He supposes (in his Preface) that it was by a
deliberate literary artifice that Homer introduced the gods into his
action, supposes, that is, that Homer no more believed in the Greek gods
than did he, Pope, himself; and in general Pope largely obliterates the
differences between the Homeric warrior-chief and the eighteenth century
gentleman. The force of all this may be realized by comparing Pope's
translation with the very sympathetic and skilful one made (in prose) in
our own time by Messrs. Lang, Leaf, and Myers. A criticism of Pope's work
which Pope never forgave but which is final in some aspects was made by the
great Cambridge professor, Bentley: 'It's a pretty poem, Mr. Pope, but you
must not call it Homer.' Yet after all, Pope merited much higher praise
than this, and his work was really, a great achievement. It has been truly
said that every age must have the great classics translated into its own
dialect, and this work could scarcely have been better done for the early
eighteenth century than it is done by Pope.
The publication of Pope's Homer marks an important stage in the development
of authorship. Until the time of Dryden no writer had expected to earn his
whole living by publishing works of real literature. The medieval minstrels
and romancers of the higher class and the dramatists of the sixteenth and
seventeenth centuries had indeed supported themselves largely or wholly by
their works, but not by printing them.
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