The Rape of the Lock, and Other Poems
distress; he pensioned the poet Savage and he tried to secure patronage
for Johnson. But for the wretched hack writers of the common press who
had barked against him he had no mercy, and he struck them with the
first rod that lay ready to his hands.
During his work on the 'Dunciad', Pope came into intimate relations with
Bolingbroke, who in 1725 had returned from his long exile in France and
had settled at Dawley within easy reach of Pope's villa at Twickenham.
Bolingbroke was beyond doubt one of the most brilliant and stimulating
minds of his age. Without depth of intellect or solidity of character,
he was at once a philosopher, a statesman, a scholar, and a fascinating
talker. Pope, who had already made his acquaintance, was delighted to
renew and improve their intimacy, and soon came wholly under the
influence of his splendid friend. It is hardly too much to say that all
the rest of Pope's work is directly traceable to Bolingbroke. The 'Essay
on Man' was built up on the precepts of Bolingbroke's philosophy; the
'Imitations of Horace' were undertaken at Bolingbroke's suggestion; and
the whole tone of Pope's political and social satire during the years
from 1731 to 1738 reflects the spirit of that opposition to the
administration of Walpole and to the growing influence of the commercial
class, which was at once inspired and directed by Bolingbroke. And yet
it is exactly in the work of this period that we find the best and with
perhaps one exception, the 'Essay on Man', the most original, work of
Pope. He has obtained an absolute command over his instrument of
expression. In his hands the heroic couplet sings, and laughs, and
chats, and thunders. He has turned from the ignoble warfare with the
dunces to satirize courtly frivolity and wickedness in high places. And
most important of all to the student of Pope, it is in these last works
that his personality is most clearly revealed. It has been well said
that the best introduction to the study of Pope, the man, is to get the
'Epistle to Arbuthnot' by heart.
Pope gradually persuaded himself that all the works of these years, the
'Essay on Man', the 'Satires, Epistles', and 'Moral Essays', were but
parts of one stupendous whole. He told Spence in the last years of his
life: "I had once thought of completing my ethic work in four
books.--The first, you know, is on the Nature of Man [the 'Essay on
Man']; the second would have been on knowledge and its limits--here
would have come in an Essay on Education, part of which I have inserted
in the 'Dunciad' ['i.e.' in the Fourth Book, published in 1742]. The
third was to have treated of Government, both ecclesiastical and
civil--and this was what chiefly stopped my going on. I could not have
said what 'I would' have said without provoking every church on the face
of the earth; and I did not care for living always in boiling
water.--This part would have come into my 'Brutus' [an epic poem which
Pope never completed], which is planned already. The fourth would have
been on Morality; in eight or nine of the most concerning branches of
it."
It is difficult, if not impossible, to believe that Pope with his
irregular methods of work and illogical habit of thought had planned so
vast and elaborate a system before he began its execution. It is far
more likely that he followed his old method of composing on the
inspiration of the moment, and produced the works in question with
little thought of their relation or interdependence. But in the last
years of his life, when he had made the acquaintance of Warburton, and
was engaged in reviewing and perfecting the works of this period, he
noticed their general similarity in form and spirit, and, possibly under
Warburton's influence, conceived the notion of combining and
supplementing them to form that "Greater Essay on Man" of which he spoke
to Spence, and of which Warburton himself has given us a detailed
account.
Warburton, a wide-read, pompous, and polemical clergyman, had introduced
himself to the notice of Pope by a defense of the philosophical and
religious principles of the 'Essay on Man'. In spite of the influence of
the free-thinking Bolingbroke, Pope still remained a member of the
Catholic church and sincerely believed himself to be an orthodox, though
liberal, Christian, and he had, in consequence, been greatly
disconcerted by a criticism of his poem published in Switzerland and
lately translated into English. Its author, Pierre de Crousaz,
maintained, and with a considerable degree of truth, that the principles
of Pope's poem if pushed to their logical conclusion were destructive to
religion and would rank their author rather among atheists than
defenders of the faith. The very word "atheist" was at that day
sufficient to put the man to whom it was applied beyond the pale of
polite society, and Pope, who quite lacked the ability to refute in
logical argument the attack of de Crousaz, was proportionately delighted
when Warburton came forward in his defense, and in a series of letters
asserted that Pope's whole intention was to vindicate the ways of God to
man, and that de Crousaz had mistaken his purpose and misunderstood his
language. Pope's gratitude to his defender knew no bounds; he declared
that Warburton understood the 'Essay' better than he did himself; he
pronounced him the greatest critic he ever knew, secured an introduction
to him, introduced him to his own rich and influential friends, in short
made the man's fortune for him outright. When the University of Oxford
hesitated to give Warburton, who had never attended a university, the
degree of D.D., Pope declined to accept the degree of D.C.L. which had
been offered him at the same time, and wrote the Fourth Book of the
'Dunciad' to satirize the stupidity of the university authorities. In
conjunction with Warburton he proceeded further to revise the whole
poem, for which his new friend wrote notes and a ponderous introduction,
and made the capital mistake of substituting the frivolous, but clever,
Colley Gibber, with whom he had recently become embroiled, for his old
enemy, Theobald, as the hero. And the last year of his life was spent in
getting out new editions of his poems accompanied by elaborate
commentaries from the pen of Warburton.
In the spring of 1744, it was evident that Pope was failing fast. In
addition to his other ailments he was now attacked by an asthmatical
dropsy, which no efforts of his physicians could remove. Yet he
continued to work almost to the last, and distributed copies of his
'Ethic Epistles' to his friends about three weeks before his death, with
the smiling remark that like the dying Socrates he was dispensing his
morality among his friends. His mind began to wander; he complained that
he saw all things as through a curtain, and told Spence once "with a
smile of great pleasure and with the greatest softness" that he had seen
a vision. His friends were devoted in their attendance. Bolingbroke sat
weeping by his chair, and on Spence's remarking how Pope with every
rally was always saying something kindly of his friends, replied: "I
never in my life knew a man that had so tender a heart for his
particular friends, or a more general friendship for mankind. I have
known him these thirty years; and value myself more for that man's love
than"--here his head dropped and his voice broke in tears. It was
noticed that whenever Patty Blount came into the room, the dying flame
of life flashed up in a momentary glow. At the very end a friend
reminded Pope that as a professed Catholic he ought to send for a
priest. The dying man replied that he did not believe it essential, but
thanked him for the suggestion. When the priest appeared, Pope attempted
to rise from his bed that he might receive the sacrament kneeling, and
the priest came out from the sick room "penetrated to the last degree
with the state of mind in which he found his penitent, resigned and
wrapt up in the love of God and man." The hope that sustained Pope to
the end was that of immortality. "I am so certain of the soul's being
immortal," he whispered, almost with his last breath, "that I seem to
feel it within me, as it were by intuition." He died on the evening of
May 30, so quietly that his friends hardly knew that the end had come.
He was buried in Twickenham Church, near the monument he had erected to
his parents, and his coffin was carried to the grave by six of the
poorest men of the parish.
It is plain even from so slight a sketch as this that the common
conception of Pope as "the wicked wasp of Twickenham," a bitter,
jealous, and malignant spirit, is utterly out of accord with the facts
of his life. Pope's faults of character lie on the surface, and the most
perceptible is that which has done him most harm in the eyes of
English-speaking men. He was by nature, perhaps by training also,
untruthful. If he seldom stooped to an outright lie, he never hesitated
to equivocate; and students of his life have found that it is seldom
possible to take his word on any point where his own works or interests
were concerned. I have already (p. x) attempted to point out the
probable cause of this defect; and it is, moreover, worth while to
remark that Pope's manifold intrigues and evasions were mainly of the
defensive order. He plotted and quibbled not so much to injure others as
to protect himself. To charge Pope with treachery to his friends, as has
sometimes been done, is wholly to misunderstand his character.
Another flaw, one can hardly call it a vice, in Pope's character was his
constant practice of considering everything that came in his way as
copy. It was this which led him to reclaim his early letters from his
friends, to alter, rewrite, and redate them, utterly unconscious of the
trouble which he was preparing for his future biographers. The letters,
he thought, were good reading but not so good as he could make them, and
he set to work to improve them with all an artist's zeal, and without a
trace of a historian's care for facts. It was this which led him to
embody in his description of a rich fool's splendid house and park
certain unmistakable traces of a living nobleman's estate and to start
in genuine amazement and regret when the world insisted on identifying
the nobleman and the fool. And when Pope had once done a good piece of
work, he had all an artist's reluctance to destroy it. He kept bits of
verse by him for years and inserted them into appropriate places in his
poems. This habit it was that brought about perhaps the gravest charge
that has ever been made against Pope, that of accepting L1000 to
suppress a satiric portrait of the old Duchess of Marlborough, and yet
of publishing it in a revision of a poem that he was engaged on just
before his death. The truth seems to be that Pope had drawn this
portrait in days when he was at bitter enmity with the Duchess, and
after the reconcilement that took place, unwilling to suppress it
entirely, had worked it over, and added passages out of keeping with the
first design, but pointing to another lady with whom he was now at odds.
Pope's behavior, we must admit, was not altogether creditable, but it
was that of an artist reluctant to throw away good work, not that of a
ruffian who stabs a woman he has taken money to spare.
Finally Pope was throughout his life, and notably in his later years,
the victim of an irritable temper and a quick, abusive tongue. His
irritability sprang in part, we may believe, from his physical
sufferings, even more, however, from the exquisitely sensitive heart
which made him feel a coarse insult as others would a blow. And of the
coarseness of the insults that were heaped upon Pope no one except the
careful student of his life can have any conception. His genius, his