The Age of Pope

'Transcendent prince! how happy must thou be!What can'st thou look upon unblessed by thee?What inward peace must that calm bosom know,Whence conscious virtue does so strongly flow!* * * * *Such are the kings who make God's image shine,Nor blush to dare assert their right divine!No earth-born bias warps their climbing will,No pride their power, no avarice whets their skill.They poise each hope which bids the wise obey,And shed broad blessings from their widening sway;To raise the afflicted, stretch the healing hand,Drive crushed oppression from each rescued land,Bold in alternate right, or sheath or drawThe sword of conquest, or the sword of law;Spare what resists not, what opposes bend,And govern cool, what they with warmth defend.'

Hill has the merit of having turned the tables upon Pope, who had put him into the treatise on the Bathos, and then into the Dunciad, where, however, the lines have more of compliment than censure, since he is made to mount 'far off among the swans of Thames.' Irritated by a note in the Dunciad, Hill replied in a long poem entitled The Progress of Wit, a Caveat, which opens with the following pointed lines:

'Tuneful Alexis, on the Thames' fair side,The ladies' plaything, and the Muses' pride;With merit popular, with wit polite,Easy though vain, and elegant though light;Desiring, and deserving others' praise,Poorly accepts a fame he ne'er repays;Unborn to cherish, sneakingly approves,And wants the soul to spread the worth he loves.'

In a letter to Hill Pope complained of these lines, and had the hypocrisy to say that he never thought any great matters of his poetical capacity, but prided himself on the superiority of his moral life. Hill returned a masterly and incisive reproof to this ridiculous statement, in the course of which he says:

'I am sorry to hear you say you never thought any great matters of your poetry. It is in my opinion the characteristic you are to hope your distinction from. To be honest is the duty of every plain man. Nor, since the soul of poetry is sentiment, can a great poet want morality. But your honesty you possess in common with a million who will never be remembered; whereas your poetry is a peculiar, that will make it impossible that you should be forgotten.'

He adds that if Pope had not been in the spleen when he wrote, he would have remembered that humility is a moral virtue; and how, asks the writer, can you know that your moral life is above that of most of the wits 'since you tell me in the same letter that many of their names were unknown to you?'

Aaron Hill, though he could write a sensible letter, was not a wise man. He was 'everything by turns and nothing long.' Poetry was but one of his accomplishments, and we are told that he cultivated it 'as a relaxation from the study of history, criticism, geography, physic, commerce, agriculture, war, law, chemistry, and natural philosophy, to which he devoted the greatest part of his time.'

As a poet Hill has the facility in composition exhibited by so many of his contemporaries, and he has occasionally a pretty turn of fancy. His last labour was the successful adaptation of Voltaire's Merope to the English stage (1749); sixteen years before he had adapted Zara with equal success.

Thomas Parnell (1679-1718).

Among the minor poets of the period an honourable place must be given to Parnell, who possessed the soul of a poet, but gave limited expression to it, for it was only during the later years of a short life that he discovered where his genius lay. The friend of Pope, Arbuthnot, and Swift, his biography has been written by Johnson, and more discursively by his countryman Goldsmith.

Thomas Parnell was born in Dublin, 1679, entered Trinity College at the early age of thirteen, and in 1700 obtained the degree of Master of Arts. Having taken orders he gained preferment in the Church, became, in 1706, Archdeacon of Clogher, and through the recommendation of Swift obtained also a good living. Parnell was fond of society, and was accustomed as often as possible to join the wits in London. He was a member of the Scriblerus Club, wrote for the Spectator, preached eloquent sermons, and had the ambition of a poet. But the loss of his wife preyed upon his mind, and he is said, though I believe chiefly on Pope's authority, to have given way to intemperance. He died suddenly at Chester at the age of thirty-nine in 1718.

Parnell was one of the poets whose fortunes Swift did his best to promote. Writing in 1712, he says, 'I gave Lord Bolingbroke a poem of Parnell's. I made Parnell insert some compliments in it to his lordship. He is extremely pleased with it, and read some parts of it to-day to Lord Treasurer, who liked it as much. And indeed he outdoes all our poets here a bar's length.' And a month later he writes, 'Lord Bolingbroke likes Parnell mightily, and it is pleasant to see that one who hardly passed for anything in Ireland, makes his way here with a little friendly forwarding.'

The Hermit, the Hymn to Contentment, an Allegory on Man, and a Night Piece on Death, give Parnell his title to a place among the poets. The Rise of Woman, and Health, an Eclogue, have also much merit, and were praised by Pope (but this was to their author) as 'two of the most beautiful things he ever read.' The story of The Hermit, written originally in Spanish, is given in Howell's Letters (1645-1655), and is admirably told by Parnell, but much that he wrote, including a series of long poems on Scripture characters, is poetically worthless. His poems, published five years after his death, were edited by Pope, who wisely suppressed some pieces unworthy of the poet. Then, as now, literary scavengers were at work. In 1758 the suppressed poems were published, and called forth the comment from Gray, 'Parnell is the dunghill of Irish Grub Street.' To Parnell Pope was indebted for the Essay on Homer prefixed to the translation, with which he does not seem to have been well pleased. He complained of the stiffness of the style, and said it had cost him more pains in the correcting than the writing of it would have done.

If Parnell's prose has the defect of stiffness, his lines glide with a smoothness that must have satisfied the ear of Pope. The higher harmonies of verse were unknown to him, but ease is not without a charm, and in illustration of Parnell's gift the final lines of A Night Piece on Death shall be quoted:

'When men my scythe and darts supply,How great a king of fears am I!They view me like the last of things,They make and then they draw my stings.Fools! if you less provoked your fears,No more my spectre form appears.Death's but a path that must be trod,If man would ever pass to God;A port of calms, a state to easeFrom the rough rage of swelling seas.Why then thy flowing sable stoles,Deep pendent cypress, mourning poles,Loose scarfs to fall athwart thy weeds,Long palls, drawn hearses, covered steeds,And plumes of black that as they tread,Nod o'er the scutcheons of the dead?Nor can the parted body know,Nor wants the soul these forms of woe;As men who long in prison dwell,With lamps that glimmer round the cell,Whene'er their suffering years are run,Spring forth to greet the glittering sun;Such joy, though far transcending sense,Have pious souls at parting hence.On earth and in the body placed,A few and evil years they waste;But when their chains are cast aside,See the glad scene unfolding wide,Clap the glad wing, and tower away,And mingle with the blaze of day.'

Thomas Tickell (1686-1740).

Tickell wished to be remembered as the friend of Addison, and with Addison his name is indissolubly associated. The poem dedicated to the essayist's memory is perhaps over-praised by Macaulay when he says that it would do honour to the greatest name in our literature, but it proved incontestibly that Tickell, as a poet, was superior to the master whom he so loved and honoured. His reputation hangs upon this elegy, which Fox pronounced perfect.34 The Prospect of Peace, which passed through several editions, had at one time a considerable reputation, not assuredly for its poetry, but because it appealed to the spirit of the time The style of the poem may be judged from these lines: —

'Accept, great Anne, the tears their memory draws,Who nobly perished in their sovereign's cause;For thou in pity bidd'st the war give o'er,Mourn'st thy slain heroes, nor wilt venture more.Vast price of blood on each victorious day!(But Europe's freedom doth that price repay.)Lamented triumphs! when one breath must tellThat Marlborough conquered and that Dormer fell.'

His Colin and Lucy called forth high praise from Goldsmith as one of the best ballads in our language, and Gray terms it the prettiest ballad in the world. Three stanzas from this once famous poem shall be quoted: —

'"I hear a voice you cannot hear,Which says I must not stay;I see a hand you cannot see,Which beckons me away.By a false heart and broken vows,In early youth I die;Was I to blame because his brideWas thrice as rich as I?'"Ah, Colin, give not her thy vows,Vows due to me alone;Nor thou, fond maid, receive his kiss,Nor think him all thy own.To-morrow in the church to wed,Impatient, both prepare!But know, fond maid, and know, false man,That Lucy will be there!'"Then bear my corse, my comrades, bear,This bridegroom blithe to meet,He in his wedding trim so gay,I in my winding-sheet."She spoke, she died; her corse was borneThe bridegroom blithe to meet,He in his wedding trim so gay,She in her winding-sheet.'

There is some fancy but no imagination in the machinery of Tickell's long poem on Kensington Gardens, a title which recalls Matthew Arnold's exquisite stanzas. But the pathetic beauty of Arnold's lines belongs to a world of poetry wholly unlike that in which even the best of the Queen Anne poets lived and moved.

Tickell's translation of the first book of the Iliad led to the quarrel already mentioned in the account of Pope. He wrote, also, a rather lengthy poem on Oxford, in which there is some absurd criticism of insignificant poetasters, and, as a matter of course, an extravagant eulogium of Addison.

The few facts recorded of Tickell's life may be summed up in a paragraph. He was born in 1686 at Bridekirk, in Cumberland, and entered Queen's College, Oxford, in 1701. In 1708 he obtained his M.A. degree, and two years later was chosen Fellow. For sixteen years Tickell held his fellowship, but resigned it on his marriage in 1726. In a poem addressed to the lady before marriage, he asks whether

'By thousands sought, Clotilda, canst thou freeThy crowd of captives and descend to me?'

Praise which in those days would be regarded as fulsome secured the friendship and patronage of Addison, who employed him in public affairs, and when he became Secretary of State made Tickell Under-Secretary. To him Addison left the charge of editing his works, which were published by subscription, and appeared in four quarto volumes in 1721. In 1725 he was made secretary to the Lord Justices of Ireland, 'a place of great honour,' which he held until his death in 1740. The praise of Wordsworth, a poet always chary of expressing approbation, has been bestowed upon Tickell. 'I think him,' he said, 'one of the very best writers of occasional verses.'

William Somerville (1692-1742).

Tickell had written some lines on hunting, which he published as a fragment. His contemporary Somerville, selecting the same subject, wrote The Chase (1735), a poem in blank verse. He was born at Edston, in Warwickshire, and was said, Dr. Johnson writes, 'to be of the first family in his county.' He was educated at Winchester and Oxford, and had the tastes of a scholar as well as of a country gentleman, which, among other accomplishments, included that of hard drinking. We know little about him, and what we do know is deplorable, for his friend Shenstone writes that he was plagued and threatened by low wretches, and 'forced to drink himself into pains of the body in order to get rid of the pains of the mind.' He died in 1742, the owner of a good estate, which, owing to a contempt for economy, he was never able to enjoy. 'I loved him for nothing so much,' said Shenstone, 'as for his flocci-nauci-nihili-pili-fication of money.'

In The Chase Somerville had the advantage of knowing his subject, but knowledge is not poetry, and the interest of the poem is not due to its poetical qualities. He deserves some credit for his skill in handling a variety of metres as well as blank verse, in which his principal poem is written. In an address To Mr. Addison, the couplet,

'When panting Virtue her last efforts made,You brought your Clio to the virgin's aid,'

is praised by Johnson as one of those happy strokes which are seldom attained. In the same poem Shakespeare and Addison are brought together in a way that is far from happy:

'In heaven he sings; on earth your muse suppliesTh' important loss, and heals our weeping eyes,Correctly great, she melts each flinty heartWith equal genius, but superior art.'

Praise can be too strong even for a poet's digestion, and Somerville, who writes a great deal more nonsense in the same strain, should have remembered that he was not addressing a fool. If the poetical adulation of the time is to be excused, it must be on the ground that a poet had to live by patronage and not by the public. In a pecuniary point of view his subservience to men in high position was often successful. An almost universal custom, it was not regarded as degrading; but the poet must have been peculiarly constituted who was not degraded by it.

John Dyer (1698(?) -1758).

In the last century any subject was deemed suitable for poetry, and the Welsh poet, John Dyer, who was born about 1698, found in his later life poetical materials in The Fleece (1757), a poem in four books of blank verse. His genius for descriptive poetry and his passionate and intelligent delight in natural objects are seen more pleasantly in Grongar Hill (published in the same year as Thomson's Winter), a poem not without grammatical inaccuracies, one of which deforms the first couplet, but full of poetical feeling. In an ease of composition which runs into laxity he reminds us occasionally of George Wither. His chief merit is, that while independent of Thomson, he was inspired by the same love, and wrote with the same aim. Dyer is not content with bare description, but likes to moralize on the landscape he surveys. Thus, when looking on a ruined tower, the poet exclaims:

'Yet time has seen, that lifts the low,And level lays the lofty brow,Has seen this broken pile compleat,Big with the vanity of state;But transient is the smile of fate!A little rule, a little sway,A sunbeam in a winter's day,'Is all the proud and mighty haveBetween the cradle and the grave.'

Dyer who is best seen in the octosyllabic metre, chose it also for The Country Walk, a poem in which, notwithstanding an occasional lapse into the conventional diction of the period, the rural pictures are drawn from life. He takes the reader into the farm-yard and fields as he writes:

'I am resolved this charming dayIn the open field to stray,And have no roof above my headBut that whereon the gods do tread.Before the yellow barn I seeA beautiful varietyOf strutting cocks, advancing stout,And flirting empty chaff about;Hens, ducks, and geese, and all their brood,And turkeys gobbling for their food;While rustics thrash the wealthy floor,And tempt all to crowd the door.* * * * *And now into the fields I go,Where thousand flaming flowers glow,And every neighbouring hedge I greetWith honey-suckles smelling sweet;Now o'er the daisy meads I strayAnd meet with, as I pace my way,Sweetly shining on the eyeA rivulet gliding smoothly by,Which shows with what an easy tideThe moments of the happy glide.'

An Epistle to a Friend in Town, records his satisfaction with the country retirement in which his days are passed. In a rather awkward stanza he says that he is more than content, and is indeed charmed with everything, and the lines close with the moralizing that was dear to Dyer's heart:

'Alas! what a folly that wealth and domainWe heap up in sin and in sorrow!Immense is the toil, yet the labour how vain!Is not life to be over to-morrow?Then glide on my moments, the few that I have,Smooth-shaded and quiet and even;While gently the body descends to the grave,And the spirit arises to heaven.'

Dyer was an artist as well as a poet, and visited Italy, which suggested a poem in blank verse, The Ruins of Rome (1740). After his return to England he entered into holy orders, took a wife, who is said to have been a descendant of Shakespeare, and settled at Calthorp in Leicestershire, which he afterwards exchanged for a living in Lincolnshire. There is much to like in Dyer, and he has had the good fortune to win the applause of two great poets. Gray says, in a letter to Horace Walpole, that he had 'more of poetry in his imagination than almost any of our number,' and Wordsworth in a sonnet, To the Poet, John Dyer, writes:

* * * * *'Though hasty Fame hath many a chaplet culledFor worthless brows, while in the pensive shadeOf cold neglect she leaves thy head ungraced,Yet pure and powerful minds, hearts meek and still,A grateful few, shall love thy modest Lay,Long as the shepherd's bleating flock shall strayO'er naked Snowdon's wide aerial waste;Long as the thrush shall pipe on Grongar Hill!'

William Shenstone (1714-1764).

'The true rustic style,' Charles Lamb writes, 'I think is to be found in Shenstone,' and he calls his Schoolmistress the 'prettiest of poems.'

William Shenstone was born in 1714 at the Leasowes in Hales-Owen, a spot upon which he afterwards expended his skill as a landscape gardener. In 1732 he went up to Pembroke College, Oxford, and remained there for some years without taking a degree. Those years appear to have been devoted to poetry. In 1737 Shenstone published a small volume anonymously. This was followed by the Judgment of Hercules (1741), and by the Schoolmistress (1742). In 1745 he undertook the management of his estate, and began, to quote Dr. Johnson's quaint description, 'to point his prospects, to diversify his surface, to entangle his walks, and to wind his waters; which he did with such judgment and such fancy, as made his little domain the envy of the great and the admiration of the skilful; a place to be visited by travellers and copied by designers.' On this estate, with its lakes and cascades, its urns and poetical inscriptions, its hanging woods, and 'wild shaggy precipice,' Shenstone appears to have spent all his fortune. He led the life of a dilettante, and died unmarried at the age of fifty. His elegies and songs are dead, and whatever vitality remains in his verse will be found in the Pastoral Ballad and the Schoolmistress.

The ballad written in anapæstic verse has an Arcadian grace, against which even Johnson's robust intellect was not proof. For the following lines he says, 'if any mind denies its sympathy it has no acquaintance with love or nature':

'When forced the fair nymph to forego,What anguish I felt in my heart!Yet I thought – but it might not be so —'Twas with pain that she saw me depart.She gazed as I slowly withdrew,My path I could hardly discern;So sweetly she bade me adieu,I thought that she bade me return.

The Schoolmistress, written in imitation of Spenser, has the merits of simplicity and homely humour. The village dame is a life-like character, and the urchins whom she is supposed to teach, and does sometimes teach by chastisement, are cunningly portrayed.

From the verses Written at an Inn in Henley three stanzas may be quoted. The last will be already known to readers familiar with their Boswell:

'I fly from pomp, I fly from plate,I fly from falsehood's specious grin!Freedom I love, and form I hate,And choose my lodgings at an inn.'Here, waiter! take my sordid ore,Which lacqueys else might hope to win;It buys what courts have not in store,It buys me freedom at an inn!'Whoe'er has travelled life's dull round,Where'er his stages may have been,May sigh to think he still has foundThe warmest welcome at an inn.'

Unhappily this final verse, which Johnson is said to have repeated 'with great emotion,' has lost its application. The modern traveller, instead of being warmly welcomed at an inn, loses his identity and becomes a number.

Mark Akenside (1721-1770).

Akenside, who was born at Newcastle, 1721, received his education in Edinburgh, where he was sent to prepare for the ministry among the Dissenters. He, however, changed his mind, became a medical student, and finally, though much disliked for his manners, gained reputation as a physician in London. He is stated to have been excessively stiff and formal, and a frigid stiffness marks the Pleasures of Imagination (1744), a remarkable work considering the writer's age, since it is without the faults of youth. The poem is founded on Addison's Essays on the subject in the Spectator, and the poet also owes a considerable debt to Shaftesbury. Akenside's blank verse has the merits of dignity and strength. But the work is as cold as the author's manners were said to be, and in spite of what may be called poetical power, as distinct from a high order of inspiration, the poem leaves the reader unmoved. Pope, who saw it in MS., said that Akenside was 'no everyday writer,' which is a just criticism. The Pleasures of Imagination has the merits of careful workmanship and of some originality, but the interest which it at one time excited is not likely to be revived. In 1757 Akenside re-wrote the poem, and I believe that no critic, with the exception of Hazlitt, regards the second attempt as an improvement on the first. His skill in the use of classical imagery is seen to advantage in the Hymn to the Naiads (1746), and he deserves praise, too, for his inscriptions, which are distinguished for conciseness and vigour of style. The poet, it may be added, wrote a great number of odes that lack all, or nearly all, the qualities which should distinguish lyrical poetry. Not a spark of the divine fire warms or illuminates these reputable verses, but the author states that his chief aim was to be correct, and in that he has succeeded.

David Mallet (1700-1765).

David Mallet, a friend or acquaintance of Thomson, was contemptible as a man and comparatively insignificant as a poet. He did a large amount of dirty work, and appears to have made a good income by it. The base character of the man was known to Bolingbroke, of whose basest purpose he made him the instrument (see c. vii.). Mallet's ballad of William and Margaret (1724) is known to many readers, and so is the inferior ballad Edwin and Emma, which was written many years afterwards. In 1728 he published The Excursion, a poem not sufficiently significant to prevent Wordsworth from selecting the same title. In Mallet's poem on Verbal Criticism (1733), Johnson states that he paid court to Pope, and was rewarded by a travelling tutorship gained through the poet's influence. In 1731 his tragedy, Eurydice, was acted at Drury Lane. He joined Thomson, as we have said elsewhere, in the composition of the masque of Alfred, and 'almost wholly changed' the piece after Thomson's death. Amyntor and Theodora, a long poem in blank verse, appeared in 1747; Britannia, a masque, in 1753, and Elvira, a tragedy, in 1763. Mallet, who was without qualifications for the task, wrote a life of Lord Bacon. He is said to have obtained a pension for inflaming the mind of the public against Admiral Byng, and thereby hastening his execution.

In Anderson's edition of the poets, Mallet's biography is related with more fulness than by Dr. Johnson, and, after frankly recording acts which fully justify Macaulay's statement that Mallet's character was infamous, the writer adds, 'his integrity in business and in life is unimpeached.'

Scottish Song-Writers

When the poets of England were writing satires, moral essays, and elaborate didactic treatises, the poets of Scotland were singing, in bird-like notes, songs of humour and of love. It is remarkable that the Scotch, the shrewdest, hardest, and most business-like people in these islands, should be so richly endowed with a gift shared and enjoyed by rich and poor alike. The most exquisite of English lyrics fall, where culture is wanting, on regardless ears; the songs of Ramsay and of Burns, of Lady Anne Lindsay and Jane Elliot, of Hogg and Lady Nairne, of Tannahill and Macneil, are household words in Scotland to gentle and simple. A few of the choicest songs of Scotland are due to ladies of rank, but the larger number have sprung from 'the huts where poor men lie.' Ramsay was a barber and wig-maker; Burns, as all the world knows, followed the plough; Tannahill was a weaver; Hogg a shepherd; and Robert Nicoll the son of a small farmer, 'ruined out of house and hold.'