would have been revolted by the brutal images which Pope does not hesitate to introduce; and it is a curious phenomenon that the poet who is pre-eminently the representative of polished society should openly take such pleasure in unmixed filth. Polish is sometimes very thin. It has been suggested that Swift, who was with Pope during the composition, may have been directly responsible for some of these brutalities. At any rate, as I have said. Pope has here been working in the Swift spirit, and this gives, I think, the keynote of his Dunciad.
The geyser comparison is so far misleading that Pope is not in his most spiteful mood. There is not that infusion of personal venom which appears so strongly in the character of Sporus and similar passages. In reading them we feel that the poet is writhing under some bitter mortification, and trying with concentrated malice to sting his adversary in the tenderest places. We hear a tortured victim screaming out the shrillest taunts at his tormentor. The abuse in the Dunciad is by comparison broad and even jovial. The tone at which Pope is aiming is that suggested by the "laughing and shaking in Rabelais' easy chair." It is meant to be a boisterous guffaw from capacious lungs, an enormous explosion of superlative contempt for the mob of stupid thickskinned scribblers. They are to be overwhelmed with gigantic cachinnations, ducked in the dirtiest of drains, rolled over and over with rough horseplay, pelted with the least savoury of rotten eggs, not skilfully anatomized or pierced with dexterously directed needles. Pope has really stood by too long, watching their, tiresome antics and receiving their taunts, and he must once for all speak out and give them a lesson.
