No More Learning

Pope's faults of character lie on the surface, and the most
perceptible is that which has done him most harm in the eyes of
English-speaking men. He was by nature, perhaps by training also,
untruthful. If he seldom stooped to an outright lie, he never hesitated
to equivocate; and students of his life have found that it is seldom
possible to take his word on any point where his own works or interests
were concerned. I have already (p. x) attempted to point out the
probable cause of this defect; and it is, moreover, worth while to
remark that Pope's manifold intrigues and evasions were mainly of the
defensive order. He plotted and quibbled not so much to injure others as
to protect himself. To charge Pope with treachery to his friends, as has
sometimes been done, is wholly to misunderstand his character.

Another flaw, one can hardly call it a vice, in Pope's character was his
constant practice of considering everything that came in his way as
copy. It was this which led him to reclaim his early letters from his
friends, to alter, rewrite, and redate them, utterly unconscious of the
trouble which he was preparing for his future biographers. The letters,
he thought, were good reading but not so good as he could make them, and
he set to work to improve them with all an artist's zeal, and without a
trace of a historian's care for facts. It was this which led him to
embody in his description of a rich fool's splendid house and park
certain unmistakable traces of a living nobleman's estate and to start
in genuine amazement and regret when the world insisted on identifying
the nobleman and the fool. And when Pope had once done a good piece of
work, he had all an artist's reluctance to destroy it. He kept bits of
verse by him for years and inserted them into appropriate places in his
poems. This habit it was that brought about perhaps the gravest charge
that has ever been made against Pope, that of accepting ? 1000 to
suppress a satiric portrait of the old Duchess of Marlborough, and yet
of publishing it in a revision of a poem that he was engaged on just
before his death.
The truth seems to be that Pope had drawn this
portrait in days when he was at bitter enmity with the Duchess, and
after the reconcilement that took place, unwilling to suppress it
entirely, had worked it over, and added passages out of keeping with the
first design, but pointing to another lady with whom he was now at odds.
Pope's behavior, we must admit, was not altogether creditable, but it
was that of an artist reluctant to throw away good work, not that of a
ruffian who stabs a woman he has taken money to spare.

Finally Pope was throughout his life, and notably in his later years,
the victim of an irritable temper and a quick, abusive tongue. His
irritability sprang in part, we may believe, from his physical
sufferings, even more, however, from the exquisitely sensitive heart
which made him feel a coarse insult as others would a blow. And of the
coarseness of the insults that were heaped upon Pope no one except the
careful student of his life can have any conception. His genius, his
morals, his person, his parents, and his religion were overwhelmed in
one indiscriminate flood of abuse. Too high spirited to submit tamely to
these attacks, too irritable to laugh at them, he struck back, and his
weapon was personal satire which cut like a whip and left a brand like a
hot iron. And if at times, as in the case of Addison, Pope was mistaken
in his object and assaulted one who was in no sense his enemy, the fault
lies not so much in his alleged malice as in the unhappy state of
warfare in which he lived.

Over against the faults of Pope we may set more than one noble
characteristic. The sensitive heart and impulsive temper that led him so
often into bitter warfare, made him also most susceptible to kindness
and quick to pity suffering. He was essentially of a tender and loving
nature, a devoted son, and a loyal friend, unwearied in acts of kindness
and generosity. His ruling passion, to use his own phrase, was a
devotion to letters, and he determined as early and worked as diligently
to make himself a poet as ever Milton did. His wretched body was
dominated by a high and eager mind, and he combined in an unparalleled
degree the fiery energy of the born poet with the tireless patience of
the trained artist.

But perhaps the most remarkable characteristic of Pope is his manly
independence. In an age when almost without exception his fellow-writers
stooped to accept a great man's patronage or sold their talents into the
slavery of politics, Pope stood aloof from patron and from party. He
repeatedly declined offers of money that were made him, even when no
condition was attached.