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times compared to a spider, and sometimes to a windmill. The only mark of genius lay in his bright and piercing eye. He was sickly in constitution, and required and received great tenderness and care. Once, when three years old, he narrowly escaped from an angry cow, but was wounded in the throat. He was remarkable as a child for his amiable temper; and from the sweetness of his voice, received the name of the Little Nightingale. His aunt gave him his first lessons in reading, and he soon became an enthusiastic lover of books; and by copying printed characters, taught himself to write. When eight years old, he was placed under the care of the family priest, one Bannister, who taught him the Latin and Greek grammars together. He was next removed to a Catholic seminary at Twyford, near Winchester; and while there, read Ogilby's “ Homer” and Sandys's “ Ovid ” with great delight. He had not been long at this school till he wrote a severe lampoon, of two hundred lines' length, on his master—so truly was the “ boy the father of the man”-for which demi-Dunciad he was severely flogged. His father, offended at this, removed him to a London school, kept by a Mr Deane. This man taught the poet nothing; but his residence in London gave him the opportunity of attending the theatres. With these he was so captivated, that he wrote a kind of play, which was acted by his schoolfellows, consisting of speeches from Ogilby's “Iliad," tacked together with verses of his own. He became acquainted with Dryden's works, and went to Wills's coffee-house to see him. He says, “ Virgilium tantum vidi.” Such transient meetings of literary orbs are among the most interesting passages in biography. Thus met Galileo with Milton, Milton with Dryden, Dryden with Pope, and Burns with Scott. Carruthers strikingly remarks, “ Considering the perils and uncertainties of a literary life—its precarious rewards, feverish anxieties, mortifications, and disappointments, joined to the tyranny of the Tonsons and Lintots, and the malice and envy of dunces, all of which Dryden had long and bitterly experienced—the aged poet could hardly have looked at the delicate and deformed boy, whose preternatural acuteness and sensibility were seen in his dark eyes, without a feeling approaching to grief, had he known that he was to fight a battle like that under which he was himself then sinking, even though the Temple of Fame should at length open to receive him.” At twelve, he wrote the “Ode to Solitude;" and shortly after, his satirical piece on Elkanah' Settle, and some of his translations and imitations. His next period, he says, was in Windsor Forest, where for several years he did nothing but read the classics and indite poetry. He wrote a tragedy, a comedy, and four books of an Epic called “ Alcander," all of which afterwards he committed to the flames. He translated also a portion of Statius, and Cicero “ De Senectute,” and “ thought himself the greatestgenius thatever was.” His father encouraged him in his studies, and when his verses did not please him, sent him back to “new turn" them, saying, “ These are not good rhymes.” His principal favourites were Virgil's “ Eclogues," in Latin; and in English, Spencer, Waller, and Drydenadmiring Spencer, we presume, for his luxuriant fancy, Waller for his smooth versification, and Dryden for his vigorous sense and vivid sarcasm. In the Forest, he became acquainted with Sir William Trumbull, the retired secretary of state, a man of general accomplishments, who read, rode, conversed with the youthful poet; introduced him to old Wycherley, the dramatist; and was of material service to his views. With Wycherley, who was old, doted, and excessively vain, Pope did not continue long intimate. A coldness, springing from some criticisms which the youth ventured to make on the veteran's poetry, crept in between them. Walsh of Abberley, in Worcestershire, a man of good sense and taste, became, after a perusal of the “Pastorals” in MS., a warm friend and kind adviser of Pope's, who has immortalised him in more than one of his poems. Walsh told Pope that there had never hitherto appeared in Britain a poet who was at once great and correct, and exhorted him to aim at accuracy and elegance.

When fifteen, he visited London, in order to acquire a more thorough knowledge of French and Italian. At sixteen, he wrote the “ Pastorals,” and a portion of “ Windsor Forest, although they were not published for some time afterwards. By his incessant exertions, he now began to feel his constitution injured. He imagined himself dying, and sent farewell letters to all his friends, including the Abbé Southcot. This gentleman communicated Pope's case to Dr Ratcliffe, who gave him some medical directions ; by following which, the poet recovered. He was advised to relax in his studies, and to ride daily; and he prudently followed the advice. Many years afterwards, he repaid the benevolent Abbé by procuring for him, through Sir Robert Walpole, the nomination to an abbey in Avignon. This is only one of many proofs that, notwithstanding his waspish temper, and his no small share of malice as well as vanity, there was a warm heart in our poet.

In 1707, Pope became acquainted with Michael Blount of Maple, Durham, near Reading; whose two sisters, Martha and Teresa, he has commemorated in various verses.

On his connexion with these ladies, some mystery rests.

Bowles has strongly and plausibly urged that it was not of the purest or most creditable order. Others have contended that it did not go further than the manners of the age sanctioned; and they say, "a much greater license in conversation and in epistolary correspondence was permitted between the sexes than in our decorous age!” We are not careful to try and settle such a delicate question-only we are inclined to suspect, that when common decency quits the words of male and female parties in their mutual communications, it is a very ample charity that can suppose it to adhere to their actions. And nowhere do we find grosser language than in some of Pope's prose epistles to the Blounts.

His “ Pastorals," after having been handed about in MS., and shewn to such reputed judges as Lord Halifax, Lord Somers, Garth, Congreve, &c., were at last, in 1709, printed in the sixth volume of Tonson's Miscellanies." Like all well-finished commonplaces, they were received with instant and universal applause. It is humiliating to contrast the reception of these empty echoes of inspiration, these agreeable centos, with that of such genuine, although faulty poems, as Keat's “Endymion,” Shelley's “Queen Mab,” and Wordsworth's " Lyrical Ballads." Two years later (in 1711), a far better and more characteristic production from his pen was

ushered anonymously into the world. This was the “ Essay on Criticism," a work which he had first written in prose, and which discovers a ripeness of judgment, a clearness of thought, a condensation of style, and a command over the information he possesses, worthy of any age in life, and almost of any mind in time. It serves, indeed, to shew what Pope's true forte was.

That lay not so much in poetry, as in the knowledge of its principles and laws,—not so much in creation, as in criticism. He was no Homer or Shakspeare; but he might have been nearly as acute a judge of poetry as Aristotle, and nearly as eloquent an expounder of the rules of art and the glories of genius as Longinus.

In the same year, Pope printed “ The Rape of the Lock,” in a volume of Miscellanies. Lord Petre had, much in the way described by the poet, stolen a lock of Miss Belle Fermor's hair,-a feat which led to an estrangement between the families. Pope set himself to reconcile them by this beautiful poem,-a poem which has embalmed at once the quarrel and the reconciliation to all future time. In its first version, the machinery was awanting, the “lock” was a desert, the “rape” a natural event,—the small infantry of sylphs and gnomes were slumbering uncreated in the poet's mind; but in the next edition he contrived to introduce them in a manner so easy and so exquisite, as to remind you of the variations which occur in dreams, where one wonder seems softly to slide into the bosom of another, and where beautiful and fantastic fancies grow suddenly out of realities, like the bud from the bough, or the fairy-seeming wing of the summer-cloud from the stern azure of the heavens.

A little after this, Pope became acquainted with a far greater, better, and truer man than himself, Joseph Addison. Warburton, and others, have sadly misrepresented the connexion between these two famous wits, as well as their relative intellectual positions. Addison was a more amiable and childlike person than Pope. He had much more, too, of the Christian. He was not so elaborately polished and furbished as the author of “The Rape of the Lock;" but he had, naturally, a finer and richer genius. Pope found early occasion for imagining Addison his disguised enemy. He gave him a hint of his inten

tion to introduce the machinery into “The Rape of the Lock.” Of this, Addison disapproved, and said it was a delicious little thing alreadymerum sal. This, Pope, and some of his friends, have attributed to jealousy; but it is obvious that Addison could not foresee the success with which the machinery was to be managed, and did foresee the difficulties connected with tinkering such an exquisite production. We may allude here to the circumstances which, at a later date, produced an estrangement between these celebrated men. When Tickell, Addison's friend, published the first book of the “Iliad,” in opposition to Pope's version, Addison gave it the preference. This moved Pope's indignation, and led him to assert that it was Addison's own composition. In this conjecture he was supported by Edward Young, who had known Tickell long and intimately, and had never heard of him having written at college, as was averred, this translation. It is now, however, we believe, certain, from the MS. which still exists, that Tickell was the real author. A coldness, from this date, began between Pope and Addison. An attempt to reconcile them only made matters worse; and at last the breach was rendered irremediable by Pope's writing the famous character of his rival, afterwards inserted in the Prologue to the Satires,—a portrait drawn with the perfection of polished malice and bitter sarcasm, but which seems more a caricature than a likeness. Whatever Addison's faults, his conduct to Pope did not deserve such a return. The whole passage is only one of those painful incidents which disgrace the history of letters, and prove how much spleen, ingratitude, and baseness often co-exist with the highest parts. The words of Pope are as true now as ever they were—“the life of a wit is a warfare upon earth ;” and a warfare in which poisoned missiles and every variety of falsehood are still common. We may also here mention, that

while the friendship of Pope and Addison lasted, the former · contributed the well-known prologue to the latter's “Cato.”

One of Pope's most intimate friends in his early days was Henry Cromwell—a distant relative of the great Oliver-a gentleman of fortune, gallantry, and literary taste, who became his agreeable and fascinating, but somewhat dangerous, companion. He is supposed to have initiated Pope into some of the

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