eight." In these poems many are praised and many are reproached. Pope was then entangled in the opposition; follower of the Prince of Wales, who dined at his house, and the friend of many who obstructed and censured the conduct of the Ministers. His political partiality was too plainly shewn: he forgot the prudence with which he passed, in his earlier years, uninjured and unoffending, through much more violent conflicts of faction. In the first Dialogue, having an opportunity of praising Allen of Bath, he asked his leave to mention him as a man not illustrious by any merit of his ancestors, and called him in his verses "low-born Allén." Men are seldom satisfied with praise introduced or followed by any mention of defect. Allen seems not to have taken any pleasure in his epithet, which was afterwards softened into "humble Allen."

In the second Dialogue he took some liberty with one of the Foxes, among others; which Fox, in a reply to Lyttleton, took an opportunity of repaying, by reproaching him with the friendship of a lampooner, who scattered his ink without fear or decency, and against whom he hoped the resentment of the Legislature would quickly be discharged.

About this time Paul Whitehead, a small poet, was summoned before the Lords for a poem called "Manners," together with Dodsley his publisher. Whitehead, who hung loose upon society, sculked and escaped; but Dodsley's shop and family made his appearance necessary. He was, however, soon dismissed; and the whole process was probably intended rather to intimidate Pope, than to punish Whitehead.

Pope never afterwards attempted to join the patriot with the poet, nor drew his pen upon statesmen. That he desisted from his attempts of reformation is imputed, by his commentator, to his despair of prevailing over the corruption of the time. He was not likely to have been ever of opinion, that the dread of his satire would countervail the love of power or of money; he pleased himself with being important and formidable, and gratified sometimes his pride, and sometimes his resentment; till at last he began to think he should be more safe if he were less busy.

The "Memoirs of Scriblerus," published about this time, extend only to the first book of a work projected in concert by Pope, Swift, and Arbuthnot, who used to meet in the time of Queen Anne, and denominated themselves the "Scriblerus Club." Their purpose was to censure the abuses of learning by a fictitious Life of an infatuated Scholar. They were dispersed ; the design was never completed; and Warburton laments its miscarriage, as an event very disastrous to polite letters.

If the whole may be estimated by this specimen, which seems to be the production of Arbuthnot, with a few touches perhaps by Pope, the want of more will not be much lamented; for the follies which the writer ridicules are so little practised, that they are not known; nor can the satire be

understood

understood but by the learned: he raises phantoms of absurdity, and then drives them away. He cures diseases that were never felt.

For this reason this joint production of three great writers has never obtained any notice from mankind; it has been little read, or when read has been forgotten, as no man could be wiser, better, or merrier, by remembering it.

The design cannot boast of much originality; for besides its general resemblance to Don Quixote, there will be found in it particular imitations of the History of Mr. Ouffle.

Swift carried so much of it into Ireland as supplied him with hints for his Travels; and with those the world might have been contented, though the rest had been suppressed.

Pope had sought for images and sentiments in a region not known to have been explored by many other of the English writers; he had consulted the modern writers of Latin poetry, a class of authors whom Boileau endeavoured to bring into contempt, and who are too generally neglected. Pope, however, was not ashamed of their acquaintance, nor ungrateful for the advantages which he might have derived from it. A small selection from the Italians, who wrote in Latin, had been published at London, about the latter end of the last century, by a man who concealed his name, but whom his Preface shews to have been well qualified for his undertaking. This collection Pope amplified by more than half, and (1740) published it in two volumes, but injuriously omitted his predecessor's preface. To these books, which had nothing but the mere text, no regard was paid, the authors were still neglected, and the editor was neither praised nor censured.

He did not sink into idleness; he had planned a work, which he considered as subsequent to his "Essay on Man," of which he has given this account to Dr. Swift.

March 25, 1736.

"If ever I write any more Epistles in verse, one of them shall be addressed "to you. I have long concerted it, and begun it; but I would make what "bears your name as finished as my last work ought to be, that is to say, more finished than any of the rest. The subject is large, and will divide "into four Epistles, which naturally follow the "Essay on Man;' viz. 1. Of "the Extent and Limits of Human Reason and Science. 2. A View of the "useful and therefore attainable, and of the unuseful and therefore unat"tainable, Arts. 3. Of the Nature, Ends, Application, and Use of diffe"rent Capacities. 4. Of the Use of Learning, of the Science of the World, "and of Wit. It will conclude with a satire against the Misapplication of "all these, exemplified by Pictures, Characters, and Examples."

This work in its full extent, being now afflicted with an asthma, and finding the powers of life gradually declining, he had no longer courage to undertake; but, from the materials which he had provided, he added, at War

burton's

* Since discovered to have been Atterbury, afterwards Bishop of Rochester. E.

burton's request, another book to the "Dunciad," of which the design is to ridicule such studies as are either hopeless or useless, as either pursue what is unattainable, or what, if it be attained, is of no use.

When this book was printed (1742) the laurel had been for some time upon the head of Cibber; a man whom it cannot be supposed that Pope could regard with much kindness or esteem, though in one of the imitations of Horace he has liberally enough praised the "Careless Husband." In the "Dunciad," among other worthless scribblers, he had mentioned Cibber; who, in his "Apology," complains of the great poet's unkindness as more injurious," because," says he, "I never have offended him."

It might have been expected that Pope should have been, in some degree, mollified by this submissive gentleness, but no such consequence appeared. Though he condescended to commend Cibber once, he mentioned him afterwards contemptuously in one of his satires, and again in his epistle to Arbuthnot; and in the fourth book of the "Dunciad" attacked him with acrimony, to which the provocation is not easily discoverable. Perhaps he imagined that, in ridiculing the Laureat, he satirised those by whom the laurel had been given, and gratified that ambitious petulance with which he affected to insult the great.

The severity of this satire left Cibber no longer any patience. He had confidence enough in his own powers to believe that he could disturb the quiet of his adversary, and doubtless did not want instigators, who, without any care about the victory, desired to amuse themselves by looking on the contest. He therefore gave the town a pamphlet, in which he declares his resolution from that time never to bear another blow without returning it, and to tire out his adversary by perseverance, if he cannot conquer him by strength.

The incessant and unappeasable malignity of Pope he imputes to a very distant cause. After the "Three Hours after Marriage" had been driven off the stage, by the offence which the mummy and crocodile gave the audience, while the exploded scene was yet fresh in memory, it happened that Cibber played Bayes in the Rehearsal; and, as it had been usual to enliven the part by the mention of any recent theatrical transactions, he said, that he once thought to have introduced his lovers disguised in a Mummy and a Crocodile. "This," says he, "was received with loud claps, which indicated " contempt of the play." Pope, who was behind the scenes, meeting him as he left the stage, attacked him, as he says, with all the virulence of a "Wit out of his senses;" to which he replied, "that he would take no "other notice of what was said by so particular a man than to declare, that, as often as he played that part, he would repeat the same provocation." He shews his opinion to be, that Pope was one of the authors of the play which he so zealously defended; and adds an idle story of Pope's be

haviour at a tavern.

The

The pamphlet was written with little power of thought or language, and, if suffered to remain without notice, would have been very soon forgotten. Pope had now been enough acquainted with human life to know, if his passion had not been too powerful for his understanding, that, from a contention like his with Cibber, the world seeks nothing but diversion, which is given at the expence of the higher character. When Cibber lampooned Pope, curiosity was excited; what Pope would say of Cibber nobody enquired, but in hope that Pope's asperity might betray his pain and lessen his dignity.

He should therefore have suffered the pamphlet to flutter and die, without confessing that it stung him. The dishonour of being shewn as Cibber's antagonist could never be compensated by the victory. Cibber had nothing to lose when Pope had exhausted all his malignity upon him, he would rise in the esteem both of his friends and his enemies. Silence only could have made him despicable; the blow which did not appear to be felt would have been struck in vain.

But Pope's irascibility prevailed, and he resolved to tell the whole English world that he was at war with Cibber, and to shew that he thought him no common adversary, he prepared no common vengeance; he published a new edition of the "Dunciad," in which he degraded Theobald from his painful pre-eminence, and enthroned Cibber in his stead. Unhappily the two heroes were of opposite characters, and Pope was unwilling to lose what he had already written; he has therefore depraved his poem by giving to Cibber the old books, the cold pedantry, and sluggish pertinacy of Theobald. Pope was ignorant enough of his own interest to make another change, and introduced Osborne contending for the prize among the booksellers. Osborne was a man entirely destitute of shame, without sense of any disgrace but that of poverty. He told me, when he was doing that which raised Pope's resentment, that he should be put into the " Dunciad;" but he had the fate of "Cassandra ;" I gave no credit to his prediction, till in time I saw it accomplished. The shafts of satire were directed equally in vain against Cibber and Osborne; being repelled by the impenetrable impudence of one, and deadened by the impassive dulness of the other. Pope confessed his own pain by his anger; but he gave no pain to those who had provoked him. He was able to hurt none but himself; by transferring the same ridicule from one to another, he destroyed its efficacy; for, by shewing that what he had said of one he was ready to say of another, he reduced himself to the insignificance of his own magpye, who from his cage calls cuckold at a ven

ture.

Cibber, according to his engagement, repaid the "Dunciad" with ano ther pamphlet, which, Pope said, "would be as good as a dose of hartshorn to him;" but his tongue and his heart were at variance. I have heard Mr. Richardson relate, that he attended his father the painter on a visit, when one of Cibber's pamphlets came into the hands of Pope, who said, "These things are my diversion." They sat by him while he perused it, and saw his

4 A

features

features writhen with anguish; and young Richardson said to his father, when they returned, that he hoped to be preserved from such diversion as had been that day the lot of Pope.

From this time, finding his diseases more oppressive, and his vital powers gradually declining, he no longer strained his faculties with any original composition, nor proposed any other employment for his remaining life than the revisal and correction of his former works; in which he received advice and assistance from Warburton, whom he appears to have trusted and honoured in the highest degree.

He laid aside his Epick Poem, perhaps without much loss to mankind; for his hero was Brutus the Trojan, who, according to a ridiculous fiction, established a colony in Britain. The subject therefore was of the fabulous age; the actors were a race upon whom imagination has been exhausted, and attention wearied, and to whom the mind will not easily be recalled, when it is is invited in blank verse, which Pope had adopted with great imprudence, and I think without due consideration of the nature of our language. The sketch is, at least in part, preserved by Ruff head, by which it appears, that Pope was thoughtless enough to model the names of his heroes with terminations not consistent with the time or country in which he places them.

He lingered through the next year; but perceived himself, as he expresses it, "going down the hill." He had for at least five years been afflicted with an asthma and other disorders, which his physicians were unable to relieve. Towards the end of his life he consulted Dr. Thomson, a man, who had, by large promises, and free censures of the common practice of physick, forced himself up into sudden reputation. Thomson declared his distemper to be a dropsy, and evacuated part of the water by tincture of jalap; but confessed that his belly did not subside. Thomson had many enemies, and Pope was persuaded to dismiss him.

While he was yet capable of amusement and conversation, as he was one day sitting in the air with Lord Bolingbroke and Lord Marchmont, he saw his favourite Martha Blount at the bottom of the terrace, and asked Lord Bolingbroke to go and hand her up. Bolingbroke, not liking his errand, crossed his legs and sat still; but Lord Marchmont, who was younger and less captious, waited on the Lady; who, when he came to her, asked, "What, is he not dead yet?" She is said to have neglected him with shameful unkindness, in the latter time of his decay; yet, of the little which he had to leave, she had a very great part. Their acquaintance began early; the life of each was pictured on the other's mind; their conversation therefore was endearing, for when they met, there was an immediate coalition of congenial notions. Perhaps he considered her unwillingness to approach the chamber of sickness as female weakness, or human frailty; perhaps he was conscious to himself of peevishness and impatience, or, though he was offended