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62), Thomas Dale’s Epistle from South Carolina (No. 67), and Henry Brooke’s fulsome letter of 1739 (No. 69). Pope continued to rely heavily upon the advice of friends like Swift (No. 86). 34 Meanwhile Pope’s Continental reputation grew (No. 63). In sharp contrast, Grub Street’s blind antipathy continued (Nos 65, 66). Pope was increasingly attacked for his friendship with Bolingbroke, who was cast in the role of the poet’s evil genius (No. 87). The controversy over An Essay on Man gave new force to the charge of irreligion, and Pope’s growing tendency to widen his satire beyond the literary world gave an increasingly political bias to the attacks.

414–16. 18 Further, see Maynard Mack’s illuminating Introduction, Twickenham, vol. vii. 19 An unjustified charge: see Twickenham, vii, pp. lxxxi-cvii. 20 Pope altered the line to meet Dennis’s objection. 21 Norman Callan, Twickenham, vii, p. lxxix. See Callan’s discussion for a fuller account of the exchange. 22 For recent discussions of this area see Twickenham, vii, pp. Hagstrum, The Sister Arts (Chicago, 1958), pp. 229ff. 23 Lives of the Poets, ed. Hill (1905), iii. 143. 24 29 March 1729, The Weekly Journal or the British Gazetteer.

66). As a matter of course, this line of abuse was linked with his supposed sexual shortcomings, while his Catholicism proved him a Jacobite and traitor. Obscenity, blasphemy, and malevolence were all that could be expected of such a creature. His poetry was subjected to the same kind of misrepresentation: imitation was labelled plagiarism, metaphor labelled nonsense, and harmonious versification branded as monotonous. This grotesque portrait was as useful in the Battles of the Dunces as it had been to Dennis in 1711 and was to be for Cibber in 1742.

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