The Age of Pope. John Dennis

'Virgilium tantum vidi' records the memorable day – was the poet whose influence he felt most powerfully. Like Gray several years later, he declared that he learnt versification wholly from his works. From 'knowing Walsh,' the best critic in the nation in Dryden's opinion, the youthful Pope received much friendly counsel; and he had another wise friend in Sir William Trumbull, formerly Secretary of State, who recognized his genius, and gave him as warm a friendship as an old man can offer to a young one. The dissolute Restoration dramatist, Wycherley, was also his temporary companion. The old man, if Pope's story be true, asked him to correct his poems, which are indeed beyond correction, as the youthful critic appears to have hinted, and the two parted company.

      The Pastorals, written, according to Pope's assertion, at the age of sixteen, were published in 1709, and won an amount of praise incomprehensible in the present day. Mr. Leslie Stephen has happily appraised their value in calling them 'mere school-boy exercises.' Not thus, however, were they regarded by the poet, or by the critics of his age, yet neither he nor they could have divined the rapid progress of his fame, and that in about six years' time he would be regarded as the greatest of living poets. The Essay on Criticism, written, it appears, in 1709, was published two years later, and received the highest honour a poem could then have. It was praised by Addison in the Spectator as 'a very fine poem,' and 'a masterpiece in its kind.' The 'kind,' suggested by the Ars Poetica of Horace, and the Art Poétique of Boileau – translated with Dryden's help by Sir William Soame – suited the current taste for criticism and argument in rhyme, which had led Roscommon to write an Essay on Translated Verse, and Sheffield an Essay on Poetry. The Essay on Criticism is a marvellous production for a young man who had scarcely passed his maturity when it was published. To have written lines and couplets that live still in the language and are on everyone's lips is an achievement of which any poet might be proud, and there are at least twenty such lines or couplets in the poem.

      In 1713 Windsor Forest appeared. Through the most susceptible years of life the poet had lived in the country, but Nature and Pope were not destined to become friends; he looked at her 'through the spectacles of books' and his description of natural objects is invariably of the conventional type. Although never a resident in London he was unable in the exercise of his art to breathe any atmosphere save that of the town, and might have said, in the words of Lessing to his friend Kleist, 'When you go to the country I go to the coffee-house.'11

      The use, or as it would be more correct to say the abuse, of classical mythology in the description of rural scenes had the sanction of great names, and Pope was not likely to reject what Spenser and Milton had sanctioned. Gods and goddesses therefore play a conspicuous part in his description of the Forest. The following lines afford a fair illustration of the style throughout, and the sole merit of the poem is the smoothness of versification in which Pope excelled.

      'Not proud Olympus yields a nobler sight,

      Though gods assembled grace his towering height,

      Than what more humble mountains offer here,

      When in their blessings all those gods appear.

      See Pan with flocks, with fruits Pomona crowned,

      Here blushing Flora paints th' enamelled ground,

      Here Ceres' gifts in waving prospect stand,

      And nodding tempt the joyful reaper's hand;

      Rich Industry sits smiling on the plains,

      And peace and plenty tell a Stuart reigns.

      Pope, who was never known to laugh, was a great wit, but his sense of humour was small, and the descent from these deities to Queen Anne savours not a little of bathos.

      In 1712 Pope had published The Rape of the Lock, which Addison justly praised as 'a delicious little thing.' At the same time he advised the poet not to attempt improving it, which he proposed to do, and Pope most unreasonably attributed this advice to jealousy. In 1714 the delightful poem appeared in its present form with the machinery of sylphs and gnomes adopted from the mysteries of the Rosicrucians. Pope styles it an heroi-comical poem, and judged in the light of a burlesque it is conceived and executed with an art that is beyond praise. Lord Petre, a Roman Catholic peer, had cut off a lock of Miss Arabella Fermor's hair, much to the indignation of her family and possibly of the young lady also. Pope wrote the poem to remove the discord caused by the fatal shears, but its publication, and two or three offensive allusions it contained, only served to add to Miss Fermor's annoyance. 'The celebrated lady herself,' the poet wrote, 'is offended, and which is stranger, not at herself but me. Is not this enough to make a writer never be tender of another's character or fame?' But Pope, whose praise of women is too often a libel upon them, was not as tender as he ought to have been of the lady's reputation.

      The offence felt by the heroine of the poem is now unheeded; the dainty art exhibited is a permanent delight, and our language can boast no more perfect specimen of the poetical burlesque than the Rape of the Lock. The machinery of the sylphs is managed with perfect skill, and nothing can be more admirable than the charge delivered by Ariel to the sylphs to guard Belinda from an apprehended but unknown danger. The concluding lines shall be quoted:

      'Whatever spirit, careless of his charge,

      His post neglects, or leaves the fair at large,

      Shall feel sharp vengeance soon o'ertake his sins,

      Be stopped in vials, or transfixed with pins;

      Or plunged in lakes of bitter washes lie,

      Or wedged, whole ages, in a bodkin's eye;

      Gums and pomatums shall his flight restrain,

      While clogged he beats his silken wings in vain;

      Or alum styptics, with contracting power,

      Shrink his thin essence like a rivelled flower;

      Or, as Ixion fixed, the wretch shall feel

      The giddy motion of the whirling mill,

      In fumes of burning chocolate shall glow,

      And tremble at the sea that froths below!'

      Another striking portion of the poem is the description of the Spanish game of Ombre, imitated from Vida's Scacchia Ludus. 'Vida's poem,' says Mr. Elwin, 'is a triumph of ingenuity, when the intricacy of chess is considered, and the difficulty of expressing the moves in a dead language. Yet the original is eclipsed by Pope's more consummate copy.'12

      Many famous passages illustrative of Pope's art might be extracted from this poem, but it will suffice to give the portrait of Belinda:

      'On her white breast a sparkling cross she wore,

      Which Jews might kiss and infidels adore;

      Her lively looks a sprightly mind disclose,

      Quick as her eyes and as unfixed as those;

      Favours to none, to all she smiles extends,

      Oft she rejects, but never once offends.

      Bright as the sun her eyes the gazers strike,

      And, like the sun, they shine on all alike.

      Yet graceful ease, and sweetness void of pride,

      Might hide her faults, if belles had faults to hide:

      If to her share some female errors fall,

      Look on her face and you'll forget them all.'

      The Temple of Fame, a liberal paraphrase of Chaucer's House of Fame, followed in 1715, and despite the praise of Steele, who declared that it had a thousand beauties, and of Dr. Johnson, who observes that every part is splendid, must be pronounced one of Pope's least attractive pieces. Two poems of the emotional and sentimental class, Eloisa to Abelard and the Elegy to the Memory of an Unfortunate Lady (1717), are more worthy of attention. Nowhere, probably, in the language are finer specimens to be met with of rhetorical pathos, but poets like Burns, Cowper, Wordsworth, and Tennyson can touch the heart more deeply