Part 35 (1/2)
[210] Pope, in his conversations with Spence, says, ”My letters to Cromwell were written with a design that does not generally appear: they were not written in sober sadness.”--ED.
[211] Pope's victory over Curll is represented by Hogarth in a print ostentatiously hung in the garret of his ”Distressed Poet.”--ED.
POPE AND CIBBER;
CONTAINING A VINDICATION OF THE COMIC WRITER.
POPE attacked CIBBER from personal motives--by dethroning Theobald, in the _Dunciad_, to subst.i.tute CIBBER, he made the satire not apply--CIBBER'S facetious and serious remonstrance--CIBBER'S inimitable good-humour--an apology for what has been called his ”effrontery”--perhaps a modest man, and undoubtedly a man of genius--his humorous defence of his deficiency in Tragedy, both in acting and writing--Pope more hurt at being exposed as a ridiculous lover than as a bad man--an account of ”The Egotist, or Colley upon Cibber,” a kind of supplement to the ”Apology for his life,” in which he has drawn his own character with great freedom and spirit.
Pope's quarrel with Cibber may serve to check the haughtiness of genius; it is a remarkable instance how good-humour can gently draw a boundary round the arbitrary power, whenever the wantonness of satire would conceal calumny. But this quarrel will become even more interesting, should it throw a new light on the character of one whose originality of genius seems little suspected. Cibber showed a happy address in a very critical situation, and obtained an honourable triumph over the malice of a great genius, whom, while he complained of he admired, and almost loved the cynic.
Pope, after several ”flirts,” as Cibber calls them, from slight personal motives, which Cibber has fully opened,[212] at length from ”peevish weakness,” as Lord Orford has happily expressed it, closed his insults by dethroning Theobald, and subst.i.tuting Cibber; but as he would not lose what he had already written, this change disturbed the whole decorum of the satiric fiction. Things of opposite natures, joined into one, became the poetical chimera of Horace. The hero of the _Dunciad_ is neither Theobald nor Cibber; Pope forced a dunce to appear as Cibber; but this was not making Cibber a dunce. This error in Pope emboldened Cibber in the contest, for he still insisted that the satire did not apply to him;[213] and humorously compared the libel ”to a purge with a wrong label,” and Pope ”to an apothecary who did not mind his business.”[214]
Cibber triumphed in the arduous conflict--though sometimes he felt that, like the Patriarch of old, he was wrestling, not with an equal, but one of celestial race, ”and the hollow of his thigh was out of joint.” Still, however, he triumphed, by that singular felicity of character, that inimitable _gaiete de cur_, that honest simplicity of truth, from which flowed so warm an admiration of the genius of his adversary; and that exquisite _tact_ in the characters of men, which carried down this child of airy humour to the verge of his ninetieth year, with all the enjoyments of strong animal spirits, and all that innocent egotism which became frequently a source of his own raillery.[215] He has applied to himself the epithet ”impenetrable,” which was probably in the mind of Johnson when he noticed his ”impenetrable impudence.” A critic has charged him with ”effrontery.”[216] Critics are apt to admit too much of traditional opinion into their own; it is necessary sometimes to correct the knowledge we receive. For my part, I can almost believe that Cibber was a _modest man_![217] as he was most certainly a man of genius. Cibber had lived a dissipated life, and his philosophical indifference, with his careless gaiety, was the breastplate which even the wit of Pope failed to pierce. During twenty years'
persecution for his unlucky Odes, he never lost his temper; he would read to his friends the best things pointed against them, with all the spirit the authors could wish; and would himself write epigrams for the pleasure of hearing them repeated while sitting in coffee-houses; and whenever they were applauded as ”Palpable hits!”--”Keen!”--”Things with a spirit in them!”--he enjoyed these attacks on himself by himself.[218] If this be vanity, it is at least ”_Cibberian_.”
It was, indeed, the singularity of his personal character which so long injured his genius, and laid him open to the perpetual attacks of his contemporaries,[219] who were mean enough to ridicule undisguised foibles, but dared not be just to the redeeming virtues of his genius.
Yet his genius far exceeded his literary frailties. He knew he was no poet, yet he would string wretched rhymes, even when not salaried for them; and once wrote an Essay on Cicero's character, for which his dotage was scarcely an apology;--so much he preferred amus.e.m.e.nt to prudence.[220] Another foible was to act tragedies with a squeaking voice[221], and to write them with a genius about the same size for the sublime; but the malice of his contemporaries seemed to forget that he was creating new dramatic existences in the exquisite personifications of his comic characters; and was producing some of our standard comedies, composed with such real genius, that they still support the reputation of the English stage.
In the ”Apology for his Life,” Cibber had shown himself a generous and an ill-treated adversary, and at all times was prodigal of his eulogiums, even after the death of Pope; but, when remonstrance and good temper failed to sheathe with their oil the sharp sting of the wasp, as his weakest talent was not the ludicrous, he resolved to gain the laughers over, and threw Pope into a very ridiculous att.i.tude.[222] It was extorted from Cibber by this insulting line of Pope's:--
And has not Colley, too, his Lord and w--e?
It seems that Pope had once the same! But a ridiculous story, suited to the taste of the loungers, nettled Pope more than the keener remonstrances and the honest truths which Cibber has urged. Those who write libels, invite imitation.
Besides the two letters addressed by Cibber to Pope, this quarrel produced a moral trifle, or rather a philosophical curiosity, respecting Cibber's own character, which is stamped with the full impression of all its originality.
The t.i.tle, so expressive of its design, and the whim and good-humour of the work, which may be considered as a curious supplement to the ”Apology for his Life,” could scarcely have been imagined, and most certainly could not have been executed, but by the genius who dared it. I give the t.i.tle in the note.[223] It is a curious exemplification of what Shaftesbury has so fancifully described as ”self-inspection.”
This little work is a conversation between ”Mr. Frankly and his old acquaintance, Colley Cibber.” Cibber had the spirit of making this Mr.
Frankly speak the bitterest things against himself; and he must have been an attentive reader of all the keenest reproaches his enemies ever had thrown out. This caustic censor is not a man of straw, set up to be easily knocked down. He has as much vivacity and wit as Cibber himself, and not seldom has the better of the argument. But the gravity and the levity blended in this little piece form admirable contrasts: and Cibber, in this varied effusion, acquires all our esteem for that open simplicity, that unalterable good-humour which flowed from nature, and that fine spirit that touches everything with life; yet, as he himself confesses, the main accusation of Mr.
Frankly, that ”his philosophical air will come out at last mere vanity in masquerade,” may be true.
I will attempt to collect some specimens of this extraordinary production, because they harmonise with the design of the present work, and afford principles, in regard to preserving an equability of temper, which may guide us in Literary Quarrels.
_Frankly_ observes, on Cibber's declaration that he is not uneasy at Pope's satire, that ”no blockhead is so dull as not to be sore when he is called so; and (you'll excuse me) if that were to be your own case, why should we believe you would not be as uneasy at it as another blockhead?
_Author._ This is pus.h.i.+ng me pretty home indeed; but I wont give out.
For as it is not at all inconceivable, that a blockhead of my size may have a particular knack of doing some useful thing that might puzzle a wiser man to be master of, will not that blockhead still have something in him to be conceited of? If so, allow me but the vanity of supposing I may have had some such possible knack, and you will not wonder (though in many other points I may still be a blockhead) that I may, notwithstanding, be contented with my condition.
_Frankly._ Is it not commendable, in a man of parts, to be warmly concerned for his reputation?
_Author._ In what regards his honesty or honour, I will make some allowance; but for the reputation of his parts, not one t.i.ttle.
_Frankly._ How! not to be concerned for what half the learned world are in a continual war about.
_Author_. So are another half about religion; but neither Turk or Pope, swords or anathemas, can alter truth! There it stands! always visible to reason, self-defended and immovable! Whatever it _was_, or _is_, it ever _will be_! As no attack can alter, so no defence can add to its proportion.
_Frankly._ At this rate, you p.r.o.nounce all controversies in wit to be either needless or impertinent.