mind, and wished to incarnate in poetry. At this time occurred the strange, mysterious circumstances connected with the publication of his letters. It seems that, in 1729, Pope had recalled from his correspondents the letters he had written them, of many of which he had kept no copies. He was induced to this by the fact, that after Henry Cromwell's death, his mistress, Mrs Thomas, who was in indigent circumstances, had sold the letters which had passed between Pope and her keeper, to Curll the bookseller, who had published them without scruple. When Pope obtained his correspondence, he, according to his own statement, burned a great many and laid past the others, after having had a copy of them taken, and deposited in Lord Oxford's library. And his charge against Curll was, that he obtained surreptitiously some of these letters, and published them without Pope's consent. But, ere we come to the circumstances of the publication, several other things require to be noticed. In 1733, Curll, anxious to publish a Life of Pope, advertised for information; and, in consequence, one P.T., who professed to be an old friend of Pope's and his father's, wrote Curll a letter, giving an account of Pope's ancestry, which tallied exactly with what Pope himself, in a note to one of his poems, furnished the following year. P.T., in a second letter, offered to the publisher a large collection of Pope's letters, and inclosed a copy of an advertisement he had drawn out to be published by Curll. Strange as it seems, Curll took no notice of the proposal till 1735, when, having accidentally turned up a copy of P.T.'s advertisement, he sent it to Pope, with a letter requesting an interview, and mentioning that he had some papers of P.T.'s in reference to his family history, which he would shew him. Pope replied by three advertisements in the papers, denying all knowledge of P.T. or his collection of letters or MSS. P.T. then wrote Curll that he had printed the letters at his own expense, seeking a sum of money for them, and appointing an interview at a tavern to shew him the sheets. This was countermanded the next day, P.T. professing to be afraid of Pope and his "bravoes," although how Pope was to know of this meeting was, according to Curll, "the cream of the jest."

Soon after, a round, fat man, with a clergyman's gown and a barrister's band, called on Curll, at ten o'clock at night. He said his name was Smith, that he was a cousin of P.T.'s, and shewed the book in sheets, along with about a dozen of the original letters. After a good deal of negotiation with this personage, Curll obtained fifty copies of P.T.'s printed copies, and issued a flaming advertisement announcing the publication of Pope's letters for thirty years, and stating that the original MSS. were lying at his shop, and might be seen by any who chose,—although not a single MS. seems to have been delivered. Smith, the day that the advertisement appeared, handed over, for a sum of money, about three hundred volumes to Curll. But as in the advertisement it was stated that various letters of lords were included, and as there is a law amongst regulations of the Upper House that no peer's letters can be published without his consent, at the instance of the Earl of Jersey, and in consequence, too, of an advertisement of Pope's, the books were seized, and Curll, and the printer of the paper where the advertisement appeared, were ordered to appear at the bar for breach of privilege. P.T. wrote Curll to tell him to conceal all that passed between him and the publisher, and promising him more valuable letters still. Curll, however, told the whole story; and as, when the books were examined, not a single lord's letter was found among them, Curll was acquitted, his books restored to him, the lords saying that they had been made the tools of Pope; and he proceeded to advertise the correspondence, in terms most insulting to Pope, who now felt himself compelled (!) to print, by subscription, his genuine letters, which, when printed, turned out, strange to tell, to be identical with those published by the rapacious bookseller! On viewing the whole transaction, we incline with Johnson, Warton, Bowles, Macaulay, and Carruthers, to look upon it as one of Pope's ape-like stratagems—to believe that P.T. was himself, Smith his agent, and that his objects were partly to outwit Curll, to mystify the public, to gratify that strange love of manoeuvring which dwelt as strongly in him as in any match-making mamma, and to attract interest and attention to the genuine correspondence when it should appear. Pope, it was said, could not "drink tea without a stratagem," and far less publish his correspondence without a series of contemptible tricks—tricks, however, in which he was true to his nature—that being a curious compound of the woman and the wit, the monkey and the genius[1].

In 1737, four of his Imitations of Horace were published, and in the next year appeared two Dialogues, each entitled "1738," which now form the Epilogue to the Satires. One of them was issued on the same day with Johnson's "London." In that year, too, he published his "Universal Prayer,"—a singular specimen of latitudinarian thought, expressed in a loose simplicity of language, quite unusual with its author. The next year he had intended to signalise by a third Dialogue, which he commenced in a vigorous style, but which he did not finish, owing to the dread of a prosecution before the Lords; and with the exception of letters (one of them interesting, as his last to Swift), his pen was altogether idle. In 1740, he did nothing but edit an edition of select Italian Poets. This year, Crousaz, a Swiss professor of note, having attacked (we think most justly) the "Essay on Man" as a mere Pagan prolusion—a thin philosophical smile cast on the Gordian knot of the mystery of the universe, instead of a sword cutting, or trying to cut, it in sunder—Warburton, a man of much talent and learning, but of more astuteness and anxiety to exalt himself, came forward to the rescue, and, with a mixture of casuistical cunning and real ingenuity, tried, as some one has it, "to make Pope a Christian," although, even in Warburton's hands, like the dying Donald Bane in "Waverley," he "makes but a queer Christian after all;" and his system, essentially Pantheistic, contrives to ignore the grand Scripture principles of a Fall, of a Divine Redeemer, of a Future World, and the glorious light or darkness which these and other Christian doctrines cast upon the Mystery of Man. If, however, Warburton, with all his scholastic subtlety, failed to make Pope a Christian, he made him a warm friend; Allen, Pope's acquaintance, a rich father-in-law; and himself, by and by, the Bishop of Gloucester. Sophistry has seldom, although sometimes, been thus richly rewarded.

The last scene of Pope's tiny and tortured existence was now at hand. But ere it closed, it must close like Dryden's, characteristically, with an author's quarrel. Colley Cibber had long been a favourite of Pope's ire, and had as often retorted scorn, till at last, by laughing upon the stage at Pope's play (partly Gay's), entitled, "Three Hours After Marriage," he roused the bard almost to frenzy; and Pope set to work to remodel "The Dunciad;" and, dethroning Theobald, set up Cibber as the lawful King of the Dull,—a most unfortunate substitution, since, while Theobald was the ideal of stolid, solemn stupidity, Cibber was gay, light, pert, and clever; full of pluck, too, and who overflowed in reply, with pamphlets which gave Pope both a headache and a heartache whenever he perused them.

Pope had never been strong, and for many years the variety and multitude of his frailties had been increasing. He had habitually all his life been tormented with headaches, for which he found the steam of strong coffee the chief remedy. He had hurt his stomach, too, by indulging in excess of stimulating viands, such as potted lampreys, and in copious and frequent drams. He was assailed at last by dropsy and asthma; and on the 30th of May 1744, he breathed his last, fifty-six years of age. He had long, he said, "been tired of the world," and died with philosophic composure and serenity. He took the sacrament according to the form of the Roman Catholic Church; but merely, he said, because it "looked right." A little before his death, he called for his desk, and began an essay on the immortality of the soul, and on those material things which tend to weaken or to strengthen it for immortality,— enumerating generous wines as among the latter influences, and spirituous liquors among the former! His last words were, "There is nothing that is meritorious but virtue and friendship; and, indeed, friendship itself is only a part of virtue." Thus, "motionless and moanless," without a word about Christ—the slightest syllable of repentance—and with a scrap of heathen morality in his mouth, died the brilliant Alexander Pope. Who is ready to say, "May my last end be like his"? His favourite Martha Blount behaved, according to some accounts, with disgusting unconcern on the occasion. So true it is, "there is no friendship among the wicked," even although the heartless Bolingbroke, too, was by, and seems to have succeeded in squeezing out some crocodile tears, as he bent over the dying poet, and said, "O God! what is man?" His remains were, according to his wish, deposited in Twickenham church, near his parents, where the single letter P on the stone alone distinguishes the spot.

Pope's character, apart from his poetry, which we intend criticising in our next volume, was not specially interesting or elevated. He was a spoiled child, a small self-tormentor,—full to bursting with petty spites, mean animosities, and unfounded jealousies. While he sought, with the fury of a pampered slave, to trample on those authors that were beneath him in rank or in popularity, he could on all occasions fawn with the sycophancy of a eunuch upon the noble, the rich, and the powerful. Hazlitt speaks of Moore as a "pug-dog barking from the lap of a lady of quality at inferior passengers." The description is far more applicable to Pope. We have much allowance to make for the influence exerted on his mind by his singularly crooked frame and sickly habit of body, by his position as belonging to a proscribed faith, and by his want of training in a public school; but after all these deductions, we cannot but deplore the spectacle of one of the finest, clearest, and sharpest minds that England ever produced, so frequently reminding you of a bright sting set in the body, and steeped in the venom, of a wasp. And yet, withal, he possessed many virtues, which endeared him to a multitude of friends. He was a kind son. He was a faithful and devoted friend. He loved, if not man, yet many men with deep tenderness. A keen politician he was not; but, so far as he went along with his party, he was true to the common cause. In morals, he was greatly superior, in point of external decorum, to most of the wits of the time; but in falsehood, finesse, treachery, and envy, he stood at the bottom of the list, without that plea of poverty, or wretchedness, or despair, which so many of them might have urged. Uneasy, indeed, he always, and unhappy he often, was; but very much of his uneasiness and unhappiness sprung from his own fault. He attacked others, and could not bear to be attacked in return. He was a bully and a coward. He threw himself into a thorn-hedge, and was amazed that he came out covered with scratches and blood. While he shone in satirising many kinds of vice, he laid himself open to retort by his own want of delicacy. He, as well as Swift, was fond of alluding in his verse to polluted and forbidden things. There, and there alone, his taste deserted him; and there is something disgusting and unnatural in the combination of the elegant and the obscene—the coarse in sentiment and the polished in style. And whatever may be said for many of the amiable traits of the Man, there is very little to be said for the general tendency—so far as healthy morality and Christian principle are concerned—of the writings of the Poet.

DETAILED CONTENTS
PREFACE
PASTORALS—
Spring, the First Pastoral, or Damon
Summer, the Second Pastoral, or Alexis
Autumn, the Third Pastoral, or Hylas and Ægon
Winter, the Fourth Pastoral, or Daphne
MESSIAH
AN ESSAY ON CRITICISM—
Part First
Part Second
Part Third
THE RAPE OF THE LOCK—
Canto I.
Canto II.
Canto III.
Canto IV.
Canto V.
WINDSOR-FOREST
ODE ON ST CECILIA'S DAY
TWO CHORUSES TO THE TRAGEDY OF BRUTUS—
Chorus of Athenians
Chorus of Youths and Virgins
TO THE AUTHOR OF A POEM ENTITLED SUCCESSIO
ODE ON SOLITUDE
THE DYING CHRISTIAN TO HIS SOUL
ELEGY TO THE MEMORY OF AN UNFORTUNATE LADY
PROLOGUE TO MR ADDISON'S TRAGEDY OF CATO
IMITATIONS OF ENGLISH POETS—
Chaucer
Spenser—
The Alley,
Waller—
Of a Lady Singing to her Lute
On a Fan of the Author's Design
Cowley—
The Garden
Weeping
Earl of Rochester—
On Silence
Earl of Dorset—
Artemisia
Phryne
Dr Swift—
The Happy Life of a Country Parson
THE TEMPLE OF FAME
ELOISA TO ABELARD
EPISTLE TO ROBERT EARL OF OXFORD AND EARL MORTIMER
EPISTLE TO JAMES CRAGGS, ESQ.
EPISTLE TO MR JERVAS
EPISTLE TO MISS BLOUNT
EPISTLE TO MRS TERESA BLOUNT
TO MRS M.B. ON HER BIRTHDAY
TO MR THOMAS SOUTHERN, ON HIS BIRTHDAY, 1742
TO MR JOHN MOORE
TO MR C., ST JAMES'S PLACE
EPITAPHS—
On Charles Earl of Dorset
On Sir William Trumbull
On the Hon. Simon Harcourt
On James Craggs, Esq.
Intended for Mr Rowe
On Mrs Corbet
On the Monument of the Honourable Robert Digby, and his Sister Mary
On Sir Godfrey Kneller
On General Henry Withers
On Mr Elijah Fenton
On Mr Gay
Intended for Sir Isaac Newton
On Dr Francis Atterbury
On Edmund Duke of Buckingham
For One who would not be Buried in Westminster Abbey
Another, on the same
On two Lovers struck dead by Lightning
AN ESSAY ON MAN—
Epistle I.
Epistle II.
Epistle III.
Epistle IV.
EPISTLE TO DR AKBUTHNOT; OR, PROLOGUE TO THE SATIRES
SATIRES AND EPISTLES OF HORACE IMITATED—
Satire I. To Mr Fortescue
Satire II. To Mr Bethel
THE FIRST EPISTLE OF THE FIRST BOOK OF HORACE—
To Lord Bolingbroke
THE SIXTH EPISTLE OF THE FIRST BOOK OF HORACE—
To Mr Murray
THE FIRST EPISTLE OF THE SECOND BOOK OF HORACE—
To Augustus
THE SECOND EPISTLE OF THE SECOND BOOK OF HORACE—
Book I. Epistle VII.
Book II. Satire VI.
Book IV. Ode I.
Part of the Ninth Ode of the Fourth Book
THE SATIRES OF DR JOHN VERSIFIED—
Satire II.
Satire IV.
EPILOGUE TO THE SATIRES: IN TWO DIALOGUES—
Dialogue I.
Dialogue II.

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