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Extra info for Alexander Pope: The Critical Heritage (The Collected Critical Heritage : the Restoration and the Augustans)
Sample text
The Life, though it assumes aloofness from literary squabbles, attempts to resolve the years of debate over Pope’s genius. Johnson’s Pope is in essence the poet pictured by his contemporary admirers—the poet who had wrought English versification to its highest pitch, whose Iliad was a living proof of his genius and that of the English language, and whose success in widely varied neoclassical idioms placed him above all poets since Milton. Retrospectively, it is clear that Johnson does not deal with Warton’s central question.
29). Lady Mary Wortley Montagu thought he had ‘touched the mantle of the divine Bard, and imbibed his spirit’ (No. 31), as did William Melmoth (No. 33). Its detractors charged that Pope did not know Greek,19 that he misrepresented Homer, and that he was despicably mercenary, all accusations which pursued Pope for the rest of his career. Dennis’s Remarks on Mr. Pope’s Homer (No. 30), published in 1717, offered more substantial criticism. Although marred by hatred of Pope, it demonstrates the distance of Pope’s Homer from the ‘Simplicity and Majesty of the Original’ by examining particular examples, berating Pope for ignorantly magnifying the Greek army from thousands to ‘Millions’ (Iliad, ii.
The mistaken notion that ‘satire’ was derived from ‘satyr’ encouraged the assumption that the cragged and harsh licentiousness of Juvenal and Persius was its proper style. 30 These beliefs encouraged them to label all topical satire as lampoon, and to confuse the satirist’s persona with the poet himself. As Pope observed,31 …there is not in the world a greater Error, than that which Fools are so apt to fall into, and Knaves with good reason to incourage, the mistaking a Satyrist for a Libeller; whereas to a true Satyrist nothing is so odious as a Libeller, for the same reason as to a man truly Virtuous nothing is so hateful as a Hypocrite.
