In the same year, Pope printed "The Rape of the Lock," in a volume of Miscellanies. Lord Petre had, much in the way described by the poet, stolen a lock of Miss Belle Fermor's hair,--a feat which led to an estrangement between the families. Pope set himself to reconcile them by this beautiful poem,--a poem which has embalmed at once the quarrel and the reconciliation to all future time. In its first version, the machinery was awanting, the "lock" was a desert, the "rape" a natural event,--the small infantry of sylphs and gnomes were slumbering uncreated in the poet's mind; but in the next edition he contrived to introduce them in a manner so easy and so exquisite, as to remind you of the variations which occur in dreams, where one wonder seems softly to slide into the bosom of another, and where beautiful and fantastic fancies grow suddenly out of realities, like the bud from the bough, or the fairy-seeming wing of the summer-cloud from the stern azure of the heavens. A little after this, Pope became acquainted with a far greater, better, and truer man than himself, Joseph Addison. Warburton, and others, have sadly misrepresented the connexion between these two famous wits, as well as their relative intellectual positions. Addison was a more amiable and childlike person than Pope. He had much more, too, of the Christian. He was not so elaborately polished and furbished as the author of "The Rape of the Lock;" but he had, naturally, a finer and richer genius. Pope found early occasion for imagining Addison his disguised enemy. He gave him a hint of his intention to introduce the machinery into "The Rape of the Lock." Of this, Addison disapproved, and said it was a delicious little thing already--_merum sal_. This, Pope, and some of his friends, have attributed to jealousy; but it is obvious that Addison could not foresee the success with which the machinery was to be managed, and did foresee the difficulties connected with tinkering such an exquisite production. We may allude here to the circumstances which, at a later date, produced an estrangement between these celebrated men. When Tickell, Addison's friend, published the first book of the "Iliad," in opposition to Pope's version, Addison gave it the preference. This moved Pope's indignation, and led him to assert that it was Addison's own composition. In this conjecture he was supported by Edward Young, who had known Tickell long and intimately, and had never heard of him having written at college, as was averred, this translation. It is now, however, we believe, certain, from the MS. which still exists, that Tickell was the real author. A coldness, from this date, began between Pope and Addison. An attempt to reconcile them only made matters worse; and at last the breach was rendered irremediable by Pope's writing the famous character of his rival, afterwards inserted in the Prologue to the Satires,--a portrait drawn with the perfection of