suggestions in Horace to be thoroughly autobiographical. He manages to run his own experience and feelings into the moulds provided for him by his predecessor. One of the happiest passages is that in which he turns the serious panegyric on Augustus into a bitter irony against the other Augustus, whose name was George, and who, according to Lord Hervey, was so contrasted with his prototype, that whereas personal courage was the one weak point of the emperor, it was the one strong point of the English king. As soon as Pope has a chance of expressing his personal antipathies or (to do him bare justice) his personal attachments, his lines begin to glow. When he is trying to preach, to be ethical and philosophical, he is apt to fall into mouthing and to lose his place; but when he can forget his stilts, or point his morality by some concrete and personal instance, every word is alive. And it is this which makes the epilogues, and more especially the prologue to the satires, his most impressive performances. The unity which is very ill-supplied by some ostensible philosophical thesis, or even by the leading strings of Horace, is given by his own intense interest in himself. The best way of learning to enjoy Pope is to get by heart the epistle to Arbuthnot. That epistle is, as I have said, his Apologia. In its some 400 lines, he has managed to compress more of his feelings and thoughts than would fill an ordinary autobiography. It is true that the epistle requires a commentator. It wants some familiarity with the events of Pope's life, and many lines convey only a part of their meaning unless we are familiar not only with the events, but with the characters of the persons mentioned. Passages over which we pass carelessly at the first reading then come out with wonderful freshness, and single phrases throw a
