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P. 381, line 9 from buttom. Arnall! aid me while I lie. One of the writers for the Walpole ministry: a shrewd and sensible man; but latterly wasteful; and, after undergoing great distress, closing his career by the still more unhappy fate of suicide.-BOWLES.

P. 382, line 6. To break my windows.

Pope had become obnoxious to the street politicians; and they broke his windows, one day, when Lords Bolingbroke and Bathurst were at dinner with him

P. 382, lines 21, 22. S-k.—P—ge.

Sherlock and Page

P. 382, line 24. In power.

A line in an epistle to Sir R. Walpole, by Lord Melcombe.

P. 382, line 28. He only stain❜d.

The priest alluded to in the preceding line, notwithstanding Pope's denying note, was Dr. Allured Clarke, who wrote a panegyric on Queen Caroline.

P. 382, line 29. Florid youth.

Lord Hervey, alluding to his painting himself.

P. 394, line 16.

This Epistle was sent to the Earl of Oxford, with Dr. Parnell's Poems published by our author, after the said earl's imprisonment in the Tower, and retreat into the country, in the year 1721.—Pope.

P. 395, line 18 from bottom.

Craggs was made secretary at war in 1717, when the Earl of Sunderland and Mr. Addison were appointed secretaries of state: this Epistle appears to have been written soon after he was made one of the secretaries of state. He was deeply implicated in the famous South Sea scheme: he died soon after the detection of it, and would most probably have been called to a severe account had he lived. He died of the small-pox, February 16, 1721.

P. 396, line 10. So mix'd our studies.

Pope's fondness for painting, an art in which he was not born to excel, led him into frequent intercourse with Jervas. The painter was an intelligent and accomplished man, who probably returned the poet's attentions by his anecdotes of high life. He was the most fashionable portrait-painter of his day, though Walpole boldly pronounces him defective in the three great points of his art-drawing, colouring, and composition. Jervas was remarkable for vanity of person Lady Bridgewater was sitting to him; and after paying her some rapturous compliment on her beauty (for he conceived himself to be in love with her), he said, that "she had not a handsome ear.”— "And pray, Mr. Jervas," said she, "what is a handsome ear?" Jervas turned up his cap, and showed her his own.

P. 396, line 17. In pleasing tasks, &c.

A head of Betterton by Pope is in Lord Mansfield's possession; another is in the collection at Arundel Castle.

P. 396, line 3 from bottom. Paulo's free stroke.

Warton says that Reynolds told him, "he did not think the epithets of the various painters well applied:" but they are unques tionably the epithets which criticism has applied to them from their first days of fame, and if Pope thus loses the merit of originality, at least he has the value of precedent.

P. 396, last line. The work of years!

Fresnoy employed above twenty years in finishing his poem,

P. 397, line 19. Thus Churchill's race.

Churchill's race were the four beautiful daughters of John, the great Duke of Marlborough: Henrietta, Countess of Godolphin, afterwards Duchess of Marlborough; Anne, Countess of Sunderland; Elizabeth, Countess of Bridgewater; and Mary, duchess of Montagu.

P. 397, line 20. Worsley's eyes.

Frances, Lady Worsley, wife of Sir Robert Worsley, Bart., of Appuldercombe, in the Isle of Wight; mother of Lady Carteret, the wife of John, Lord Carteret, afterwards Earl Granville.

P. 397, line 21. Each pleasing Blount.

The two sisters, Teresa and Martha Blount.

P. 398, line 19. The Smiles and Loves.

From the pretty epitaph on Voiture:

"Etrusca Veneres, Camœnæ Iberæ,
Hermes Gallicus, et Latina Siren,
Risus, Deliciæ, et Dicacitates,
Lusus, Ingenium, Joci, Lepores,
Et quicquid unquam fuit elegantiarium,
Quo Vecturius hoc jacent sepulcro."

P. 399, line 12 from bottom. Thus Voiture's early care.

Mademoiselle Paulet.

P. 400. Mrs. Teresa lount.

On her leaving town after the coronation of George I. in 171&

P. 402. Mrs. Martha Blount.

Pope's attachment to this woman lasted to the close of his life; but it was less like that of a lover, than of a child to its nurse; and she returned the feeling much in the style of a nurse to a child, alternately fondling, and tyrannizing over, her father capricious charge. She probably clung to his fame, for her heart seems never to have been interested in the connection. But after a long and intimate intercourse, she suddenly assumed a ridiculous reserve; and, as Wharton, with just contempt at this affectation, remarks:-"When she visited Pope, in his very last illness, and her company seemed to give him fresh spirits, the antiquated prude could not be prevailed on to stay and pass the night at Twickenham, because of her reputation!"

P. 408. Sir William Trumball.

Our author's friendship with this gentleman commenced at very unequal years; he was under sixteeen, but Sir William above sixty, and had lately resigned his employment of secretary of state to king William.-P.

P. 408, line 1. First in these fields.

"Prima Syracosio dignata est."-VIRGIL.

P. 408, line 12. In your native shades.

Sir W. Trumball was born in Windsor-forest, to which he retreated, after he had resigned the post of secretary of state to King William III.-P.

P. 409, line 12. Granville.

George Granville, afterwards Lord Lansdowne, known for his

poems, most of which he composed very young; and proposed Waller as his model —P.

P. 410, line 4. A wondrous tree, that sacred monarch bears? An allusion to the royal oak, in which Charles II. had been hid from the pursuit after the battle at Worcester.-P.

Spenser.

P. 410, line 18 from bottom. A Shepherd's toy.

P. 411, line 21. Colin.

The name taken by Spenser in his Eclogues, where his mistress is

celebrated under that of Rosalinda.-WARTON.

P. 411, line 24. Rosalinda's.

This is the lady with whom Spenser fell violently in love, as soon as he left Cambridge, and went into the north; it is uncertain into what family, and in what capacity.-WARTon.

P. 412, line 10. Your praise the birds.

Pope had first written the lines,

"Your praise the tuneful birds to heaven shall bear,
And listening wolves grow milder as they hear.

but he acknowledges this to have been an oversight; " and the author, young as he was, soon found the absurdity, which Spenser himself had overlooked, of introducing wolves into England."

P. 412, line 9 from bottom The art of Terence, and Menander's firo. "Alluding," says Warburton, "to Cæsar's character of Terence,O dimidiate Menander!" &c. a sufficiently qualified panegyric of the Roman Comedian; but that any allusion was intended is by no means clear. It is curious to find modern criticism dilating on the "comic power" of Terence, which the character so distinctly denies :

"Lenibus atque utinam scriptis adjuncta foret vis
Comica."

P. 413, line 28. Not balmy sleep, &c.

"Quale sopor fessis."-VIRGIL.

Warton attributes this passage to Drummond of Hawthornden's picturesque lines:

"To virgins flowers, to sun-burnt earth the rain,

To mariners fair winds amid the main,

Cool shades to pilgrims, whom hot glances burn,
Are not so pleasing as thy blest return."

Milton's noble lines concluding with

"Nor glittering starlight without thee is sweet," contain the same idea; but expressed, as it could be expressed only, by the golden flow of Milton.

P. 414, line 4 from bottom. Thus sung.

To this poem Warton appends a note in praise of the pastorals of Fairfax, whose verse is almost Shaksperian; and Bowles adds Brown's pastorals, from which even Milton did not disdain to borrow.

P. 415. Mrs. Tempest.

This lady was of an ancient family in Yorkshire, and particularly admired by the author's friend, Mr. Walsh; who, having celebrated her in a pastoral elegy, desired his friend to do the same, as appears from one of his letters, dated September 9, 1706 :-" Your last eclogue

being on the same subject with mine, on Mrs. Tempest's death, 1 should take it very kinitly in you to give it a little turn, as if it were to the memory of the same lady." Her death having happened on the night of the great storm in 1703, gave a propriety to this eclogue, which in its general turn alludes to it. The scene of the pastoralˇlies in a grove; the time is midnight.-P.

P. 415, line 22. Cypress garlands bring.

Bowles quotes the pretty ballad from "the Maid's Tragedy :".

"Lay a garland on my brow
Of the dismal yew.

Maidens, willow branches bear;
Say, I died true.

My love was false, but I was true,
From my hour of birth:

Upon my buried body lie

Softly, gentle earth."

P. 416, line 27. But see, where Daphne..

Thus Milton:

Weep no more, woful shepherds, weep no more
Where other groves and other streams along,

With nectar pure his oozy locks he laves,

And hears the inexpressive nuptial song

In the blest kingdoms meek of joy and love.”—Lycidas.

P. 416, the four last lines.

These last four lines allude to the several subjects of the four pas torals, and to the several scenes of them particularized before in each.-P.

P. 417, line 8. A Virgin shall conceive-All crimes shall cease, &c.— VIRG. Ecl. iv. ver. 6.

P. 418, line 1. See, Nature hastes, &c.-VIRG. Ecl. iv. ver. 18.

P. 418, line 7. Hark! a glad voice, &c.-VIRG. Ecl. iv. ver. 46.

P. 418, line 6 from bottom. Ecl. iv. ver. 21.

The lambs with wolves, &c.-VIRG

P. 419, line 13. Rise, crowned with light, imperial Salem, rise! The thoughts of Isaiah, which compose the latter part of the poem, are wonderfully elevated, and much above those general exclamations of Virgil, which make the loftiest parts of his Pollio.-P.

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Possibly in allusion to Louis the Fourteenth's saying, that "the Cinna of Corneille made him wish to pardon the Cardinal de Rohan.”

P. 425, line 11. In pitying love.

Warton contemptuously asks, "Why then did Addison introduce the loves of Juba and Marcia?" The answer may fairly be, that no play can be popular without some touch of nature; and that those loves furnish the only touch of nature in the play. It must, however, be acknowledged, that of all loves, on or off the stage, those are the least qualified to take the heart of the spectator by surprise. Marcia is more frigid than Cato himself, and Juba is as formal as an ambassador. That the haughty daughter of the head of the Roman commonwealth should stoop to the passion of a Lybian leader of savages, was sufficiently improbable; but that passion should declaim in the language of either, was an impossibility. Even the love of Desdemona was attributed by her countrymen to witchcraft; yet what incomparably superior ground for passion was laid in the impetuous and fiery vivio

ness of Othello, and the rich romance and exquisite sensibility of his "fair Venetian!" It is said in imperfect It is said in imperfect apology for Addison, that those scenes were an after thought, in compliment to the habits of the stage: it might more honestly be said, in tribute to the necessities of the stage. No play can ever effectually engage the interest of the audience without passion; and of all the movers of sympathy, the simplest, the most powerful, and the most universal, is love.

P. 425, line 2 from bottom. Britons, attend.

It has been already remarked, that the original word was "arise; but it was thought too inflammatory: such were the delicacies of the time.

P. 443. THE BASSET TABLE.

Pope's claims to this poem are not perfectly clear. He and Lady Wortley Montague wrote six "Town Eclogues," of which four were by her ladyship; but which four, is the difficulty.

The style of this poem was popular. Gay wrote a "Quaker's Eclogue," and Swift a "Footman's Eclogue." It was probably on this occasion, and to the ideas suggested by the latter jeu d'esprit, that theBeggars' Opera" owed its birth. "I think," said Swift, one day to Pope," the pastoral ridicule is not yet exhausted: what think you of a Newgate pastoral among the thieves there?" Gay was furnished with the design (how far advanced by Swift's vigorous conception, and Pope's subriety of satire, cannot now be told), and found in it an irtant and ext.uoramary source of emolument and fame. A pretty poem of Lady Wortley Montague is preserved (Algaotti, v. 7.) :

"Thou silver deity of secret night,

Direct my footsteps through the woodland shade;
Thou conscious witness of unknown delight,

The lover's guardian, and the Muse's aid;

By thy pale beams I solitary rove;

To hee my tender grief confide:

Serenely sweet, you gild the silent grove,

My friend, my goddess, and my guide.

Ev'n thee, fair queen, from thy amazing height,
The charms of young Endymion drew,

Veil'd in the mantle of concealing night,

With all thy greatness, all thy coldness too."

Her ladyship is recorded to have had a female jealousy of correction. When she occasionally showed a copy of her verses to Pope, she would say,-" Now, Pope, no touching; for then, whatever is good for any thing will pass for yours; and the rest for mine."

P. 447, line 5. Was there a chief, &c.

The fine figure of the commander, in that capital picture of Belisa. rius, at Chiswick, supplied the poet with this beautiful idea.-WAR

BURTON.

P. 447, line 10. Their quibbles routed, and defied their puns.

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An old gentleman of the last century, who used to frequent Button's coffee-house, told me they had many pleasant scenes of Dennis's indignation and resentment, when Steele and Rowe, in particular, teazed him with a pun.-WARTON.

P. 447, line 24. When simple Macer, &c.

This character first appeared in the volume of Pope's and Swift's "Miscellanies" in 1774.` ́Warton conceives Macer to be James Moore Smith, writer of the Rival Modes," a comedy, and a contributor to a virulent journal, the "Inquisitor," set up by the Duke of Wharton. He had pilfered some verses from Pope.

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