[Footnote 1: There was only one paper.]
[Footnote 2: Warburton implies that Addison's remark to Pope was made
immediately after the essay appeared in the Guardian, in which case Pope
could have lost no time in avowing that he was the author of the
criticism when once it was in print, for Addison had no suspicion of him
from internal evidence. "He did not," says Spence, "discover Mr. Pope's
style in the letter on Pastorals, which he published in the Guardian;
but then that was a disguised style."]
[Footnote 3: The effect of reality and truth became conspicuous, even
when the intention was to show them grovelling and degraded. Gay's
pastorals became popular, and were read with delight as just
representations of rural manners and occupations, by those who had no
interest in the rivalry of the poets, nor knowledge of the critical
dispute.--JOHNSON.]
[Footnote 4: Warton was master of Winchester school.]
[Footnote 5: But if Pope had no invention, and had exhibited in his
Pastorals no new or striking images, how could his example have led the
way to others, "in point of genius and imagination," whatever it might
have done in point of correctness?--ROSCOE.]
[Footnote 6: They are not coupled but contra-distinguished, and surely
the poet might draw a contrast from Greece without being chargeable with
a faulty mixture of British and Grecian ideas.--RUFFHEAD.]
[Footnote 7: That such causes of complaint will more frequently occur in
the Grecian climate is unquestionable; but is it necessary to make a
complaint of this kind consistent that every day should be a dog-day?
The British shepherd might very consistently describe what he often
felt, and we have days in England which might make even a Grecian
faint.--RUFFHEAD.]
[Footnote 8: "New sentiments and new images," says Johnson, in his Life
of Pope, "others may produce; but to attempt any further improvement of
versification will be dangerous. Art and diligence have done their best,
and what shall be added will be the effort of tedious toil and needless
curiosity."]
[Footnote 9: Works of Lord Lansdowne, vol. ii. p. 113.]
[Footnote 10: De Quincey's Works, vol. xv. p. 114.]
[Footnote 11: Singer's Spence, p. 162.]
[Footnote 12: Spence, p. 211.]
[Footnote 13: Works of Lady Mary Wortley, ed. Thomas, vol. i. p. 166.]
[Footnote 14: Dryden, Preface to Fables, Ancient and Modern.]
[Footnote 15: Spence, p. 236.]
[Footnote 16: Spence, p. 212.]
[Footnote 17: Oeuvres, ed. Beuchot, tom. xxxvii. p. 258.]
[Footnote 18: Lives of the Poets, ed. Cunningham, vol. iii. p. 136. The
principle which Johnson derided in his Life of Pope he had upheld in No.
86 of the Rambler: "We are soon wearied with the perpetual recurrence of
the same cadence. Necessity has therefore enforced the mixed measure, in
which some variation of the accents is allowed. This, though it always
injures the harmony of the line considered by itself, yet compensates
the loss by relieving us from the continual tyranny of the same sound,
and makes us more sensible of the harmony of the pure measure."]
[Footnote 19: Elements of Criticism, 6th ed. vol. ii. p. 143, 155.]
[Footnote 20: Gray's Works, ed. Mitford, vol. v. p. 303.]
[Footnote 21: Trapp's Virgil, vol. i. p. lxxix.]
[Footnote 22: Lives of the Poets, vol. iii. p. 136.]
[Footnote 23: Guardian, No. 30, April 15, 1713.]
[Footnote 24: Guardian, No. 40, April 27, 1713.]
[Footnote 25: Life of Hannah More, vol. i. p. 301.]
[Footnote 26: Pope to Caryll, June 8, 1714.]
[Footnote 27: Nichols, Illustrations of Lit. Hist. vol. vii. 713.]