1712), which again showed Pope's inheritance of the classical mantle, here with irreproachable religious colouring. Addison praised a Miscellany which Pope edited at the behest of Bernard Lintot, a rival publisher of rather less salubrious character than Tonson, which contained 'many excellent Compositions of that ingenious Gentleman' (no. 523, 30 October 1712).
One of these 'Compositions' was the two-canto version of The Rape of the Locke, already a dizzying venture in the mock-heroic use of epic language and images to describe small-scale social world of London. John Caryll had asked Pope to write a poem to try to reconcile two Catholic families at war over an incident in which Lord Petre had snipped off a lock of Arabella Fermor's hair-a trivial enough incident, perhaps, and regarded by Johnson only as 'a frolick of gallantry, rather too familiar' (Johnson 1905:101), but one which had taken on an altogether darker significance. Pope's poem, which uses the inversions and miniaturisations of the mock-heroic form in a brilliantly even-handed analysis of both the weight and the triviality of the offence, was handed about in manuscript and Pope took the opportunity of Lintot's Miscellany to forestall any attempt to bring out an unauthorised edition (Spence 1966:43-4). Again, the poem is also partly about poetic fame and the power of verse to produce social effects and personal immortality.
By now there were rather greater, quasi-heroic conflicts to consider. England, with her European allies, had been at war with France for most of Pope's lifetime, partly because of France's support for the Jacobite claimants to the English throne and partly because of the general imbalance of political and economic power in Louis XIV's favour. A partial peace was concluded in 1697, but on the death of William III in 1702, without issue, Anne, James II's protestant daughter, succeeded to the throne and war was recommenced, with the Whig Duke of Marlbrough as Captain-General winning some decisive victories. But in 1710 the Whig ministry collapsed and the Tories came to ascendancy; pressure to end the war increased. Some of Pope's mature friendships were formed against this background, one might say partly by it. He grew friendly with John Gay (1685-1732), a poet and dramatist in a congenial mode of mock-heroic. Friendship with William Fortescue, a staunch Whig and lawyer (both terms of abuse in Pope's later years) shows Pope still maintaining Whig contacts, as with Addison and Steele. But in the crucial state of European affairs, it was hardly possible not