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A doubt may be raised, meantime, whether literature is the proper channel into which the intellectual energies of the poor should be directed. For the affirmative it may be urged, that the interest in literature is universal, whilst the interest in science is exceedingly limited. On the other hand, it may truly be retorted that the scientific interest may be artificially extended by culture; and that these two great advantages would in that case arise: 1. That the apparatus of means and instruments is much smaller in the one case than the other; 2. That science opens into a progression of growing interest; whereas literature, having no determined order of advance, and offering no regular succession of stages to the student, does not with the same certainty secure a self-maintaining growth of pleasureable excitement. Some remedy, however, will be applied to this last evil, if a regular plan of study should ever be devised for literature, and perhaps that may be found not impossible.

But now, coming to the second question, namely, this question, If any lecture at all, why upon Pope? We may see reason to think that Lord Carlisle was in error. To make a choice which is not altogether the best, will not of necessity argue an error; because much must be allowed to constitutional differences of judgment or of sensibility, which may be all equally right as against any philosophic attempts to prove any one of them wrong. And a lecturer who is possibly aware of not having made the choice which was absolutely best, may defend himself upon the ground that accidental advantages of a personal kind, such as previous familiarity with the subject, or preconformity of taste to the characteristic qualities of the author selected, may have qualified him to lecture on that theme with more effect and with more benefit, than upon a theme confessedly higher but less tractable for himself with his own peculiar preparations. Here, however, the case is different. What might be no error per se, becomes one if the special circumstances of the situation show it to have rested upon a deep misconception. Given the audience which Lord Carlisle had before him, the audience which he anticipated, and which he proposed to himself as the modulating law for the quality and style of his lecture, that same choice becomes a profound error which, for a different audience, more refined or more miscellaneous, would have been no error at all. I do not fear that I shall offend Lord Carlisle, so upright as he has always shown himself, so manly, and so faithful to his own views of truth, by repeating firmly that such a choice in such a situation argues a deep misconception of the true intellectual agencies by which Pope acts as a power in literature, and of the moral relations to general human sensibilities or universal nature which such agencies involve. My belief is, that, if a prize had been offered for a bad and malappropriate subject, none worse could have been suggested; unless, perhaps, it had been the Letters of Madame de Sevigne, or the Fables of La Fontaine; in both of which cases the delicacies and subtle felicities of treatment are even more microscopic, more shy, and more inapprehensible without a special training and culture, than in Pope, And in this point they all agree, with no great difference amongst the three, that the sort of culture which forms the previous condition for enjoying them (a conditio sine qua non) is not of a kind to be won from study. Even of that a mechanic artisan, whose daily bread depends upon his labor, cannot have had much. But the dedication of a life to books would here avail but litttle. What is needed must be the sort of culture won from complex social intercourse; and of, this the laboring artisan can have had none at all. Even the higher ranks, during those stages of society when social meetings are difficult, are rare, and consequently have their whole intellectual opportunities exhausted in forms and elaborate ceremonials, are not able to develope what may be called the social sense, that living, trembling sensibility to the expressions and the electric changes of human thought and feeling, so infinite as they are potentially, and as they will show themselves to be when the intercourse is free, is sudden, is spontaneous, and therefore has not leisure to be false, amongst all varieties of combination as to sex, age, rank, position, and personal accomplishments. Up to the time of James the First, society amongst ourselves wore a picturesque and even a scenical exterior: but the inner life and its pulsations had not then been revealed. Great passions were required to stir the freezing waters; so that certain kinds of comedy, in which such passions are inappropriate, could not then exist. And partly to this case it was amongst the early Romans, united with the almost Asiatic seclusion from social meetings of female influence or in any virtual sense even of female presence, that we must ascribe the meagreness of the true social interest, and of the dialogue exhibited by Plautus. Two separate frosts, during a century otherwise so full of movement as the sixteenth in England, repressed and killed all germinations of free intellectual or social intercourse amongst ourselves. One was the national reserve;’ and this was strengthened by concurring with a national temperament–not phlegmatic (as is so falsely alleged), but melancholic, dignified, and for that reason, if there had been no other, anti-mercurial. But the main cause of this reserve lay in the infrequency of visits consequent upon the difficulties of local movement. The other frost lay in the Spanish stateliness and the inflexibility of our social ceremonies. Our social meetings of this period, even for purposes of pleasure, were true solemnities. With usage of politeness that laid a weight of silence and delay upon every movement of a social company, rapid motion of thought or fancy became in a literal sense physically impossible. Not until, first, our capital city had prodigiously expanded; not until, secondly, our representative system had so unfolded its tendencies as to bring politics within the lawful privilege of ordinary conversation; not until, thirdly, the expansions of commerce had forced us into the continual necessity of talking with strangers; fourthly, not until all these changes, gradually breaking up the repulsion which separated our ungarrulous nation, had been ratified by continual improvements applied to the construction of roads and the arts of locomotion, could it be said that such a state of social intercourse existed as would naturalty prompt the mind to seek food for its own intellectual activity in contemplating the phenomena of that intercourse. The primary aspects and the rapid changes of such an object could not arise until the object itself arose. Satire, which follows social intercourse as a shadow follows a body, was chained up till then. In Marston and in Donne (a man yet unappreciated) satire first began to respire freely, but applying itself too much, as in the great dramatists contemporary with Shakspeare, to the exterior play of society. Under Charles II. in the hands of Dryden, and under Anne in those of Pope, the larger and more intellectual sweep of satire showed that social activities were now appreaching to their culmination. Now, at length, it became evident that a new mode of pleasure had been ripened, and that a great instinct of the intellect had opened for itself an appropriate channel. No longer were social parties the old heraldic solemnities [Footnote 4] enjoined by red letters in the almanac, in which the chief objects were to discharge some arrear of ceremonious debt, or to ventilate old velvets, or to apricate and refresh old gouty systems and old traditions of feudal ostentation, which both alike suffered and grew smoke-dried under too rigorous a seclusion. By a great transmigration, festal assemblages had assumed their proper station, and had unfolded their capacities, as true auxiliaries to the s
ame general functions of intellect–otherwise expressing themselves and feeding themselves through literature, through the fine arts, and through scenic representations. A new world of pleasures had opened itself, offering new subjects of activity to the intellect, but also presupposing a new discipline and experience for enjoying them.