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 imitations of Horace, one appeared in 1734 (the second satire of the second book), and four more (the first and sixth epistles of the first book and the first and second of the second book) in 1738. Finally, in 1737, he published two dialogues, first called "1738" and afterwards "The Epilogue to the Satires," which are in the same vein as the epistle to Arbuthnot. These epistles and imitations of Horace, with the so-called prologue and epilogue, took up the greatest part of Pope's energy during the years in which his intellect was at its best, and show his finest technical qualities. The Essay on Man was on hand during the early part of this period, the epistles and satires representing a ramification from the same inquiry. But the essay shows the weak side of Pope, whilst his most remarkable qualities are best represented by these subsidiary writings. The reason will be sufficiently apparent after a brief examination, which will also give occasion for saying what still remains to be said in regard´ to Pope as a literary artist.

The weakness already conspicuous in the Essay on Man mars the effect of the Ethic Epistles. His work tends to be rather an aggregation than an organic whole. He was (if I may borrow a phrase from the philologists) an agglutinative writer, and composed by sticking together independent fragments. His mode of composition was natural to a mind incapable of sustained and continuous thought. In the epistles, he professes to be working on a plan. The first expounds his favourite theory (also treated in the essay) of a ruling passion." Each man has such a passion, if only you can find it, which explains the apparent inconsistency of his conduct. This theory, which has exposed him to a charge of fatalism (especially from people who did not very well know what fatalism