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 the previous publication of which, by Curill, whom he had prosecuted in the house of lords, he accounts, in his preface, by saying that his letters had been stolen from a friend's library, and thence sent privately to the press. There is, however, good reason to believe that they were printed with his own connivance, in order to give him an opportunity of subsequently publishing them himself, without incurring the imputation of vanity. In 1738, at which time he was visited by the Prince of Wales, and was of the opposition party, he published two Satirical Dialogues, in which he attacked several statesmen, but with a view rather of displaying his powers as a satirist than his sentiments as a patriot. These works were followed, in 1742, by a fourth book of The Dunciad, which brought on a paper war between himself and Cibber; his attack against whom he repeated, in a new edition of that work, in a strain of virulence that contributed more to the amusement of his readers than to his own reputation. From this time his vital powers gradually declined; he gave over original composition, and passed his time in the correction and revisal of his former works, and in social intercourse with his intimate friends, the chief of whom appear to have been Warburton and lord Bolingbroke. An asthma, with which he had been for some years affected, now terminating in a dropsy, his end visibly approached; he met it with resignation and calmness; and after having taken the sacrament, and exclaimed, a short time previously to death, 'there is nothing meritorious but friendship and virtue!' he expired, on the 30th of May, 1744, so placidly that the attendants did not ascertain the exact time of his dissolution. He was interred at Twickenham, where a monument was erected to him by Warburton, to whom he lelft half his library and the copyright of such of his works already printed as were not otherwise disposed of.

The character of Pope has been differently estimated by his biographers, Warburton, Bowles, Warton and Johnson. The last seems to have treated it in the most impartial manner; but his view of it is too diffuse and incongruous to be altogether satisfactory. Upon the whole Pope seems to have been more deserving of praise than he is represented; he has been considered exclusively in his literary character to have had justice done to him as a man. His reputation even as a poet, in the complete sense of the word, has been a subject of dispute with many; but it is idle to deny him a title to which none have so zealously, if so successfully, aspired. It is not to be denied that, upon the ground-work of others, he has raised some of his most beautiful superstructures; but from whatever sources he may have drawn his ideas, he has transferred them immortally to his own verses, by the manner in which he there enshrined them. His Iliad will probably continue to supersede all other translations; whilst the exquisite machinery of the sylphs in The Rape of the Lock, and the vigorous animation and pathetic tenderness pervading his Verses on the Unfortunate Lady, evince an original genius which may successfully challenge competition: His avowed model was Dryden; between whom and himself, Johnson, in drawing an elaborate comparison, says, that where the one delights the other astonishes; that Dryden is sometimes vehement and rapid,—Pope always smooth, uniform, and gentle. His conclusion seems to be that the former wrote the brighter paragraphs, the latter the better poems. 'Pope,' he observes, 'had perhaps the judgment of Dryden; but Dryden certainly wanted the diligence of Pope.' His Ode to St. Cecelia's Day, the same