Hours in a Library, Volume 1: New Edition, with AdditionsStephen, Leslie
History
Hours in a Library, Volume 1: New Edition, with Additions
Stephen, Leslie
English literature -- History and criticism
Where Pope has succeeded in casting into
enduring form some valuable moral sentiment, we may therefore give him
credit for having at least felt it sincerely. If he did not always act
upon it, the weakness is not peculiar to Pope. Time, indeed, has partly
done the work for us. In Pope, more than in almost any other writer, the
grain has sifted itself from the chaff. The jewels have remained after
the flimsy embroidery in which they were fixed has fallen into decay.
Such a result was natural from his mode of composition. He caught at
some inspiration of the moment; he cast it roughly into form; brooded
over it; retouched it again and again; and when he had brought it to the
very highest polish of which his art was capable, placed it in a
pigeon-hole to be fitted, when the opportunity offered, into an
appropriate corner of his mosaic-work. We can see him at work, for
example, in the passage about Addison and the celebrated concluding
couplet. The epigrams in which his poetry abounds have obviously been
composed in the same fashion, for that 'masterpiece of man,' as South is
made to call it in the 'Dunciad,' is only produced in perfection when
the labour which would have made an ode has been concentrated upon a
couple of lines. There is a celebrated recipe for dressing a lark, if we
remember rightly, in which the lark is placed inside a snipe, and the
snipe in a woodcock, and so on till you come to a turkey, or, if
procurable, to an ostrich; then, the mass having been properly stewed,
the superincumbent envelopes are all thrown away, and the essences of
the whole are supposed to be embodied in the original nucleus. So the
perfect epigram, at which Pope is constantly aiming, should be the
quintessence of a whole volume of reflection. Such literary cookery,
however, implies not only labour, but an unwearied vividness of thought
and feeling. The poet must put his soul into the work as well as his
artistic power. Thus, if we may take Pope's most vigorous expressions as
an indication of his strongest convictions, and check their conclusions
by his personal history and by the general tendency of his writings, we
might succeed in putting together something like a satisfactory
statement of the moral system which he expressed forcibly because he
believed in it sincerely.
Public-domain text, read in full here on John Shaqi.
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