Ulysses and Æneas presented themselves alive and in the body, as visitors in the land of departed souls. A descent to the shades is not wanting in our Epos. It fills the whole Third Book. But our poet again manages a discreet difference in his imitation. Our Dunce hero visits Elysium in a dream; whilst he sleeps, his head recumbent on the lap of the goddess, in the innermost recess of her sanctuary. His vision resembles the Trojan's rather than the Greek's adventure. "A slipshod sibyl,"

leads him. She seems to be typical of the half-crazed human poetess, in usual sublime dishabille. Venerable shades of the Dull greet him. As in Virgil's Elysian fields a glimpse is afforded into the dark philosophy of human existence, and we see the Lethean bank crowded with spirits, who taste and become prepared to live again—so here. And as Æneas finds Anchises engaged in taking cognizance of the ghosts that are to animate Roman bodies, so here Cibber sees a great Patriarch of Dulness, Bavius, (him of old classical renown,) dipping in Lethe the souls that are to be born dull upon the earth. The poet cannot resist a slight deviation from the doctrine of his original. By the ancient theory the Lethean dip extinguishes the memory of a past life, of its faults, and of their punishment; and thence the willingness to inhabit the gross, earthy frame, as generated anew. But the dip of Bavius is more powerful; it quenches the faculties that are innate in a spirit, fitting it

The subterranean traveller then falls in with the ghost of Elkanah Settle, who properly represents Anchises, and expounds the glories of the Kingdom of Dulness. Something is borrowed also from the vision of Adam, in the Eleventh Book of Paradise Lost. And something is original; for that which has been is declared as well as that which shall be; and the kingdom of intellectual darkness to the earth's verge displayed in visible presentment, which the speaker interprets. The Emperor Chi Ho-am-ti, who ordered a universal conflagration of books throughout his celestial dominions—the multitude of barbarous sons which the populous North poured from her frozen loins to sweep in deluge away the civilization of the South—figure here. Here is Attila with his Huns. Here is the Mussulman. Here is Rome of the dark ages. Great Britain appears last—the dulness which has blessed, which blesses, and which shall bless her. We extract the prophetical part. The visioned progress of Dulness has reached the theatres; and some sixteen verses which contain—says Warton, well and truly—"some of the most lively and forcible descriptions any where to be found, and are perfect pattern of a clear picturesque style," call up into brilliant and startling apparition the ineffable monstrosities and impossibilities which constituted the theatrical spectacles of the day. The sight extorts the opening exclamation—

In Book Fourth the goddess occupies her throne. All the rebellious and hostile powers—wit, logic, rhetoric, morality, the muses—lie bound; and diverse votaries of Dulness successively move into presence. The first is Opera, who puts Handel to flight. Then flow in a crowd of all sorts. A part have been described:—

A dreadful figure appears—The Schoolmaster. He eulogizes the system of education, which teaches nothing but words and verse-making.

pour in from the colleges—Aristarchus (Richard Bentley) at their head. He displays his own merits as a critic, and extols the system of teaching in the universities; but strides away disgusted on seeing approach a band of young gentlemen returned from their travels on the Continent, and accompanied by their travelling tutors and their mistresses. One of the tutors reports at large to the goddess on the style and advantages of their travels, and presents his own pupil. Where is such another passage to be found in English poetry? It surpasses Cowper's celebrated strain on the same subject.

A set of pure idlers appear loitering about. Annius, an antiquary, begs to have them made over to him, to turn into virtuosos. Mummius, another antiquary, quarrels with him, and the goddess reconciles them. The minute naturalists follow "thick as locusts."

A florist lodges a heavy complaint against an entomologist. The singular beauty of the pleading on both sides has often been noticed, and by the best critics, from Thomas Gray to Thomas De Quincey.

The mighty mother cannot find it in her heart to pronounce a decision which must aggrieve one of such a devoted pair. She extols them both, and makes over to their joint care and tuition the fainéants aforesaid. The subject leads her into a more serious strain of thinking. There is an evident danger; for the studies which she recommends are studies of nature, and the study of nature tends to rise out of nature. The goddess, accordingly, is strenuous in cautioning her followers to keep within the pale of trifles, and of the sensible. The suggestion of the hazard fires a clerk, a metaphysician, who, on the behalf of the metaphysicians, undertakes for a theology that shall effectually shut out and keep down religion. Gordon, the translator of Tacitus, and publisher of the irreligious "Independent Whig," being mentioned by the orator of the metaphysicians with praise, under the name of Silenus, rises and advances, leading up, apparently, the Young England of the day. He presents them as liberated from priest-craft, and ready for drinking the cup of a "Wizard old," attached to the suite of the goddess. This "Magus" extends to them the cup of self-love.

There is philosophy enough in the last piece of oblivion.

Impudence, pure mild Stupidity, Self-conceit, Interest, the Accomplishment of Singing, under the auspicious smile of the goddess, take possession, sundrily, of her children; and the two great arts of Gastronomia, scientific Eating and Drinking.

The Queen confers her titles and degrees, assisted by the two universities. She then dismisses the assembly with a solemn charge:—

Mr Bowles, himself a true poet, thinks the Fourth Book the best. "The objects of satire," he says, "are more general and just: the one is confined to persons, and those of the most insignificant sort; the other is directed chiefly to things, such as faults of education, false habits, and false taste. In polished and pointed satire, in richness of versification and imagery, and in the happy introduction of characters, speeches, figures, and every sort of poetical ornament adapted to the subject, this Book yields, in my opinion, to none of Pope's writings of the same kind." Excellently well said. But what inconsistency in saying, at the same time, "These observations of Dr Warton are, in general, very just and sensible." And again, "I by no means think so meanly of it as Dr Warton." Meanly, indeed! Why, he has just told us he thinks it equal to any thing of the same kind Pope ever wrote. But the distinguished Wintonian chose to speak nonsense, rather than speak harshly of old Joe. What are Dr Warton's "in general very just and sensible observations?" "Our poet was persuaded by Dr Warburton, unhappily enough, to add a Fourth Book to his finished piece, of such a very different cast and colour, as to render it at last one of the most motley compositions there is, perhaps, any where to be found in the works of so exact a writer as Pope. For one great purpose of this Fourth Book (where, by the way, the hero does nothing at all) was to satirize and proscribe infidels and freethinkers, to leave the ludicrous for the serious, Grub Street for theology, the mock-heroic for metaphysics—which occasion a marvellous mixture and jumble of images and sentiments, pantomime and philosophy, journals and moral evidence, Fleet Ditch and the High Priori road, Curl and Clarke." That reads like a bit of a prize-essay by a bachelor of arts in the "College of the Goddess in the City." The Dunciad is rendered not only a motley, but, perhaps, the most motley composition of an exact writer, by a Book added to it when it was in a state of perfection—for as a Poem in Three Books, "it was clear, consistent, and of a piece." This is not the way to make a poem motley, nor a man. "Motley's the suit I wear," might have taught the Doctor better. They who don't like the Fourth Book can stop at the end of the Third, and then the Poem is motley no more. It is in a higher strain than the Three, and why not? The goddess had a greater empire than Warton, who was a provincial, had ever dreamt of in his philosophy; but, in Pope's wide imagination, it stood with all its realms. The hero had no more to say or to do—Cibber was banished to Cimmeria for life, to work in the mines—and Dulness had forgotten she ever saw his face.

That long clumsy sentence about "a marvellous mixture and jumble of images and sentiments," &c. &c. &c., is pure nonsense. In itself, the Fourth Book is most harmoniously constructed as a work of art, and it rises out of, and ascends from the Third, a completed creation. To call that YAWN mock-heroic, would be profane—it is sublime!

"Speaking of the Dunciad," continues the Doctor, "as a work of art, in a critical, not religious light, I must venture to affirm, that the subject of this Fourth Book was foreign and heterogeneous, and the addition of it is injudicious, ill-placed, and incongruous, as any of those similar images we meet with in Pulci or Ariosto." The addition of a Fourth Book to a poem, previously consisting of Three, is not an image at all, look at it how you will, and cannot therefore be compared with "any of those dissimilar images we meet with in Pulci or Ariosto." We much admire Pulci and Ariosto, especially Ariosto, but they and their dissimilar images have no business here; and were Dr Joseph alive any where in the neighbourhood, we should whistle in his ear not to be so ostentatious in displaying his Italian literature, which was too thin to keep out the rain.

"It is," he keeps stuttering on, "like introducing a crucifix into one of Teniers's burlesque conversation pieces." We see no reason why a crucifix should not be in the room of a good Catholic during a burlesque conversation; and Teniers, if he never have, might have painted one in such a piece without offence, had he chosen to do so; but the question we ask, simply is, what did Doctor Joseph Warton mean? Just nothing at all.

"On the whole," stammereth the Doctor further on, "the chief fault of the Dunciad is the violence and vehemence of its satire." The same fault may be found with vitriolic acid, nay, with Richardson's Ultimate Result. No doubt, that for many domestic purposes water is preferable—for not a few, milk—and for some, milk and water. But not with that latter amalgam did Hannibal force his way through the Alps.

But, softly—the Doctor compares the violence and vehemence of Pope's satire—no—not the violence and vehemence, but the height—to water—but to water rare among the liquid elements. "And the excessive height to which it is carried, and which therefore I may compare to that marvellous column of boiling water near Mount Hecla in Iceland, thrown upwards, above ninety feet, by the force of subterraneous fire." And he adds in a note, to please the incredulous, "Sir Joseph Banks, our great philosophical traveller, had the satisfaction of seeing this wonderful phenomenon."

"What are the impressions," eloquently asks the inspired Joseph "left upon the mind after a perusal of this poem? Contempt, aversion vexation, and anger. No sentiments that enlarge, ennoble, move, or mend the heart! Insomuch so, that I know a person whose name would be an ornament to these papers, if I were suffered to insert it, who, after reading a book of the Dunciad, always soothes himself, as he calls it, by turning to a canto of the Faery Queene." There is no denying that satire is apt to excite the emotions the Doctor complains of, and few more strongly than the Dunciad. Yet what would it be without them—and what should we be? But other emotions, too, are experienced at some of the games; and some of an exalted kind, by innumerable passages throughout the poem. Were it not so, this would be a saturnine world indeed. Would we had had the name of the wise gentleman, that it might ornament these papers, who so frequently indulged in "contempt, aversion, vexation, and anger" over Pope, that he might soothe himself, as he called it, with Spenser. We wonder if he occasionally left the bosom of the Faery Queene for that of the Goddess of Dulness.

"This is not the case with that very delightful poem Mac-Flecnoe, from which Pope has borrowed many hints and images and ideas. But Dryden's poem was the offspring of contempt, and Pope's of indignation; one is full of mirth, and the other of malignity. A vein of pleasantry is uniformly preserved through the whole of Mac-Flecnoe, and the piece begins and ends in the same key." That very beautiful and delightful poem, Mac-Flecnoe! That very pretty and agreeable waterfall, Niagara! That very elegant and attractive crater of Mount Vesuvius! That very interesting and animated earthquake, vulgarly called the Great Earthquake at Lisbon! Having ourselves spoken of the good-humour of Dryden, (some twenty pages back, about the middle of this article,) we must not find fault with Warton for saying that a vein of pleasantry is preserved through the whole of Mac-Flecnoe; but what thought Mac-Flecnoe himself? "Ay, there's the rub." Then what a vein of pleasantry is preserved through the whole of Og! So light and delicate is the handling, that you might be charmed into the soft delusion, that you beheld Christopher with his Knout.

"Since the total decay," innocently exclaims this estimable man, "was foretold in the Dunciad, how many very excellent pieces of criticism, poetry, history, philosophy, and divinity, have appeared in this country, and to what a degree of perfection has almost every art, either useful or elegant, been carried?" Mr Bowles—mirabile dictu—backs his old schoolmaster against the goddess. "Can it be thought," says the Canon—standing up for the age of Pope himself—"that this period was enlightened by Young, Thomson, Glover, and many whose characters reflected equal lustre on religion, morals, and philosophy? But such is satire, when it is not guided by truth." All this might have been said in fewer words—"Look At Blackwood's Magazine." There is not, in the Dunciad itself, an instance of such stupidity recorded, as this indignant attribution of blindness to the present, and to the future, "as far off its coming shone," to "the seed of Chaos and old night," by two divines, editors both of the works of Alexander Pope, Esq. in eight (?) and in ten volumes.

Lord Kames, in his Elements of Criticism, urges an objection to the opening of the Dunciad, which, if sustained, is sufficient to prove the whole poem vicious on beginning to end. "This author (Pope) is guilty of much greater deviation from the rule. Dulness may be imagined a Deity or Idol, to be worshipped by bad writers; but then some sort of disguise is requisite, some bastard virtue must be bestowed, to give this Idol a plausible appearance. Yet, in the Dunciad, Dulness, without the least disguise, is made the object of worship. The mind rejects such a fiction as unnatural." Warburton meets this objection with his usual fierté and acumen. "But is there no bastard virtue in the mighty Mother of so numerous an offspring, which she takes care to bring to the ears of kings? Her votaries would, for this single virtue, prefer her influence to Apollo and the Nine Muses. Is there no bastard virtue in the peace of which the poet makes her the author?—'The goddess bade Britannia sleep.' Is she not celebrated for her beauty, another bastard virtue?—'Fate this fair idol gave.' One bastard virtue the poet hath given her; which, with these sort of critics, might make her pass for a wit; and that is, her love of a joke—'For gentle Dulness ever loved a joke.' Her delight in games and races is another of her bastard virtues, which would captivate her nobler sons, and draw them to her shrine; not to speak of her indulgence to young travellers, whom she accompanies as Minerva did Telemachus. But of all her bastard virtues, her FREE-THINKING, the virtue which she anxiously propagates amongst her followers in the Fourth Book, might, one would think, have been sufficient to have covered the poet from this censure. But had Mr Pope drawn her without the least disguise, it had not signified a rush. Disguised or undisguised, the poem had been neither better nor worse, and he has secured it from being rejected as unnatural by ten thousand beauties of nature." This is too Warburtonian—and Lord Kames must be answered after another fashion, by Christopher North.

What would his lordship have? That she should be called by some other more specious name? By that of some quality to which writers and other men do aspire, and under the semblance of which Dulness is actually found to mask itself—as Gravity, Dignity, Solemnity? Why, two losses would thus be incurred. First, the whole mirth of the poem, or the greater part of it, would be gone. Secondly, the comprehensiveness of the present name would be forfeited, and a more partial quality taken.

The vigour and strength of the fiction requires exactly what Pope has done—the barefaced acceptance of Dulness as the imperial power. The poet acts, in fact, under a logical necessity. She is really the goddess under whose influence and virtue they, her subjects, live; whose inspiration sustains and governs their actions. But it would be against all manners that a goddess should not be known and worshipped under her own authentic denomination. To cheat her followers out of their worship, by showing herself to them under a diversity of false appearances, would have been unworthy of her divinity.

As to the probability of the fiction, the answer is plain and ready. Nobody asks for probability. Far otherwise. The bravery of the jest is its improbability. There is a wild audacity proper to the burlesque Epos which laughs at conventional rules, and the tame obligations of ordinary poetry. The absurd is one legitimate source of the comic.

For example, are the Games probable? Take the reading to sleep—which is purely witty—a thing which the poet does not go out of his way to invent. It lies essentially on the theme, being a literary αγων and it is indeed only that which is continually done, (oh, us miserable!) thrown into poetical shape. But it is perfectly absurd and improbable, done in the manner in which it is represented—not therefore to be blamed, but therefore to be commended with cachinnation while the world endures.

The truth is, that the Dunces are there, not for the business of saying what they think of themselves, or not that alone, but they must say that which we think of them. They must act from motives from which men do not act. They must aspire to be dull, and be proud of their dulness. They must emulate one another's dulness, or they are unfaithful votaries. In short, they are poetically made, and should be so made, to do, consciously and purposely, that which, in real life, they do undesignedly and unawares.

Lord Kames goes wrong—and very far wrong indeed—though Warburton was not the man to set him right—through applying to a composition extravagantly conceived—an epic extravaganza—rules of writing that belong to a sober and guarded species. In a comedy, you make a man play the fool without his knowing that he is one; because that is an imitation of human manners. And if you ironically praise the virtues of a villain, you keep the veil of irony throughout. You do not now and then forget yourself, and call him a villain by that name. But the spirit and rule of the poem here is, that discretion and sobriety are thrown aside. Here is no imitation of manners—no veil. The persons of the poem, under the hand of the poet, are something in the condition of the wicked ghosts who come before the tribunal of the Gnossian Rhadamanthus; and whom he, by the divine power of his judgment-seat, constrains to bear witness against themselves. The poor ghosts do it, knowing that they condemn themselves. Here the mirth of the poet makes the Dull glorify themselves by recounting each misdeed under its proper appellation.

Joseph Warton mistakes the whole matter as much as Lord Kames. "Just criticism," says he, "calls on us also to point out some of the passages that appear exceptionable in the Dunciad. Such is the hero's first speech, in which, contrary to all decorum and probability, he addresses the goddess Dulness, without disguising her as a despicable being, and even calls himself fool and blockhead. For a person to be introduced speaking thus of himself, is in truth unnatural and out of character." Would that the Doctor had been alive to be set at ease on this point by our explanations—but he is dead. They would have quieted his mind, too, about the celebrated speech of Aristarchus. "In Book IV.," he adds, "is such another breach of truth and decorum, in making Aristarchus (Bentley) abuse himself, and laugh at his own labours.