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to Smith's tragedy of Phædra and Hippolytus for several choice images and expressions transplanted into the Epistle of Eloisa.

POPE'S DAPHNE, MISS TEMPEST. Vol. II. p. 117.-This lady, whose death was commemorated by Walsh and Pope, was the granddaughter of Sir John Tempest, of Tong Hall, Yorkshire. Her father was Henry Tempest, who died before his father, in 1685. He married Alathea, daughter of Sir Henry Thompson, of Marston, county of York.

POPE'S IMITATIONS.-A periodical critic (The Scotsman) points out a passage in the Epistle of Eloisa, v. 191, which Pope had taken from Dryden,

"How shall I lose the sin, yet keep the sense,
And love the offender, yet detest the offence?"

Dryden, in Cymon and Iphigenia, has,

"Then, impotent of mind, with alter'd sense,

She hugg'd the offender, and forgave the offence?"

The list of imitations might easily be extended. The music of Dryden's verse seems ever to have been ringing in Pope's ears, and his picturesque expression constantly present to him in moments of composition. A collection of parallel passages was made by Gilbert Wakefield, and is published in Bowles's edition of Pope. Mr. Mitford, in a paper communicated to the Gentleman's Magazine, Oct. 1836, makes further additions of the same kind. Pope in his youth was so insatiable, and at the same time so critical a reader of poetry, that his mind was stored with the treasures of others. As an artist he delighted in new setting and polishing his poetical jewels, original and borrowed.

SOBER ADVICE FROM HORACE. Vol. III. p. 36.-In A True Character of Mr. Pope and his Writings, in a Letter to a Friend, 1716, and ascribed by Pope to Dennis, the writer refers to an imitation of Horace, "much more execrable than all his works." No copy of this early imitation has been found, but it was probably a first draft of the imitation of Horace's satire, Ambubairum collegia pharmacopolæ, &c., which was published in 1735, under the title of A Sermon against Adultery; being Sober Advice from Horace, to the Young Gentlemen about Town, as delivered in his Second Sermon. Imitated in the manner of Mr. Pope. Together with the Original Text as restored by the Rev. Richard Bentley, D.D. And some Remarks on the Version. Bolingbroke had seen the poem in

manuscript, as appears from one of his letters to Swift, June 27, 1734, and Dodsley and Cooper included it in the small edition of Pope's Works, 1738. Curll inserted it in his collection of Pope's Correspondence, stating that it was sold to four booksellers for sixty guineas, as could be proved. The work is undoubtedly a genuine production, by Pope, though never openly acknowledged. It is flagrantly indecent-indeed, the most licentious poem of the age. One of the writers of the day, author of A Letter to Mr. Pope, occasioned by Sober Advice from Horace, &c., 1735, says, "The Sermon has done you more mischief than all the Dunciad people together; or rather they have done you none, this a great deal. To forge a note under Dr. Bentley's hand, and set his name to it, was of the same nature with Sir P. Strange's crime, and ought to be expiated by the loss of ears. What Chartres would not have done to get less than £500, you are thought to have done to get perhaps £40 or £50. Your friends are quite mute; your enemies talk on." When republished with his other works, in 1738, the notes attributed to Bentley (which are of the grossest description} were omitted by Pope or his publishers. From some lines at the commencement of the poem, it would seem to have been written shortly after the death of Mrs. Oldfield, the actress, in 1730, and after the quarrel with Lady Mary Wortley Montagu and Lord Hervey; but we would gladly believe that the greater part of it was a much earlier production. We have seen Dennis's allusion to an objectionable imitation of Horace by Pope, in 1716. Jervas, in a letter undated, but from its allusions to the first volume of Pope's Homer, evidently written in June, 1715, informs Pope: "I hear nothing of the Sermon. The generality will take it for the Dean's, and that will hurt neither you nor him." This early Sermon, with additions and alterations, ('tis true, 'tis pity!) was probably the Sermon of 1735.

POPE'S STUDY AT STANTON-HARCOURT.-A drawing of the old tower at Stanton-Harcourt, in which Pope finished the fifth volume of his Homer in 1718, has been engraved as a vignette to the present volume. The tower contains three chambers, thirteen feet square, above each other. The exact height of the tower is fifty-four feet six inches. The chapel immediately under it, where the altar stands, is twelve feet square, and fifteen feet ten inches high in the centre. The arms of Harcourt and of Byron are introduced, from which we may conjecture that it was erected by Sir Robert in the reign of King Edward IV. (Skelton's Oxfordshire.)

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The room called the Study, was evidently altered for Pope's convenience. The stone mullions and foliated heads of the windows were taken out, and plain wooden ones introduced, and the room entirely wainscoted. The middle story (which remains in its original state) is not wainscoted, but whitewashed. On the opposite page is a sketch of the study.

At the time when Pope visited Stanton-Harcourt, and wrote his graphic description of it to Lady Mary Wortley Montagu (see Vol. I. p. 133 of this edition) the old tower formed part of the mansion of Lord Harcourt, but towards the latter end of the last century the whole of the house, with the exception of this tower, and the very remarkable kitchen, with a small portion adjoining, was pulled down, and the site has been converted into a garden. The original gateway has been transformed into a parsonage-house.

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SAVAGE.-It may be worth mentioning, as further illustrating the interest which Pope took in the fortunes of Savage, that a narrative of the unfortunate duel in which one Mr. James Sinclair was killed, and for which Savage and a Mr. Gregory were convicted of murder, exists at Maple-Durham, in Pope's handwriting. The statement fills two large folio pages, but contains no new facts, and is apparently copied, for the satisfaction of the ladies at Maple-Durham, from some periodical of the day.

GRAY'S OPINION OF POPE.-Mr. Rogers has transcribed, in a blank leaf of his copy of Warton's Pope, the following passage in one of Gray's letters to Walpole :-" I can say no more for Mr. Pope (for what you keep in reserve may be worse than all the rest). It is natural to wish the finest writer-one of them-we ever had, should be an honest man. It is the interest even of that virtue, whose friend he professed himself, and whose beauties he sung, that he should not be found a dirty animal. But, however, this is Mr. Warburton's business, not mine, who may scribble his pen to the stumps, and all in vain, if these facts are so. It is not from what he told me about himself that I thought well of him, but from a humanity and

goodness of heart, ay, and greatness of mind, that runs through his private correspondence, not less apparent than are a thousand little vanities and weaknesses mixed with those good qualities, for nobody ever took him for a philosopher." In Mr. Norton Nicholl's reminiscences of Gray we have similar testimony: "Pope's translation of the Iliad stood very high in his estimation; and when he heard it criticized as wanting the simplicity of the original, or being rather a paraphrase than a translation, and not giving a just idea of the poet's style and manner, he always said, 'There would never be another translation of the same poem equal to it.' He liked the poetry of Pope in general, and approved an observation of Shenstone, that 'Pope had the art of condensing a thought.' He said of his letters, that they were not good letters, but better things. He thought that Pope had a good heart, in spite of his peevish temper."1 Pope's filial affection, his manly and liberal sentiments on religious toleration, and his contempt for infidel philosophers and affected virtuosi, were features in his character that must have won the approbation and even the love of Gray. His choice, condensed expression, and fine diction, must also have delighted one who was no less accomplished in those graces of the poet and scholar. It is to be regretted that we have no record of the personal intercourse between Gray and Pope, alluded to in the first of the above extracts. It was probably slight, as Gray did not return from his continental tour till September, 1741, and afterwards resided chiefly at Cambridge. Walpole's charge against the poet's memory most likely referred to the affair of the Duchess of Marlborough and the imputed bribe of £1000, as related in Walpole's Reminiscences. (See Life of Pope in this edition, vol. i. p. 301.) Most of the critics who have honoured this edition of Pope's Works with their notice, reject the supposition that the poet accepted a sum of money from the Duchess of Marlborough for suppressing the character of Atossa. The evidence on the other side seems, however, since the publication of the Marchmont Papers, to be conclusive; and the Editor can only beg a careful and dispassionate consideration of the facts.

1 Gray's Works, vol. v. p. 37. Pickering, 1843.

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