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Then said his lordship with a smile, “I must have lawful cash;
I hope you will not pay my rent in that same Woods's trash."
“God bless your grace!" I then replied, “I'd see him hanging higher,
Before I ’d touch his filthy dross, than is Clandalkin spire.
To every farmer twice a week all round about the Yoke,
Our parsons read the Drapier's books, and make us honest folk.”
And then I went to pay the squire, and in the way I found
His baillie driving all my cows into the parish pound :
“ Why, sirrah,” said the noble squire, “ how dare you see my face ?
Your rent is due almost a week, beside the days of grace.”
And yet the land I from him hold is set so on the rack,
That only for the bishop's lease 'twould quickly break my back.
Then God preserve his lordship’s grace, and make him live as long
As did Methusalem of old, and so I end my song.

POPE.

Of Swift's contemporaries, by far the most memorable name is that of Alexander Pope. If Swift was at the head of the prose writers of the early part of the last century, Pope was as incontestably the first of the writers in verse of that day, with no other either equal or second to him. Born a few months before the Revolution, he came forth as a poet, by the publication of his Pastorals in Tonson's Miscellany in 1709, when he was yet only in his twenty-first year; and they had been written five years before. Nor were they the earliest of his performances; his Ode on Solitude, his verses upon Silence, his translations of the First Book of the Thebais and of Ovid's Epistle from Sappho to Phaon, and his much more remarkable paraphrases of Chaucer's January and May and the Prologue to the Wife of Bath's Tale, all preceded the composition of the Pastorals. His Essay on Criticism (written in 1709) was published in 1711; the Messiah the same year (in the Spectator); the Rape of the Lock in 1712; the Temple of Fame (written two years before) the same year; his Windsor Forest (which he had commenced at sixteen) in 1713; the first four books of his translation of the Iliad in 1715 ; his Epistle from Eloisa to Abelard (written some years before) we believe in 1717, when he published a collected edition of his poems; the remaining portions of the Iliad at different times, the last in 1720; his translation of the Odyssey (in concert with Fenton and Broome) in 1725; the first three books of the Dunciad in 1728; his Essay on Man in 1733 and 1734; his Imitations of Horace, various other satirical pieces, the Prologue and Epilogue to the Satires, his four epistles styled Moral Essays, and his modernised version of Donne's Satires between 1730 and 1740; and the fourth book of the Dunciad in 1742. Besides all this verse, collections of his Letters were published, first surreptitiously by Curl, and then by himself in 1737; and, among other publications in prose, his clever jeu d'esprit entitled a Narrative of the Frenzy of John Dennis appeared in 1713; his Preface to Shakespeare, with his edition of the works of that poet, in 1721 ; his Treatise of the Bathos, or Art of Sinking in Poetry, and his Memoirs of P. P., Clerk of This Parish (in ridicule of Burnet's History of his Own Time), in 1727. He died in May, 1744, about a year and a half before his friend Swift, who, more than twenty years his senior, had naturally anticipated that he should be the first to depart, and that, as he cynically, and yet touchingly too, expressed it, while Arbuthnot grieved for him a day, and Gay a week, he should be lamented a whole month by “poor Pope,”—whom, of all those he best knew, he seems to have the most loved.

Pope, with talent enough for anything, might deserve to be ranked among the most distinguished prose writers of his time, if he were not its greatest poet; but it is in the latter character that he falls to be noticed in the history of our literature. And what a broad and bright region would be cut off from our poetry if he had never lived! If we even confine ourselves to his own works, without regarding the numerous subsequent writers who have formed themselves upon him as an example and model, and may be said to constitute the school of which he was the founder, how rich an inheritance of brilliant and melodious fancies do we not owe to him! For what would any of us resign the Rape of the Lock, or the Epistle of Eloisa, or the Essay on Man, or the Moral Essays, or the Satires, or the Epistle to Dr. Arbuthnot, or the Dunciad? That we have nothing in the same style in the language to be set beside or weighed against any one of these performances will probably be admitted by all; and, if we could say no more, this would be to assign to Pope a rank in our poetic literature which certainly not so many as half a dozen other names are entitled to share with his. Down to his own day at least, Chaucer, Spenser, Shakespeare, Milton, and Dryden alone

Q

VOL. 11.

had any pretensions to be placed before him or by his side. It is unnecessary to dilate upon what has been sufficiently pointed out by all the critics, and is too obvious to be overlooked, the general resemblance of his poetry, in both its form and spirit, to that of Dryden rather than to that of our elder great writers. A remarkable external peculiarity of it is, that he is probably the only one of our modern poets of eminence who has written nothing in blank verse; while even in rhyme he has nearly confined himself to that one decasyllabic line upon which it would almost seem to have been his purpose to impress a new shape and character. He belongs to the classical school as opposed to the romantic, to that in which a French rather than to that in which an Italian inspiration may be detected. Whether this is to be attributed principally to his constitutional temperament and the native character of his imagination, or to the influences of the age in which he lived and wrote, we shall not stop to inquire. It is enough that such is the fact. But, though he may be regarded as in the main the pupil and legitimate successor of Dryden, the amount of what he learned or borrowed from that master was by no means so considerable as to prevent his manner from having a great deal in it that is distinctive and original. If Dryden has more impetuosity and a freer flow, Pope has far more delicacy, and, on fit occasions, far more tenderness and true passion. Dryden has written nothing in the same style with the Rape of the Lock on the one hand, or with the Epistle to Abelard and the Elegy on the Death of an Unfortunate Lady on the other. Indeed, these two styles may be said to have been both, in so far as the English tongue is concerned, invented by Pope. In what preceding writer had he an example of either? Nay, did either the French or the Italian language furnish him with anything to copy from nearly so brilliant and felicitous as his own performances? In the sharper or more severe species of satire, again, while in some things he is inferior to Dryden, in others he excels him. It must be admitted that Dryden's is the nobler, the more generous scorn; it is passionate, while Pope's is frequently only peevish: the one is vehement, the other venomous. But, although Pope does not wield the ponderous, fervid scourge with which his predecessor tears and mangles the luckless object of his indignation or derision, he knows how, with a lighter touch, to inflict a torture quite as maddening at the moment, and perhaps more difficult to heal. Neither has anything of the easy elegance, the simple natural grace, the most exquisite artifice simulating the absence of all art, of Horace ; but the care, and dexterity, and superior refinement of Pope, his neatness, and concentration, and point, supply a better substitute for these charms than the ruder strength, and more turbulent passion, of Dryden. If Dryden, too, has more natural fire and force, and rises in his greater passages to a stormy grandeur to which the other does not venture to commit himself, Pope in some degree compensates for that by a dignity, a quiet, sometimes pathetic, majesty, which we find nowhere in Dryden's poetry. Dryden has translated the Æneid, and Pope the Iliad; but the two tasks would apparently have been better distributed if Dryden had chanced to have taken up Homer, and left Virgil to Pope. Pope's Iliad, in truth, whatever may be its merits of another kind, is, in spirit and style, about the most un homeric performance in the whole compass of our poetry, as Pope had, of all our great poets, the most unhomeric genius. He was emphatically the poet of the highly artificial age in which he lived ; and his excellence lay in, or at least was fostered and perfected by, the accordance of all his tastes and talents, of his whole moral and intellectual constitution, with the spirit of that condition of things. Not touches of natural emotion, but the titillation of wit and fancy,—not tones of natural music, but the tone of good society,-make up the charm of his poetry; the polish, pungency, and brilliance of which, however, in its most happily executed passages leave nothing in that style to be desired. Pope, no doubt, wrote with a care and elaboration that were unknown to Dryden; against whom, indeed, it is a reproach made by his pupil, that, copious as he was, he

wanted or forgot
The last and greatest art--the art to blot.

And so perhaps, although the expression is a strong and a startling one, may the said art, not without some reason, be called in reference to the particular species of poetry which Dryden and Pope cultivated, dependent as that is for its success in pleasing us almost as much upon the absence of faults as upon the presence of beauties. Such partial obscuration or distortion of the imagery as we excuse, or even admire, in the expanded mirror of a lake reflecting the woods and hills and overhanging sky, when its waters are ruffled or swayed by the fitful breeze,

would be intolerable in a looking glass, were it otherwise the most splendid article of the sort that upholstery every furnished.

We shall not occupy much of our space with quotations from a writer whose works are so universally known, and may be supposed to be in the hands of most of our readers; but those most familiar with Pope's poetry will not object to having placed before them a single extract from each of two of his most perfect productions, in different styles, while, if there should be

any

to whom he is known chiefly by his fame, they may be induced, perhaps, by these short specimens to seek further acquaintance with what he has written. Here is one of the descriptions, full of life and light, from the Rape of the Lock:-

But now secure the painted vessel glides,
The sunbeams trembling on the floating tides ;
While melting music steals upon the sky,
And softened sounds along the water die;
Smooth flow the waves, the zephyrs gently play,
Belinda smiled, and all the world was gay.
All but the Sylph ; with careful thoughts oppressed,
The impending woe sat heavy on his breast.
He summons straight his denizens of air;
The lucid squadrons round the sail repair :
Soft o'er the shrouds aërial whispers breathe,
That seemed but zephyrs to the train beneath.
Some to the sun their insect wings unfold,
Waft on the breeze, or sink in clouds of gold;
Transparent forms, too fine for mortal sight,
Their fluid bodies half dissolved in light.
Loose to the winds their airy garments flew,
Thin glittering texture of the filmy dew,
Dipped in the richest tinctures of the skies,
Where light disports in ever-mingling dyes,
Where every beam new transient colours flings,
Colours that change whene'er they wave their wings.
Amid the circle, on the gilded mast,
Superior by the head, was Ariel placed;
His purple pinions opening to the sun,
He raised his azure wand, and thus begun :
“ Ye Sylphs and Sylphids, to your chief give ear ;
Fays, Fairies, Genii, Elves, and Demons hear :
Ye know the spheres and various tasks assigned
By laws eternal to the aërial kind.
Some in the fields of purest ether play,
And bask and whiten in the blaze of day;

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