POPE. 429 



that Pope's satire is not founded on knowledge, but 

 rather on what his own sensitive suspicion divined of 

 the opinions of one whose expressed preferences in po- 

 etry iniphed a condemnation of the very grounds of the 

 satirist's own popularity. We shall not so easily give 

 up the purest and most dignified figure of that some- 

 what vulgar generation, who ranks with Sidney and 

 Spenser, as one of the few perfect gentlemen in our lit- 

 erary annals. A man who could command the unswerv- 

 ing loyalty of honest and impulsive Dick Steele could 

 not have been a coward or a backbiter. The only justi- 

 fication alleged by Pope was of the flimsiest kind, namely, 

 that x\ddison regretted the introduction of the sylphs in 

 the second edition of the *' Ptape of the Lock," saying that 

 the poem was merum sal before. Let any one ask him- 

 self how he likes an author's emendations of any poem 

 to which his ear had adapted itself in its former shape, 

 and he will hardly think it needful to charge Addison 

 with any mean motive for his conservatism in this mat- 

 ter. One or two of Pope's letters are so good as to 

 make us regret that he did not oftener don the dressing- 

 gown and slippers in his correspondence. One in par- 

 ticular, to Lord Burlington, describing a journey on 

 horseback to Oxford with Lintot the bookseller, is full 

 of a lightson:ie humor worthy of Cowper, almost worthy 

 of Gray. 



Joseph AYarton, in summing up at the end of his 

 essay on the genius and writings of Pope, says that the 

 largest part of his works "is of the didactic, snored, and 

 satiric ; and, consequently, not of the most poetic species 

 of poetry ; whence it is manifest that c/ood sense and 

 judgment \s eve his characteristical excellences rather than 

 fancy and invention.'''' It is plain that in any strict 

 definition there can be only one kind of poetry, and 

 that what Warton really meant to say was that Pope 



