Pope As An Author
From The Life Of Pope by Samuel Johnson

From the age of sixteen the life of Pope, as an author, may be properly computed. He now wrote his pastorals (1704), which were shown to the poets and critics of that time. As they well deserved, they were read with admiration, and many praises were bestowed upon them and upon the preface, which is both elegant and learned in a high degree; they were, however, not published till five years afterwards.

Cowley, Milton, and Pope are distinguished among the English poets by the early exertion of their powers, but the works of Cowley alone were published in his childhood, and, therefore, of him only can it be certain that his puerile performances received no improvement from his maturer studies.

Wycherley
At this time began his acquaintance with Wycherley, a man who seems to have had among his contemporaries his full share of reputation, to have been esteemed without virtue, and caressed without good humour. Pope was proud of his notice. Wycherley wrote verses in his praise, which he was charged by Dennis with writing to himself, and they agreed for a while to flatter one another. It is pleasant to remark how soon Pope learned the cant of an author, and began to treat critics with contempt, though he had yet suffered nothing from them.

But the fondness of Wycherley was too violent to last. His esteem of Pope was such that he submitted some poems to his revision, and when Pope, perhaps proud of such confidence, was sufficiently bold in his criticisms, and liberal in his alterations, the old scribbler was angry to see his pages defaced, and felt more pain from the detection than content from the amendment of his faults. They parted, but Pope always considered him with kindness, and visited him a little time before he died.

Cromwell
Another of his early correspondents was Mr. Cromwell, of whom I have learned nothing particular, but that he used to ride a-hunting in a tie-wig. He was fond, and perhaps vain, of amusing himself with poetry and criticism, and sometimes sent his performances to Pope, who did not forbear such remarks as were now and then unwelcome. Pope, in his turn, put the juvenile version of "Statius" into his hands for correction.

Their correspondence afforded the public its first knowledge of Pope's epistolary powers, for his letters were given by Cromwell to one Mrs. Thomas, and she many years afterwards sold them to Curll, who inserted them (1727) in a volume of his "Miscellanies."

Walsh
Walsh, a name yet preserved among the minor poets, was one of his first encouragers. His regard was gained by the pastorals, and from him Pope received the counsel from which he seems to have regulated his studies. Walsh advised him to correctness, which, as he told him, the English poets had hitherto neglected, and which, therefore, was left to him as a basis of fame; and, being delighted with rural poems, recommended to him to write a pastoral comedy, like those which are read so eagerly in Italy, a design which Pope probably did not approve, as he did not follow it.

Pope had now declared himself a poet, and, thinking himself entitled to poetical conversation, began at seventeen to frequent Will's, a coffee-house on the north side of Russell Street, in Covent Garden, where the wits of that time used to assemble, and where Dryden had, when he lived, been accustomed to preside.

During this period of his life he was indefatigably diligent and insatiably curious, wanting health for violent and money for expensive pleasures, and having excited in himself very strong desires of intellectual eminence, he spent much of his time over his books; but he read only to store his mind with facts and images, seizing all that his authors presented with undistinguishing voracity, and with an appetite for knowledge too eager to be nice. In a mind like his, however, all the faculties were at once involuntarily improving. Judgment is forced upon us by experience. He that reads many books must compare one opinion or one style with another; and, when he compares, must necessarily distinguish, reject, and prefer. But the account given by himself of his studies was, that from fourteen to twenty he read only for amusement, from twenty to twenty-seven for improvement and instruction; that in the first part of his time he desired only to know, and in the second he endeavoured to judge.

The Pastorals, which had been for some time handed about among poets and critics, were at last printed (1709) in Tonson's "Miscellany," in a volume which began with the Pastorals of Philips, and ended with those of Pope.

Essay on Criticism
The same year was written the "Essay on Criticism," a work which displays such extent of comprehension, such nicety of distinction, such acquaintance with mankind, and such knowledge both of ancient and modern learning, as are not often attained by the maturest age and longest experience. It was published about two years afterwards, and, being praised by Addison in the Spectator, with sufficient liberality, met with so much favour as enraged Dennis,

"who," he says, "found himself attacked, without any manner of provocation on his side, and attacked in his person instead of his writings, by one who was wholly a stranger to him, at a time when all the world knew he was persecuted by fortune; and not only saw that this was attempted in a clandestine manner, with the utmost falsehood and calumny, but found that all this was done by a little, affected hypocrite, who had nothing in his mouth at the same time but truth, candour, friendship, good-nature, humanity, and magnanimity."

How the attack was clandestine is not easily perceived, nor how his person is depreciated; but he seems to have known something of Pope's character, in whom may be discovered an appetite to talk too frequently of his own virtues. The pamphlet is such as rage might be expected to dictate. He supposes himself to be asked two questions; whether the essay will succeed, and who or what is the author.

Its success he admits to be secured by the false opinions then prevalent; the author he concludes to be

"young and raw. First, because he discovers a sufficiency beyond his little ability, and hath rashly undertaken a task infinitely above his force. Secondly, while this little author struts and affects the dictatorian air, he plainly shows that at the same time he is under the rod: and, while he pretends to give laws to others, is a pedantic slave to authority and opinion. Thirdly, he hath, like schoolboys, borrowed both from living and dead. Fourthly, he knows not his own mind, and frequently contradicts himself. Fifthly, he is almost perpetually in the wrong."

All these positions he attempts to prove by quotations and remarks; but his desire to do mischief is greater than his power. He has, however, justly criticised some passages in these lines: —

"There are whom Heaven has blessed with store of wit,
Yet want as much again to manage it:
For wit and judgment ever are at strife —"

It is apparent that wit has two meanings, and that what is wanted, though called wit, is truly judgment. So far Dennis is undoubtedly right: but not content with argument, he will have a little mirth, and triumphs over the first couplet in terms too elegant to be forgotten.

"By the way, what rare numbers are here! Would not one swear that this youngster had espoused some antiquated muse, who had sued out a divorce on account of impotence, from some superannuated sinner; and, having been p — d by her former spouse, has got the gout in her decrepit age, which makes her hobble so damnably?"

This was the man who would reform a nation sinking into barbarity.

In another place Pope himself allowed that Dennis had detected one of those blunders which are called "bulls." The first edition had this line: —

"What is this wit —
Where wanted scorned; and envied where acquired?"
"How," says the critic, "can wit be scorned where it is not? Is not this a figure frequently employed in Hibernian land! The person that wants this wit may indeed be scorned, but the scorn shows the honour which the contemner has for wit."

Of this remark Pope made the proper use, by correcting the passage. I have preserved, I think, all that is reasonable in Dennis's criticism; it remains that justice be done to his delicacy.

"For his acquaintance," says Dennis, "he names Mr. Walsh, who had by no means the qualification which this author reckons absolutely necessary to a critic, it being very certain that he was, like this essayer a very indifferent poet; he loved to be well dressed; and I remember a little young gentleman whom Mr. Walsh used to take into his company as a double foil to his person and capacity. Inquire between Sunning Hill and Oakingham, for a young, short, equal, gentleman, the very bow of the God of Love, and tell me whether he be a proper author to make personal reflections? He may extol the ancients, but he has reason to thank the gods that he was born a modern; for had he been born of Grecian parents, and his father consequently had by law had the absolute disposal of him, his life had been no longer than that of one of his poems, the life of half a day. Let the person of a gentleman of his parts be never so contemptible, his inward man is ten times more ridiculous; it being impossible that his outward form, though it be that of downright monkey, should differ so much from human shape as his unthinking, immaterial part does from human understanding."

Thus began the hostility between Pope and Dennis, which, though it was suspended for a short time, never was appeased. Pope seems, at first, to have attacked him wantonly; but though he always professed to despise him, he discovers, by mentioning him very often, that he felt his force or his venom.

Of this essay, Pope declared that he did not expect the sale to be quick, because

"not one gentleman in sixty, even of liberal education, could understand it."

The gentleman, and the education of that time, seem to have been of a lower character than they are of this. He mentioned a thousand copies as a numerous impression.

Dennis was not his only censurer; the zealous Papists thought the monks treated with too much contempt, and Erasmus too studiously praised; but to these objections he had not much regard.

The "Essay," has been translated into French by Hamilton, author of the "Comte de Grammont," whose version was never printed, by Robotham, secretary to the king for Hanover, and by Resnel; and commented by Dr. Warburton, who has discovered in it such order and connection as was not perceived by Addison, nor, as it is said, intended by the author.

Almost every poem, consisting of precepts, is so far arbitrary and immethodical, that many of the paragraphs may change places with no apparent inconvenience; for of two or more positions, depending upon some remote and general principle, there is seldom any cogent reason why one should precede the other. But for the order in which they stand, whatever it be, a little ingenuity may easily give a reason.

"It is possible," says Hooker, "that, by long circumduction, from any one truth all truth may be inferred."

Of all homogeneous truths, at least of all truths respecting the same general end, in whatever series they may be produced, a concatenation by intermediate ideas may be formed, such as, when it is once shown, shall appear natural; but if this order be reversed, another mode of connection equally spacious may be found or made. Aristotle is praised for naming fortitude first of the cardinal virtues, as that without which no other virtue can steadily be practised; but he might, with equal propriety, have placed prudence and justice before it; since without prudence fortitude is mad; without justice, it is mischievous.

As the end of method is perspicuity, that series is sufficiently regular that avoids obscurity; and where there is no obscurity, it will not be difficult to discover method.

Messiah
In the Spectator was published the "Messiah," which he first submitted to the perusal of Steele, and corrected in compliance with his criticisms.

Unfortunate Lady
It is reasonable to infer from his "Letters" that the verses on the "Unfortunate Lady" were written about the time when his "Essay" was published. The lady's name and adventures I have sought with fruitless inquiry.

I can therefore tell no more than I have learned from Mr. Ruffhead, who writes with the confidence of one who could trust his information. She was a woman of eminent rank and large fortune, the ward of an uncle, who, having given her a proper education, expected, like other guardians, that she should make at least an equal match; and such he proposed to her, but found it rejected in favour of a young gentleman of inferior condition.

Having discovered the correspondence between the two lovers, and finding the young lady determined to abide by her own choice, he supposed that separation might do what can rarely be done by arguments, and sent her into a foreign country, where she was obliged to converse only with those from whom her uncle had nothing to fear.

Her lover took care to repeat his vows; but his letters were intercepted and carried to her guardian, who directed her to be watched with still greater vigilance, till of this restraint she grow so impatient that she bribed a woman servant to procure her a sword, which she directed to her heart.

From this account, given with evident intention to raise the lady's character, it does not appear that she had any claim to praise nor much to compassion. She seems to have been impatient, violent, and ungovernable. Her uncle's power could not have lasted long; the hour of liberty and choice would have come in time. But her desires were too hot for delay, and she liked self-murder better than suspense.

Nor is it discovered that the uncle, whoever he was, is with much justice delivered to posterity as "a false guardian." He seems to have done only that for which a guardian is appointed; he endeavoured to direct his niece till she should be able to direct herself. Poetry has not often been worse employed than in dignifying the amorous fiery of a raving girl.

Rape of the Lock
Not long after he wrote the "Rape of the Lock," the most airy, the most ingenious, and the most delightful off all his compositions, occasioned by a frolic of gallantry, rather too familiar, in which Lord Petre cut off a lock of Mrs. Arabella Fermor's hair. This, whether stealth or violence, was so much resented that the commerce of the two families, before very friendly, was interrupted. Mr. Caryl, a gentleman who, being secretary to King James's queen, had followed his mistress into France, and who, being the author of Sir Solomon Single, a comedy, and some translations, was entitled to the notice of a wit, solicited Pope to endeavour a reconciliation by a ludicrous poem which might bring both the parties to a better temper. In compliance with Caryl's request, though his name was for a long time marked only by the first and last letter, "C — l," a poem of two cantos, was written (1711), as is said, in a fortnight, and sent to the offended lady, who liked it well enough to show it; and, with the usual process of literary transactions, the author, dreading a surreptitious edition, was forced to publish it.

The event is said to have been such as was desired, the pacification and diversion of all to whom it related, except Sir George Brown, who complained with some bitterness that, in the character of Sir Plume, he was made to talk nonsense. Whether all this be true I have some doubt; for at Paris, a few years ago, a niece of Mrs. Fermor, who presided in an English convent, mentioned Pope's work with very little gratitude, rather as an insult than an honour; and she may be supposed to have inherited the opinion of her family.

At its first appearance at was termed by Addison "merum sal." Pope, however, saw that it was capable of improvement; and, having luckily contrived to borrow his machinery from the Rosicrucians, imparted the scheme with which his head was teeming to Addison, who told him that his work, as it stood, was "a delicious little thing," and gave him no encouragement to retouch it.

This has been too hastily considered as an instance of Addison's jealousy, for, as he could not guess the conduct of the new design, or the possibilities of pleasure comprised in a fiction of which there had been no examples, he might very reasonably and kindly persuade the author to acquiesce in his own prosperity, and forbear an attempt which he considered as an unnecessary hazard.

Addison's counsel was happily rejected. Pope foresaw the future efflorescence of imagery then budding in his mind, and resolved to spare no art or industry of cultivation. The soft luxuriance of his fancy was already shooting, and all the gay varieties of diction were ready at his hand to colour and embellish it.

His attempt was justified by its success. The "Rape of the Lock" stands forward, in the classes of literature, as the most exquisite example of ludicrous poetry. Berkeley congratulated him upon the display of powers more truly poetical than he had shown before with elegance of description and justness of precepts he had now exhibited boundless fertility of invention.

He always considered the intermixture of the machinery with the action as his most successful exertion of poetical art. He, indeed, could never afterwards produce anything of such unexampled excellence. Those performances, which strike with wonder, are combinations of skilful genius with happy casualty; and it is not likely that any felicity, like the discovery of a new race of preternatural agents, should happen twice to the same man.

Of this poem the author was, I think, allowed to enjoy the praise for a long time without disturbance. Many years afterwards Dennis published some remarks upon it with very little force and with no effect; for the opinion of the public was already settled, and it was no longer at the mercy of criticism.

Temple of Fame
About this time he published the "Temple of Fame," which, as he tells Steele in their correspondence, he had written two years before — that is, when he was only twenty-two years old, an early time of life for so much learning and so much observation as that work exhibits.

On this poem Dennis afterwards published some remarks, of which the most reasonable is that some of the lines represent motion as exhibited by Sculpture.

Eloisa to Abelard
Of the Epistle from "Eloisa to Abelard," I do not know the date. His first inclination to attempt a composition of that tender kind arose, as Mr. Savage told me, from his perusal of Prior's "Nut-brown Maid." How much he has surpassed Prior's work it is not necessary to mention, when perhaps it may be said, with justice, that he has excelled every composition of the same kind. The mixture of religious hope and resignation gives an elevation and dignity to disappointed love, which images merely natural cannot bestow. The gloom of a convent strikes the imagination with far greater force than the solitude of a grove.

This piece was, however, not much his favourite in his later years, though I never heard upon what principle he slighted it.

Windsor Forest
In the next year (1713) he published "Windsor Forest," of which part was, as he relates, written at sixteen, about the same time as his Pastorals, and the latter part was added afterwards. Where the addition begins we are not told. The lines relating to the peace confess their own date. It is dedicated to Lord Lansdowne, who was then in high reputation and influence among the Tories; and it is said that the conclusion of the poem gave great pain to Addison, both as a poet and a politician. Reports like this are often spread with boldness very disproportionate to their evidence. Why should Addison receive any particular disturbance from the last lines of "Windsor Forest"? If contrariety of opinion could poison a politician, he could not live a day; and, as a poet, he must have felt Pope's force of genius much more from many other parts of his works.

Narrative of the Frenzy of John Dennis
The pain that Addison might feel it is not likely that he would confess; and it is certain that he so well suppressed his discontent that Pope now thought himself his favourite, for, having been consulted in the revisal of "Cato" he introduced it by a prologue; and, when Dennis published his remarks, undertook, not indeed to vindicate, but to revenge his friend, by a "Narrative of the Frenzy of John Dennis."

There is reason to believe that Addison gave no encouragement to this disingenuous hostility, for, says Pope, in a letter to him,

"indeed your opinion, that 'tis entirely to be neglected, would be my own in my own case; but I felt more warmth here than I did when I first saw his book against myself (though, indeed, in two minutes it made me heartily merry)."

Addison was not a man on whom such cant of sensibility could make much impression. He left the pamphlet to itself, having disowned it to Dennis, and perhaps did not think Pope to have deserved much by his officiousness.

This year was printed in the Guardian the ironical comparison between the pastorals of Philips and Pope, a composition of artifice, criticism, and literature, to which nothing equal will easily be found. The superiority of Pope is so ingeniously dissembled, and the feeble lines of Philips so skilfully preferred, that Steele, being deceived, was unwilling to print the paper, lest Pope should be offended. Addison immediately saw the writer's design, and, as it seems, had malice enough to conceal his discovery, and to permit a publication which, by making his friend Philips ridiculous, made him for ever an enemy to Pope.

The Art of Painting
It appears that about this time Pope had a strong inclination to unite the art of painting with that of poetry, and put himself under the tuition of Jervas. He was near-sighted, and therefore not formed by nature for a painter; he tried, however, how far he could advance, and sometimes persuaded his friends to sit. A picture of Betterton, supposed to be drawn by him, was in the possession of Lord Mansfield. If this was taken from the life, he must have begun to paint earlier, for Betterton was now dead. Pope's ambition of this new art produced some encomiastic verses to Jervas, which certainly show his power as a poet; but I have been told that they betray his ignorance of painting. He appears to have regarded Betterton with kindness and esteem, and after his death published, under his name, a version into modern English of Chaucer's Prologues and one of his Tales, which, as was related by Mr. Harte, were believed to have been the performance of Pope himself by Fenton, who made him a gay offer of five pounds if he would show them in the hand of Betterton.

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