possession of the public ear; the vulgar was enamoured of the poem, and the learned wondered at the translation. But in the most general applause discordant voices will always be heard. It has been objected by some who wish to be numbered among the sons of learning that Pope's version of Homer is not Homerical; that it exhibits no resemblance of the original and characteristic manner of the Father of Poetry, as it wants his artless grandeur, his unaffected majesty. This cannot be totally denied; but it must be remembered that necessitas quod cogit defendit; that may be lawfully done which cannot be forborne. Time and place will always enforce regard. In estimating this translation, consideration must be had of the nature of our language, the form of our metre, and, above all, of the change which two thousand years have made in the modes of life and the habits of thought. Virgil wrote in a language of the same general fabric with that of Homer, in verses of the same measure, and in an age nearer to Homer's time by eighteen hundred years; yet he found even then the state of the world so much altered, and the demand for elegance so much increased, that mere nature would be endured no longer; and, perhaps, in the multitude of borrowed passages, very few can be shown which he has not embellished.

There is a time when nations, emerging from barbarity, and falling into regular subordination, gain leisure to grow wise, and feel the shame of ignorance and the craving pain of unsatisfied curiosity. To this hunger of the mind plain sense is grateful; that which fills the void removes uneasiness, and to be free from pain for a while is pleasure; but repletion generates fastidiousness; a saturated intellect soon becomes luxurious, and knowledge finds no willing reception till it is recommended by artificial diction. Thus it will be found, in the progress of learning, that in all nations the first writers are simple, and that every age improves in

elegance. One refinement always makes way for another; and what was expedient to Virgil was necessary to Pope. I suppose many readers of the English "Iliad," when they have been touched with some unexpected beauty of the lighter kind, have tried to enjoy it in the original, where, alas! it was not to be found. Homer doubtless owes to his translator many Ovidian graces not exactly suitable to his character; but to have added can be no great crime, if nothing be taken away. Elegance is surely to be desired, if it be not gained at the expense of dignity. A hero would wish to be loved, as well as to be reverenced. To a thousand cavils one answer is sufficient; the purpose of a writer is to be read, and the criticism which would destroy the power of pleasing must be blown aside. Pope wrote for his own age and his own nation: he knew that it was necessary to colour the images and point the sentiments of his author; he therefore made him graceful, but lost him some of his sublimity. The copious notes with which the version is accompanied, and by which it is recommended to many readers, though they were undoubtedly written to swell the volumes, ought not to pass without praise: commentaries which attract the reader by the pleasure of perusal have not often appeared; the notes of others are read to clear difficulties; those of Pope to vary entertainment. It has, however, been objected, with sufficient reason, that there is in the commentary too much of unseasonable levity and affected gaiety; that too many appeals are made to the ladies, and the ease which is so carefully preserved is sometimes the ease of a trifler. Every art has its terms, and every kind of instruction its proper style; the gravity of common critics may be tedious, but is less despicable than childish merriment.

Of the "Odyssey "nothing remains to be observed; the same general praise may be given to both translations, and a particular examination of either would require a

large volume. The notes were written by Broome, who endeavoured, not unsuccessfully, to imitate his master.

Of the "Dunciad" the hint is confessedly taken from Dryden's "Mac Flecknoe;" but the plan is so enlarged and diversified as justly to claim the praise of an original, and affords the best specimen that has yet appeared of personal satire ludicrously pompous. That the design was moral, whatever the author might tell either his readers or himself, I am not convinced. The first motive was the desire of revenging the contempt with which Theobald had treated his Shakspeare, and regaining the honour which he had lost, by crushing his opponent. Theobald was not of bulk enough to fill a poem, and therefore it was necessary to find other enemies with other names, at whose expense he might divert the public. In this design there was petulance and malignity enough; but I cannot think it very criminal. An author places himself uncalled before the tribunal of criticism, and solicits fame at the hazard of disgrace. Dulness or deformity are not culpable in themselves, but may be very justly reproached when they pretend to the honour of wit or the influence of beauty. If bad writers were to pass without reprehension, what should restrain them? impune diem consumpserit ingens Telephus; and upon bad writers only will censure have much effect. The satire which brought Theobald and Moore into contempt dropped impotent from Bentley, like the javelin of Priam. All truth is valuable, and satirical criticism may be considered as useful when it rectifies error and improves judgment; he that refines the public taste is a public benefactor. The beauties of this poem are well known; its chief fault is the grossness of its images. Pope and Swift had an unnatural delight in ideas physically impure, such as every other tongue utters with unwillingness. and of which every ear shrinks from the mention. But even this fault, offensive as it is, may be forgiven for

the excellence of other passages; such as the formation and dissolution of Moore, the account of the Traveller, the misfortune of the Florist, and the crowded thoughts and stately numbers which dignify the concluding paragraph. The alterations which have been made in the "Dunciad," not always for the better, require that it should be published, as in the present collection, with all its variations.

The "Essay on Man" was a work of great labour and long consideration, but certainly not the happiest of Pope's performances. The subject is perhaps not very proper for poetry; and the poet was not sufficiently master of his subject; metaphysical morality was to him a new study; he was proud of his acquisitions, and, supposing himself master of great secrets, was in haste to teach what he had not learned. Thus he tells us, in the first Epistle, that from the nature of the Supreme Being may be deduced an order of beings such as mankind, because infinite excellence can do only what is best. He finds out that these beings must be "somewhere;" and that "all the question is, whether man be in a wrong place." Surely if, according to the poet's Leibnitzian reasoning, we may infer that man ought to be, only because he is, we may allow that his place is the right place, because he has it. Supreme Wisdom is not less infallible in disposing than in creating. But what is meant by somewhere, and place, and wrong place, it had been in vain to ask Pope, who probably had never asked himself.

Having exalted himself into the chair of wisdom, he tells us much that every man knows, and much that he does not know himself; that we see but little, and that the order of the universe is beyond our comprehension; an opinion not very uncommon; and that there is a chain of subordinate beings "from infinite to nothing," of which himself and his readers are equally ignorant.

But he gives us one comfort, which without his help he supposes unattainable, in the position “that though we are fools, yet God is wise."

This essay affords an egregious instance of the predominance of genius, the dazzling splendour of imagery, and the seductive powers of eloquence. Never was

penury of knowledge and vulgarity of sentiment so happily disguised. The reader feels his mind full, though he learns nothing; and, when he meets it in its new array, no longer knows the talk of his mother and his nurse. When these wonder-working sounds sink into sense, and the doctrine of the essay, disrobed of its ornaments, is left to the powers of its naked excellence, what shall we discover? That we are, in comparison with our Creator, very weak and ignorant; that we do not uphold the chain of existence; and that we could not make one another with more skill than we are made. We may learn yet more: that the arts of human life were copied from the instinctive operations of other animals; that if the world be made for man, it may be said that man was made for geese. To these profound principles of natural knowledge are added some moral instructions equally new; that self-interest, well understood, will produce social concord; that men are mutual gainers by mutual benefits; that evil is sometimes balanced by good; that human advantages are unstable and fallacious, of uncertain duration and doubtful effect; that our true honour is not to have a great part, but to act it well; that virtue only is our own; and that happiness is always in our power. Surely a man of no very comprehensive search may venture to say that he has heard all this before; but it was never till now recommended by such a blaze of embellishments, or such sweetness of melody. The vigorous contraction of some thoughts, the luxuriant amplification of others, the incidental illustrations, and sometimes the dignity, some