POPE AND ADDISON.

The quarrel between POPE and ADDISON originated in one of the infirmities of genius—a subject of inquiry even after their death, by Sir WILLIAM BLACKSTONE-Pope courts ADDISON-suspects ADDISON of jealousy—Adrison's foible, to be considered a great poet-interview between the rivals, of which the result was the portrait of ATTICUS, for which ADDISON was made to sit.

AMONG the Literary Quarrels of POPE one acquires dignity and interest from the characters of both parties. It closed by producing the severest, but the most masterly portrait of one man of genius, composed by another, which has ever been hung on the satiric Parnassus, for the contemplation of ages. ADDISON must descend to posterity with the dark spots of ATTICUS staining a purity of character which had nearly proved immaculate.

were departed, the same interest was general among the lovers of literature; but those obscure motives which had only influenced two mindsthose imperceptible events, which are only events as they are watched by the jealousy of genius,eluded the most anxious investigation. Yet so lasting and so powerful was the interest excited by this literary quarrel, that, within a few years, the elegant mind of Sir WILLIAM BLACKSTONE withdrew from the severity of profounder studies to inquire into the causes of a quarrel which was still exciting the most opposite opinions. Blackstone has judged and summed up; but though he evidently inclines to favour Addison, by throwing into the balance some explanation for the silence of Addison against the audible complaints of Pope; though sometimes he pleads as well as judges, and infers as well as proves; yet even Blackstone has not taken on himself to deliver a decision. His happy genius has only honoured literary history by the masterly force and luminous arrangement of investigation, to which, since the time of Bayle, it has been too great a stranger*.

The friendship between Pope and Addison was interrupted by one of the infirmities of genius. Tempers of watchful delicacy gather up in silence and darkness motives so shadowy in their origin, and of such minute growth, that, never breaking out into any open act, they escape all other eyes but those of the parties themselves. These causes of enmity are too subtle to bear the touch; they cannot be inquired after, nor can they be described; and it may be said, that the minds of such men have rather quarrelled than they themselves: they utter no complaints, but they avoid each other. All the world perceived that two authors of the finest genius had separated from motives on which both were silent, but which had evidently operated with equal force on both. Their admirers were very general, and at a time when literature divided with politics the public interest, the best feelings of the nation were engaged in tracking the obscure commencements and the secret growth of this literary quarrel, in which the amiable and moral qualities of Addison, and the gratitude and honour of Pope, were equally involved. The friends of either party pretended that their chiefs entertained a reciprocal regard for each other, while the illustrious characters themselves were living in a state of hostility. Even long after these literary heroes importance."

At this day, removed from all personal influence and affections, and furnished with facts which contemporaries could not command, we take no other concern in this literary quarrel, but as far as curiosity and truth delight us in the study of

* Sir William Blackstone's Discussion on the Quarrel between Addison and Pope was communicated by Dr. Kippis in his Biographia Britannica, vol. i. p. 56. Blackstone is there designated as "a gentleman of considerable rank, to whom the public is obliged for works of much higher

Pope was a young writer when introduced to Addison, by the intervention of that generouslyminded friend of both, Steele. Addison eulogised Pope's Essay on Criticism;" and this fine genius covering with his wing an unfledged bardling, conferred a favour which, in the estimation of a poet, claims a life of indelible gratitude.

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human nature. We are now of no party-we are against any alteration, and to leave it as only historians! cious little thing, merum sal.' It was then, says Warburton, "Mr. Pope began to open his eyes to Addison's character." But when afterwards he discovered that Tickell's Homer was opposed to his, and judged, as Warburton says, by laying many odd circumstances together," that Addison, and not Tickell, was the author-the alienation on Pope's side was complete. No open breach indeed had yet taken place between the rival authors, who, as jealous of dominion as two princes, would still demonstrate, in their public edicts, their inviolable regard; while they were only watching the advantageous moment when they might take arms against each other.

Pope zealously courted Addison by his poetical aid on several important occasions; he gave all the dignity that fine poetry could confer on the science of medals, which Addison had written on, and wrote the finest prologue in the language for the Whig tragedy of his friend. Dennis attacked, and Pope defended, "Cato."* Addison might have disapproved both of the manner and the matter of the defence, but he did more-he insulted Pope by a letter to Dennis, which Dennis eagerly published as Pope's severest condemnation. An alienation of friendship must have already taken place, but by no overt act on Pope's

side.

Not that, however, Pope had not found his affections weakened: the dark hints scattered in his letters, show that something was gathering in his mind. Warburton, from his familiar intercourse with Pope, must be allowed to have known his literary concerns more than any one; and when he drew up the narrative †, seems to me to have stated uncouthly, but expressively, the progressive state of Pope's feelings. According to that narrative, Pope "reflected," that after he had first published "The Rape of the Lock," then nothing more than a hasty jeu d'esprit, when he communicated to Addison his very original project of the whole Sylphid machinery, Addison chilled the ardent bard with his coldness, advised him

Still Addison publicly bestowed great encomiums on Pope's Iliad, although he had himself composed the rival version, and in private preferred his own §. He did this with the same ease he had continued its encouragement while Pope was employed on it. We are astonished to discover such deep politics among literary Machiavels! Addison had certainly raised up a literary party. Sheridan, who wrote nearly with the knowledge of a contemporary, in his "Life of Swift," would naturally use the language and the feelings of the time; and in describing Ambrose Phillips, he adds, he was one of Mr. Addison's little senate."

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But in this narrative I have dropped some material parts. Pope believed, that Addison had employed Gildon to write against him, and had encouraged Phillips to asperse his character. We cannot, now, quite demonstrate these alleged facts; but we can show that Pope believed them, and that Addison does not appear to have refuted them . Such tales, whether entirely false or par

Pope's conjecture was perfectly correct. Dr. Warton confirms it from a variety of indisputable authorities.- Warton's Pope, vol. iv. p. 24.

§ In the Freeholder, May, 1716. The strongest parts of Sir William Blackstone's discussion turn on certain inaccurate dates, of Ruffhead, in his statements, which show them to be inconsistent with the times when they are alleged to have happened. These erroneous dates had been detected in an able article in the Monthly Review of that work, April, 1769. Ruffhead is a tasteless, confused, and unskilful writer-Sir William has laid great stress on the incredible story of Addison paying Gildon to write against Pope, "a man so amiable in his moral character." It is possible that the Earl of Warwick, who conveyed the information, might have been a malicious, lying youth;

* Dennis asserts in one of his pamphlets, that Pope, fermenting with envy at the success of Addison's "Cato," went to Lintot, and persuaded him to engage this redoubted critic to write the remarks on "Cato "-that Pope's gratitude to Dennis for having complied with his request, was the well-known narrative of Dennis " being placed as a lunatic in the hands of Dr. Norris, a curer of mad people, at his house in Hatton-garden, though at the same time I appeared publicly every day, both in the park and in the town." Can we suppose that Dennis tells a falsehood respecting Pope's desiring Lintot to engage Dennis to write down "Cato"? If true, did Pope wish to see Addison degraded, and at the same time take an opportunity of ridiculing the critic, without, how-but then Pope had some knowledge of mankind— ever, answering his arguments? The secret history of literature is like that of politics!

In the notes to the Prologue to the Satires.

he believed the story, for he wrote instantly, with honest though heated feelings, to Addison, and sent him, at that moment, the first sketch of the cha

tially true, may be considered in this inquiry of for the exact period has not been given, that their

The interview between Addison and Pope took seems, at that moment, to have forgotten that he place in the presence of Steele and Gay. They had trusted, for the last line of his own dramatic met with cold civility. Addison's reserve wore poem, rather to the inspiration of the poet he was away, as was usual with him, when wine and con- so contemptuously lecturing than to his own. He versation imparted some warmth to his native proceeded with detailing all the abuse the herd of phlegm. At a moment the generous Steele deemed scribblers had heaped on Pope; and by declaring auspicious, he requested Addison would perform that his Homer was "an ill-executed thing," and his promise in renewing his friendship with Pope. Tickell's had all the spirit. We are told, he conPope expressed his desire: he said he was willing cluded “in a low hollow voice of feigned temper," to hear his faults, and preferred candour and in which he asserted, that he had ceased to be severity rather than forms of complaisance; but solicitous about his own poetical reputation, since he spoke in a manner as conceiving Addison, and he had entered into more public affairs; but, from not himself, had been the aggressor. So much friendship for Pope, desired him to be more humble, like their humblest inferiors do great men act, if he wished to appear a better man to the world. under the influence of common passions: Addison was overcome with anger, which cost him an effort to suppress; but, in the formal speech he made, he reproached Pope with indulging a vanity that far exceeded his merit; that he had not yet attained to the excellence he imagined; and observed, that his verses had a different air when Steele and himself corrected them; and, on this occasion, reminded Pope of a particular line which Steele had improved in the Messiah. Addison

the conversations detailed: where he obtained all these interesting particulars, I have not discovered. Johnson alludes to this interview, states some of its results, but refers to no other authority than floating rumours.

But

When Addison had quite finished schooling his little rebel, Gay, mild and timid (for it seems, with all his love for Pope, his expectations from the court, from Addison's side, had tethered his gentle heart), attempted to say something. Pope, in a tone far more spirited than all of them, without reserve, told Addison that he appealed from his judgment, and did not esteem him able to correct his verses; upbraided him as a pensioner from early youth, directing the learning which had been obtained by the public money to his own selfish desire of power, and that he "had always endeavoured to cuff down new-fledged merit." The conversation now became a contest, and was broken up without ceremony. Such was the notable interview between two rival wits,

• The line stood originally, and nearly literally which only ended in strengthening their literary copied from Isaiah

quarrel; and sent back the enraged satirist to his inkstand, where he composed a portrait, for which Addison was made to sit, with the fine chiar' oscuro of Horace, and with as awful and vindictive features as the sombre hand of Juvenal could have designed.

naked simplicity which scarcely affects, and those strokes of art which are too apparent.

BOLINGBROKE'S AND MALLET'S

POSTHUMOUS QUARREL WITH POPE.

Lord BOLINGBROKE affects violent resentment for POPE's pretended breach of confidence in having printed his "Patriot King"-WARBURTON's apology for POPE's disinterested intentions-BOLINGBROKE instigates MALLET to libel POPE, after the poet's death-The real motive for libelling POPE was BOLINGBROKE's personal hatred of WARBURTON, for the ascendancy the latter had obtained over the poet-Some account of their rival conflicts-BOLINGBROK E had unsettled POPE's religious opinions, and WARBURTON had confirmed his faith-POPE, however, refuses to abjure the Catholic religion-Anecdote of POPE's anxiety respecting a future state-MALLET'S intercourse with Pors: anecdote of "The Apollo Vision," where MALLET mistook a sarcasm for a compliment-MALLET'S characterWhy LEONIDAS GLOVER declined writing the Life of Marlborough-BOLINGBROKE's character hit off-WARBURTOS, the concealed object of this posthumous quarrel with POPE.