ALEXANDER POPE

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a half century later might have raised a doubt as to his sanity, for by that time Pope was acclaimed as a master by the great majority of poets in England and America. We judge now, looking at him in perspective and comparing him with Chaucer or Burns, that he was not a great poet but simply the kind of poet that the age demanded. He belongs to eighteenth-century London exclusively, and herein he differs from the master poets who are at home in all places and expressive of all time.

Life. Pope is an interesting but not a lovable figure. Against the petty details of his life we should place, as a background, these amazing achievements: that this poor cripple, weak of body and spiteful of mind, was the supreme literary figure of his age; that he demonstrated how an English poet could live by his pen, instead of depending on patrons; that he won greater fame and fortune than Shakespeare or Milton received from their contemporaries; that he dominated the fashion of English poetry during his lifetime, and for many years after his death.

The Writer

ALEXANDER POPE

Such are the important facts of Pope's career. For the rest: he was born in London, in the year of the Revolution (1688). Soon after that date his father, having gained a modest fortune in the linen business, retired to Binfield, on the fringe of Windsor Forest. There Pope passed his boyhood, studying a little under private tutors, forming a pleasurable acquaintance with Latin and Greek poets. From fourteen to twenty, he tells us, he read for amusement; but from twenty to twenty-seven he read for "improvement and instruction." The most significant traits of these early years were his determination to be a poet and his talent for imitating any

writer who pleased him. Dryden was his first master, from whom he inherited the couplet; then he imitated the French critic Boileau and the Roman poet Horace. By the time he was twenty-four the publication of his Essay on Criticism and The Rape of the Lock had made him the foremost poet of England. By his translation of Homer he made a fortune, with which he bought a villa at Twickenham. There he lived in the pale sunshine of literary success, and there he quarreled with every writer who failed to appreciate his verses, his jealousy

overflowing at last in The Dunciad (Iliad of Dunces), a witty but venomous lampoon, in which he took revenge on all who had angered him.

Next to his desire for glory and revenge, Pope loved to be considered a man of high character, a teacher of moral philosophy. His ethical teaching appears in his Moral Epistles; his desire The Man for a good reputation is written large in his Letters, which he secretly printed, and then alleged that they had been made public against his wish. These Letters might impress us as the utterances of a man of noble ideals, magnanimous with his friends, patient with his enemies, until we reflect that they were published by the author for the purpose of giving precisely that impression.

TYPICAL POEMS OF POPE

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Another side of Pope's nature is revealed in this: that to some of his friends, to Swift and Bolingbroke for example, he showed gratitude, and that to his parents he was ever a dutiful son. He came perhaps as near as he could to a real rather than an artificial sentiment when he wrote of his old mother:

Me let the tender office long engage,
To rock the cradle of reposing age.

Works of Pope. Pope's first important work, An Essay on Criticism (1711), is an echo of the rules which Horace had formulated in his Ars Poetica, more than seventeen centuries before Pope was born. The French critic Boileau made an alleged improvement of Horace in his L'Art Poétique, and Pope imitated both writers with his rimed Essay, in which he attempted to sum up the rules by which poetry should be judged. And he did it, while still under the age of twenty-five, so brilliantly that his characterization of the critic is unmatched in our literature. A few selections will serve to show the character of the work:

First follow nature, and your judgment frame
By her just standard, which is still the same:
Unerring nature, still divinely bright,
One clear, unchanged and universal light,
Life, force and beauty must to all impart,
At once the source and end and test of Art.

Poets, like painters, thus unskilled to trace
The naked nature and the living grace,
With gold and jewels cover every part,
And hide with ornaments their want of art.
True wit is nature to advantage dressed,

What oft was thought, but ne'er so well expressed.
Expression is the dress of thought, and still
Appears more decent, as more suitable.

Pope's next important poem, The Rape of the Lock (1712), is his most original and readable work. The occasion of the poem was that a fop stole a lock of hair from a young lady, and the theft plunged two families into a quarrel which was

Rape of the Lock

taken up by the fashionable set of London. Pope made a mockheroic poem on the subject, in which he satirized the fads and fashions of Queen Anne's age. Ordinarily Pope's fancy is of small range, and proceeds jerkily, like the flight of a woodpecker, from couplet to couplet; but here he attempts to soar like the eagle. He introduces dainty aërial creatures, gnomes, sprites, sylphs, to combat for the belles and fops in their trivial concerns; and herein we see a clever burlesque of the old epic poems, in which gods or goddesses entered into the serious affairs of mortals. The craftsmanship of the poem is above praise; it is not only a neatly pointed satire on eighteenth-century fashions but is one of the most graceful works in English verse.

Essay on Man

An excellent supplement to The Rape of the Lock, which pictures the superficial elegance of the age, is An Essay on Man, which reflects its philosophy. That philosophy, under the general name of Deism, had fancied to abolish the Church and all revealed religion, and had set up a new-old standard of natural faith and morals. Of this philosophy Pope had small knowledge; but he was well acquainted with the discredited Bolingbroke, his "guide, philosopher and friend," who was a fluent exponent of the new doctrine, and from Bolingbroke came the general scheme of the Essay on Man.

The poem appears in the form of four epistles, dealing with man's place in the universe, with his moral nature, with social and political ethics, and with the problem of happiness. These were discussed from a common-sense viewpoint, and with feet always on solid earth. As Pope declares :

Know then thyself, presume not God to scan;
The proper study of mankind is man.

Created half to rise, and half to fall;

Great lord of all things, yet a prey to all;
Sole judge of truth, in endless error hurled;
The glory, jest and riddle of the world.

POPE'S ESSAY ON MAN

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Throughout the poem these two doctrines of Deism are kept in sight that there is a God, a Mystery, who dwells apart from the world; and that man ought to be contented, even happy, in his ignorance of matters beyond his horizon: All nature is but art, unknown to thee;

All chance, direction which thou canst not see;

All discord, harmony not understood;

All partial evil, universal good;

And, spite of pride, in erring reason's spite,

One truth is clear: whatever is, is right.

The result is rubbish, so far as philosophy is concerned, but in the heap of incongruous statements which Pope brings together are a large number of quotable lines, such as:

Honor and shame from no condition rise;

Act well your part, there all the honor lies.

It is because of such lines, the care with which the whole poem is polished, and the occasional appearance of real beauty (such as the passage beginning, "Lo, the poor Indian") that the Essay on Man occupies such a high place in eighteenth-century literature.

It is hardly necessary to examine other works of Pope, since the poems already named give us the full measure of his The Quality strength and weakness. His talent is to formulate of Pope rules of poetry, to satirize fashionable society, to make brilliant epigrams in faultless couplets. His failure to move or even to interest us greatly is due to his second-hand philosophy, his inability to feel or express emotion, his artificial life apart from nature and humanity. When we read Chaucer or Shakespeare, we have the impression that they would have been at home in any age or place, since they deal with human interests that are the same yesterday, to-day and forever; but we can hardly imagine Pope feeling at ease anywhere save in his own set and in his own generation. He is the poet of one period, which set great store by formality, and in that period alone he is supreme.