THE WORKS OF ALEXANDER POPE.

NEW EDITION.

INCLUDING

SEVERAL HUNDRED UNPUBLISHED LETTERS, AND OTHER NEW MATERIALS.

COLLECTED IN PART BY THE LATE

RT. HON. JOHN WILSON CROKER.

WITH INTRODUCTIONS AND NOTES.

BY REV. WHITWELL ELWIN.

VOL. II.

POETRY.—VOL. II.

WITH PORTRAITS AND OTHER ILLUSTRATIONS.

LONDON: JOHN MURRAY, ALBEMARLE STREET. 1871.

[The right of Translation is reserved.]

LONDON: BRADBURY, EVANS, AND CO., PRINTERS, WHITEFRIARS.

Frontispiece to Pope's Works, Vol. II.

Transcriber's Note:

The original did not have a table of contents covering the whole volume; this has been added.

AN ESSAY ON CRITICISM.

WRITTEN IN THE YEAR 1709.

AN ESSAY ON CRITICISM,

4to.

London: Printed for W. Lewis, in Russel-Street, Covent Garden; and sold by W. Taylor, at the Ship, in Pater-Noster-Row, T. Osborn, in Gray's-Inn, near the Walks, and J. Graves, in St. James's Street. 1711.

Warton says that the poem was "first advertised in the Spectator, No. 65, May 15th, 1711." Pope informed Caryll that a thousand copies were printed. Lewis, the publisher, was a Roman Catholic, and an old schoolfellow of the poet.

AN ESSAY ON CRITICISM.

Written by Mr. Pope.

The second edition, 8vo.

London: Printed for W. Lewis, in Russel-Street, Covent Garden, 1713.

Though the date on the title page is 1713, Isaac Reed states that the second edition was advertised in the Spectator on November 22, 1712. It was a common practice to substitute the date of the coming, for that of the expiring, year. A third and fourth edition in a smaller type and size came out in 1713. In 1714, the poem was appended to the second edition of Lintot's Miscellanies, by some arrangement with Lewis, whose name appears upon the title page of that particular edition of the Miscellanies as joint publisher. On July 17, 1716, Lintot purchased the remainder of the copyright for £15, preparatory to inserting the piece in the quarto of 1717. He brought out a sixth octavo edition of the essay in 1719, and a seventh in 1722, and reprinted the poem in each of the four editions of his Miscellanies which were published between 1720 and 1732.

AN ESSAY ON CRITICISM.

Written in the year 1709. With the Commentary and Notes of W. Warburton, A.M. 4to.

The Essay on Criticism has no date, but on the title page of the "Essay on Man," which appeared in the same volume is, "London: Printed by W. Bowyer for M. Cooper, at the Globe in Pater-Noster Row. 1743." Pope, writing to Warburton on October 7, 1743, says, "I have given Bowyer your comment on the Essay on Criticism this week, and he shall lose no time with the rest." On Jan. 12, 1744, he tells his commentator that the publication had been delayed by the advice of Bowyer, and on Feb. 21, he writes word that he shall keep it back till Warburton goes to town. There is no doubt that the edition was printed in 1743, and published in 1744.

In the year 1709 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, goodnature, 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. 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 gentlemen 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 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 [Pg 6] 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 specious 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.

The Essay on Criticism is one of Pope's greatest works, and if he had written nothing else, would have placed him among the first critics and the first poets, as it exhibits every mode of excellence that can embellish or dignify didactic composition—selection of matter, novelty of arrangement, justness of precept, splendour of illustration, and propriety of digression. I know not whether it be pleasing to consider that he produced this piece at twenty, and never afterwards excelled it. He that delights himself with observing that such powers may be soon attained, cannot but grieve to think that life was ever after at a stand. To mention the particular beauties of the essay, would be unprofitably tedious; but I cannot forbear to observe that the comparison of a student's progress in the sciences with the journey of a traveller in the Alps, is perhaps the best that English poetry can show. A simile, to be perfect, must both illustrate and ennoble the subject; must show it to the understanding in a clearer view, and display it to the fancy with greater dignity; but

either of these qualities may be sufficient to recommend it. In didactic poetry, of which the great purpose is instruction, a simile may be praised which illustrates though it does not ennoble; in heroics that may be admitted which ennobles, though it does not illustrate. That it may be complete, it is required to exhibit, independently of its references, a pleasing image; for a simile is said to be a short episode. To this antiquity was so attentive, that circumstances were sometimes added which, having no parallels, served only to fill the imagination, and produced what Perrault ludicrously called "comparisons with a long tail." In their similes the greatest writers have sometimes failed. The ship race compared [Pg 7] with the chariot race, is neither illustrated nor aggrandised; land and water make all the difference. When Apollo, running after Daphne, is likened to a greyhound chasing a hare, there is nothing gained; the ideas of pursuit and flight are too plain to be made plainer, and a god and the daughter of a god, are not represented

much to their advantage by a hare and a dog. The simile of the Alps has no useless parts, yet affords a striking picture by itself; it makes the foregoing position better understood, and enables it to take faster hold on the attention; it assists the apprehension, and elevates the fancy.

Let me likewise dwell a little on the celebrated paragraph in which it is directed that the sound should seem an echo to the sense,—a precept which Pope is allowed to have observed beyond any other English poet. This notion of representative metre, and the desire of discovering frequent adaptations of the sound to the sense, have produced, in my opinion, many wild conceits and imaginary beauties. All that can furnish this representation are the sounds of the words considered singly, and the time in which they are pronounced. Every language has some words framed to exhibit the noises which they express, as thump, rattle, growl, hiss. These, however, are but few, and the poet cannot make them more, nor can they be of any use but when sound is to be mentioned. The time of pronunciation was in the dactylic measures of the learned languages capable of considerable variety; but that variety could be accommodated only to motion or duration, and different degrees of motion were perhaps expressed by verses rapid or slow, without

much attention of the writer, when the image had full possession of his fancy; but our language having little flexibility, our verses can differ very little in their cadence. The fancied resemblances, I fear, arise sometimes merely from the ambiguity of words; there is supposed to be some relation between a soft line and a soft couch, or between hard syllables and hard fortune. Motion, however, may be in some sort exemplified, and yet it may be suspected that in such resemblances the mind often governs the idea, and the sounds are estimated by their meaning. One of their most successful attempts has been to describe the labour of Sisyphus:

Who does not perceive the stone to move slowly upward, and roll violently back? But set the same numbers to another sense:

We have surely now lost much of the delay, and much of the rapidity. But to show how little the greatest master of numbers can fix the principles of representative harmony, it will be sufficient to remark that the poet who tells us that

when he had enjoyed for about thirty years the praise of Camilla's lightness of foot, he tried another experiment upon sound and time, and produced this memorable triplet:

Here are the swiftness of the rapid race, and the march of slow-paced majesty, exhibited by the same poet in the same sequence of syllables, except that the exact prosodist will find the line of swiftness by one time longer than that of tardiness. Beauties of this kind are commonly fancied, and when real are technical and nugatory, not to be rejected, and not to be solicited.—Johnson.

The Essay on Criticism is a poem of that species for which our author's genius was particularly turned,—the didactic and moral. It is therefore, as might be expected, a master-piece in its kind. I have been sometimes inclined to think that the praises Addison has bestowed on it were a little partial and invidious. "The observations," says he, "follow one another like those in Horace's Art of Poetry, without that methodical regularity which would have been requisite in a prose writer." It is, however, certain that the poem before us is by no means destitute of a just integrity, and a lucid order.[1] Each of the precepts and remarks naturally introduce the succeeding ones, so as to form an entire whole. The Spectator adds, "The observations in this Essay are some of them uncommon." There is, I fear, a small mixture of ill-nature in these words; for this Essay, though on a beaten subject, abounds in many new remarks and original rules, as well as in many happy and beautiful illustrations and applications of the old ones. We are, indeed, amazed to

find such a knowledge of the world, such a maturity of judgment, and such a penetration into human nature, as are here displayed, in [Pg 9] so very young a writer as was Pope when he produced this Essay, for he was not twenty years old. Correctness and a just taste are usually not attained but by long practice and experience in any art; but a clear head and strong sense were the characteristical qualities of our author, and every man soonest displays his radical excellences. If his predominant talent be warmth and vigour of imagination it will break out in fanciful and luxuriant descriptions, the colouring of which will perhaps be too rich and glowing. If his chief force lies in the understanding rather than in the imagination, it will soon appear by solid and manly observations on life or learning, expressed in a more chaste and subdued style. The former will frequently be hurried into obscurity or turgidity, and a false grandeur of diction; the latter will seldom hazard a figure whose usage is not already established, or an image beyond common life; will always be perspicuous

if not elevated; will never disgust if not transport his readers; will avoid the grosser faults if not arrive at the greater beauties of composition. When we consider the just taste, the strong sense, the knowledge of men, books, and opinions that are so predominant in the Essay on Criticism, we must readily agree to place the author among the first critics, though not, as Dr. Johnson says, "among the first poets," on this account alone. As a poet he must rank much higher for his Eloïsa and Rape of the Lock. The Essay, it is said, was first written in prose, according to the precept of Vida, and the practice of Racine, who was accustomed to draw out in plain prose, not only the subject of each of the five acts, but of every scene, and every speech, that he might see the conduct and coherence of the whole at one view, and would then say, "My tragedy is finished."—Warton.

Most of the observations in this Essay are just, and certainly evince good sense, an extent of reading, and powers of comparison, considering the age of the author, extraordinary. Johnson's praise however is exaggerated.—Bowles.

"Essay" in Pope's day was used in its now obsolete sense of an attempt. Stephens in 1648 entitled his translation of the five first books of the Thebais "an Essay upon Statius:" and Denham's "Essay on the second book of Virgil's Æneis" is a version and not a dissertation. "I have undertaken," Dryden wrote to Walsh, "to translate all Virgil; and as an essay have already paraphrased the third Georgic as an example." Two quotations in Johnson's Dictionary,—one from Dryden, the other from Glanville,—show that the word was usually understood to imply diffidence. Dryden, in his Epistle to Roscommon, says,

[Pg 10] and Glanville says, "This treatise prides itself in no higher a title than that of an essay, or imperfect attempt at a subject." Locke named his great and elaborate work an "Essay on the Human Understanding," from the consciousness that it was an "imperfect attempt," and when hostile critics refused him the benefit of his modest title, he answered that they did his book an honour "in not suffering it to be an essay." Pope borrowed both the word, and the plan of his poem, from some works which enjoyed in his youth a credit far beyond their worth,—the Essay on Translated Verse by the Earl of Roscommon, and the Essay on Satire, and the Essay on Poetry by the Earl of Mulgrave, afterwards Duke of Buckingham. These small productions had been suggested in their turn by Horace's Art of Poetry, and its modern imitations. Roscommon and Mulgrave, men of common-place minds, were incapable of originality, and Pope, with the latent genius of a leader, was a follower in early years.

"The things that I have written fastest," said Pope to Spence, "have always pleased the most. I wrote the Essay on Criticism fast; for I had digested all the matter in prose before I began upon it in verse."[2] This last circumstance was mentioned by Warton in his Essay on the Writings and Genius of Pope, long before the Anecdotes of Spence were published, and Johnson commented upon the statement in his review of Warton's work. "There is nothing," he said, "improbable in the report, nothing indeed but what is more likely than the contrary; yet I cannot forbear to hint the danger and weakness of trusting too readily to information. Nothing but experience could evince the frequency of false information, or enable any man to conceive that so many groundless reports should be propagated as every man of eminence may hear of himself. Some men relate what they think as what they know; some men of confused memories and habitual inaccuracy ascribe to one man what belongs to another; and some talk on without thought or care. A few men are

sufficient to broach falsehoods, which are afterwards innocently diffused by successive relators."[3] The caution was not intended to discredit the evidence of Spence. Warton had suppressed his authority, and Johnson had a proper mistrust of common hearsay.

On the title-page of the poem in the quarto of 1717, it is said, that it was "written in the year 1709," to which Richardson has attached the note, "Mr. Pope told me himself that the Essay on Criticism was, indeed, written 1707, though said 1709 by mistake." The poet continued the alleged mistake through all succeeding revisions. The quarto of 1743 was the last edition he superintended, and 1709 [Pg 11] appears as usual upon the title-page, but Warburton announced in the final sentence of the commentary, that the Essay was "the work of an author who had not attained the twentieth year of his age," and as the author was born in May, 1688, he must, according to this testimony, have completed his task before May, 1708, which confirms the account of Richardson. Pope had thus assigned one date to his piece on the first page of the quarto of 1743, and sanctioned the promulgation of a different date on the concluding page. There is the same contradiction in his conversations with Spence. "My Essay on Criticism," he said on one occasion, "was written in 1709,

and published in 1711, which is as little time as ever I let anything of mine lay by me."[4] This agrees with the printed title-page. "I showed Walsh," he said to Spence on another occasion, "my Essay on Criticism in 1706. He died the year after."[5] This falls in with the evidence of Richardson and Warburton; for Walsh died on March 15, 1708, and 1706 was an error for 1707. The double date reappears in a note to the Pope Letters of 1735, solely through a change in the punctuation. "Mr. Walsh," it was said in some copies, "died at 49 years old, in the year 1708, the year after Mr. Pope writ the Essay on Criticism." "Mr. Walsh," it was said in other copies, "died at 49 years old in the year 1708, the year after Mr. Pope writ the Essay on Criticism." In the first version it is asserted that the poem was written in 1709, or the year after Mr. Walsh died; in the second version it is asserted that it was written in 1707, and that Mr. Walsh died the year after. Such a series of conflicting statements could not all be accidental. When Pope published the quarto