Pope's language seems as if it were laboriously formed by himself for his peculiar shape of mind, habits of thought, and style of poetry. Compared to all English before him, Pope's English is a new although a lesser language. He has so cut down, shorn, and trimmed the broad old oak of Shakspeare's speech, that it seems another tree altogether. Everything is so terse, so clear, so pointed, so elaborately easy, so monotonously brilliant, that you must pause to remember. "These are the very copulatives, diphthongs, and adjectives of Hooker, Milton, and Jeremy Taylor." The change at first is pleasant, and has been generally popular; but those who know and love our early authors, soon miss their deep organ-tones, their gnarled strength, their intricate but intense sweetness, their varied and voluminous music, their linked chains of lightning, and feel the difference between the fabricator of clever lines and sparkling sentences, and the former of great passages and works. In keeping with his style is his versification, the incessant tinkling of a sheep-bell—sweet, small, monotonous—producing perfectly-melodious single lines, but no grand interwoven swells and well-proportioned masses of harmony. "Pope," says Hazlitt, "has turned Pegasus into a rocking-horse." The noble gallop of Dryden's verse is exchanged for a quick trot. And there is not even a point of comparison between his sweet sing-song, and the wavy, snow-like, spirit-like motion of Milton's loftier passages; or the gliding, pausing, fitful, river-like progress of Shakspeare's verse; or the fretted fury, and "torrent-rapture" of brave old Chapman in his translation of Homer; or the rich, long-drawn-out, slow-swimming, now soft-languishing, and now full-gushing melody of Spenser's "Faery Queen."—Yet, within his own sphere, Pope was, as Scott calls him, a "Deacon of his craft;" he aimed at, and secured, correctness and elegance; his part is not the highest, but in it he approaches absolute perfection; and with all his monotony of manner and versification, he is one of the most interesting of writers, and many find a greater luxury in reading his pages than those of any other poet. He is the facile princeps of those poetical writers who have written for, and are so singularly appreciated by, the fastidious—that class who are more staggered by faults than delighted with beauties.

Our glance at his individual works must be brief and cursory. His "Ode to Solitude" is the most simple and natural thing he ever wrote, and in it he seems to say to nature, "Vale, longum vale." His "Pastorals" have an unnatural and luscious sweetness. He has sugared his milk; it is not, as it ought to be, warm from the cow, and fresh as the clover. How different his "Rural Life" from the rude, rough pictures of Theocritus, and the delightfully true and genial pages of the "Gentle Shepherd!" His "Windsor Forest" is an elegant accumulation of sweet sonnets and pleasant images, but the freshness of the dew is not resting on every bud and blade. No shadowy forms are seen retiring amidst the glades of the forest; no Uriels seem descending on the sudden slips of afternoon sunshine which pierce athwart the green or brown masses of foliage; and you cannot say of his descriptions that

Shelley studied the scenery of his fine poem, "Alastor," in the same shades with Pope; but he had, like Jonathan of old, touched his lips with a rod dipped in poetic honey, and his "eyes were enlightened" to see sights of beauty and mystery which to the other are denied. Keats could have comprised all the poetry of "Windsor Forest" into one sonnet or line; indeed, has he not done so, where, describing his soul following the note of the nightingale into the far depths of the woods, where she is pouring out her heart in song, he says—

"And with thee fade away into the forest dim?"

The "Essay on Criticism" is rather a wonderful, intellectual, and artistic feat, than a true poem. It is astonishing as the work of a boy of nineteen, and contains a unique collection of clever and sparkling sentences, displaying the highest powers of acuteness and assimilation, if not much profound and original insight or genius. This poem suggests the wish that more of our critics would write in verse. The music might lessen the malice, and set off the commonplace to advantage, so that if there were no "reason," there might be at least "rhyme." His "Lines to the Memory of an Unfortunate Lady" are too elaborate and artificial for the theme. It is a tale of intrigue, murder, and suicide, set to a musical snuff-box! His "Rape of the Lock" we have already characterised. It is an "Iliad in a nutshell," an Epic of Lilliput, where all the proportions are accurately observed, and where the finishing is so exact and admirable, that you fancy the author to have had microscopic eyes. It contains certainly the most elegant and brilliant badinage, the most graceful raillery, the most finished nonsense, and one of the most exquisitely-managed machineries in the language. His "Eloisa and Abelard," a poem beautiful and almost unequalled in execution, is ill chosen in subject. He compels you indeed to weep, but you blame and trample on your tears after they are shed. Pope in this poem, as Shelley in the "Cenci," has tried to extract beauty from moral deformity, and to glorify putrefaction. But who can long love to gaze at worms, however well painted, or will be disposed to pardon the monstrous choice of a dead or demon bride for the splendour of her wedding-garment? The passion of the Eloisa and that of the Cenci were both indeed facts; but many facts should be veiled statues in the Temple of Truth. To do, however, both Pope and Shelley justice, they touch their painful and shocking themes with extreme delicacy. "Dryden," well remarks Campbell, "would have given but a coarse draught of Eloisa's passion." Pope's Epistles, Satires, Imitations, &c., contain much of the most spirited sense and elegant sarcasm in literature. The portraits of "Villars" and "Atticus" will occur to every reader as masterpieces in power, although we deem the latter grossly unjust to a good and great man. His Homer is rather an adaptation than a translation—far less a "transfusion" of the Grecian bard. Pope does not, indeed, clothe the old blind rhapsodist with a bag-wig and sword; but he does all short of this to make him a fine modern gentleman. Scott, we think, could have best rendered Homer in his ballad-rhyme. Chapman is Chapman, but he is not Homer. Pope is Pope, and Hobbes is Hobbes, and Sotheby is Sotheby, and Cowper is Cowper, each doing his best to render Homer, but none of them is the grand old Greek, whose lines are all simple and plain as brands, but like brands pointed on their edges with fire.

The "Essay on Man" ought to have been called an "Epigram on Man," or, better still, should have been propounded as a riddle, to which the word "Man" was to supply the solution. But an antithesis, epigram, or riddle on man of 1300 lines, is rather long. It seems so especially as there is no real or new light cast in it on man's nature or destiny. (We refer our readers to the notes of Dr Croly's edition for a running commentary of confutation to the "Essay on Man" distinguished by solid and unanswerable acuteness of argument.) But such an eloquent and ingenious puzzle as it is! It might have issued from the work-basket of Titania herself. It is another evidence of Pope's greatness in trifles. How he would have shone in fabricating the staves of the ark, or the fringes of the tabernacle!

The "Dunciad" is in many respects the ablest, the most elaborate, and the most characteristic of Pope's poems. In embalming insignificance and impaling folly he seems to have found, at last, his most congenial work. With what apparently sovereign contempt, masterly ease, artistic calm, and judicial gravity, does he set about it! And once his museum of dunces is completed, with what dignity—the little tyrant that he was!—does he march through it, and with what complacency does he point to his slain and dried Dunces, and say, "Behold the work of my hands!" It never seems to have occurred to him that his poem was destined to be an everlasting memorial, not only of his enemies, but of the annoyance he had met from them—at once of his strength in crushing, and his weakness in feeling, their attacks, and in showing their mummies for money.

That Pope deserves, on the whole, the name of "poet," we are willing, as aforesaid, to concede. But he was the most artificial of true poets. He had in him a real though limited vein, but did not trust sufficiently to it, and at once weakened and strengthened it by his peculiar kind of cultivation. He weakened it as a faculty, but strengthened it as an art; he lessened its inward force, but increased the elegance and facility of its outward expression. What he might have attained, had he left his study and trim gardens, and visited the Alps, Snowdon, or the Grampians—had he studied Boileau less, and Dante, Milton, or the Bible more—we cannot tell; but he certainly, in this case, would have left works greater, if not more graceful, behind him; and if he had pleased his own taste and that of his age less, he might have more effectually touched the chord of the heart of all future time by his poetry. As it is, his works resemble rather the London Colosseum than Westminster Abbey. They are exquisite imitations of nature; but we never can apply to them the words of the poet—

Read, and admired, Pope must always be—if not for his poetry and passion, yet for his elegance, wit, satiric force, fidelity as a painter of artificial life, and the clear, pellucid English. But his deficiency in the creative faculty (a deficiency very marked in two of his most lauded poems we have not specified, his "Messiah" and "Temple of Fame," both eloquent imitations), his lack of profound thought, the general poverty of his natural pictures (there are some fine ones in "Eloisa and Abelard"), the coarse and bitter element often intermingled with his satire, the monotonous glitter of his verse, and the want of profound purpose in his writings, combine to class him below the first file of poets. And vain are all attempts, such as those of Byron and Lord Carlisle, to alter the general verdict. It is very difficult, after a time, either to raise or depress an acknowledged classic; and Pope must come, if he has not come already, to a peculiarly defined and strictly apportioned place on the shelf. He was unquestionably the poet of his age. But his age was far from being one of a lofty order: it was a low, languid, artificial, and lazily sceptical age. It loved to be tickled; and Pope tickled it with the finger of a master. It liked to be lulled, at other times, into half-slumber; and the soft and even monotonies of Pope's pastorals and "Windsor Forest" effected this end. It loved to be suspended in a state of semi-doubt, swung to and fro in agreeable equipoise; and the "Essay on Man" was precisely such a swing. It was fond of a mixture of strong English sense with French graces and charms of manner; and Pope supplied it. It was fond of keen, yet artfully managed satire; and Pope furnished it in abundance. It loved nothing that threatened greatly to disturb its equanimity or over-much to excite or arouse it; and there was little of this in Pope. Had he been a really great poet of the old Homer or Dante breed, he would have outshot his age, till he "dwindled in the distance;" but in lieu of immediate fame, and of elaborate lectures in the next century, to bolster it unduly up, all generations would have "risen and called him blessed."

We had intended some remarks on Pope as a prose-writer, and as a correspondent; but want of space has compelled us to confine ourselves to his poetry.

MORAL ESSAYS.

The 'Essay on Man' was intended to have been comprised in four books:—

The first of which, the author has given us under that title, in four epistles.

The second was to have consisted of the same number:—1. Of the extent and limits of human reason. 2. Of those arts and sciences, and of the parts of them, which are useful, and therefore attainable, together with those which are unuseful, and therefore unattainable. 3. Of the nature, ends, use, and application of the different capacities of men. 4. Of the use of learning, of the science of the world, and of wit; concluding with a satire against the misapplication of them, illustrated by pictures, characters, and examples.

The third book regarded civil regimen, or the science of politics, in which the several forms of a republic were to have been examined and explained; together with the several modes of religious worship, as far forth as they affect society; between which the author always supposed there was the most interesting relation and closest connexion; so that this part would have treated of civil and religious society in their full extent.

The fourth and last book concerned private ethics or practical morality, considered in all the circumstances, orders, professions, and stations of human life.

The scheme of all this had been maturely digested, and communicated to the Lord Bolingbroke, Dr Swift, and one or two more, and was intended for the only work of his riper years; but was, partly through ill health, partly through discouragements from the depravity of the times, and partly on prudential and other considerations, interrupted, postponed, and, lastly, in a manner laid aside.

But as this was the author's favourite work, which more exactly reflected the image of his strong capacious mind, and as we can have but a very imperfect idea of it from the disjecta membra poetae that now remain, it may not be amiss to be a little more particular concerning each of these projected books. The first, as it treats of man in the abstract, and considers him in general under every one of his relations, becomes the foundation, and furnishes out the subjects, of the three following; so that—

The second book takes up again the first and second epistles of the first book, and treats of man in his intellectual capacity at large, as has been explained above. Of this, only a small part of the conclusion (which, as we said, was to have contained a satire against the misapplication of wit and learning) may be found in the fourth book of 'The Dunciad,' and up and down, occasionally, in the other three.

The third book, in like manner, reassumes the subject of the third epistle of the first, which treats of man in his social, political, and religious capacity. But this part the poet afterwards conceived might be best executed in an epic poem; as the action would make it more animated, and the fable less invidious; in which all the great principles of true and false governments and religions should be chiefly delivered in feigned examples.

The fourth and last book pursues the subject of the fourth epistle of the first, and treats of ethics, or practical morality; and would have consisted of many members; of which the four following epistles were detached portions: the two first, on the characters of men and women, being the introductory part of this concluding book.—Warburton.

EPISTLE I.—TO SIR RICHARD TEMPLE, LORD COBHAM. OF THE KNOWLEDGE AND CHARACTERS OF MEN.

That it is not sufficient for this knowledge to consider man in the abstract: books will not serve the purpose, nor yet our own experience singly, ver. 1. General maxims, unless they be formed upon both, will be but notional, ver. 10. Some peculiarity in every man, characteristic to himself, yet varying from himself, ver. 15. Difficulties arising from our own passions, fancies, faculties, &c., ver. 31. The shortness of life, to observe in, and the uncertainty of the principles of action in men, to observe by, ver. 37, &c. Our own principle of action often hid from ourselves, ver. 41. Some few characters plain, but in general confounded, dissembled, or inconsistent, ver. 51. The same man utterly different in different places and seasons, ver. 71. Unimaginable weaknesses in the greatest, ver. 70, &c. Nothing constant and certain but God and nature, ver. 95. No judging of the motives from the actions; the same actions proceeding from contrary motives, and the same motives influencing contrary actions, ver. 100. II. Yet to form characters, we can only take the strongest actions of a man's life, and try to make them agree: the utter uncertainty of this, from nature itself, and from policy, ver. 120. Characters given according to the rank of men of the world, ver. 135. And some reason for it, ver. 140. Education alters the nature, or at least character of many, ver. 149. Actions, passions, opinions, manners, humours, or principles, all subject to change. No judging by nature, from ver. 158 to 174. III. It only remains to find (if we can) his ruling passion: that will certainly influence all the rest, and can reconcile the seeming or real inconsistency of all his actions, ver. 175. Instanced in the extraordinary character of Clodio, ver. 179. A caution against mistaking second qualities for first, which will destroy all possibility of the knowledge of mankind, ver. 210. Examples of the strength of the ruling passion, and its continuation to the last breath, ver. 222, &c.