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diff --git a/9800-8.txt b/9800-8.txt new file mode 100644 index 0000000..12438f6 --- /dev/null +++ b/9800-8.txt @@ -0,0 +1,9059 @@ +Project Gutenberg's The Rape of the Lock and Other Poems, by Alexander Pope + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Rape of the Lock and Other Poems + +Author: Alexander Pope + +Posting Date: December 8, 2011 [EBook #9800] +Release Date: January, 2006 +First Posted: October 18, 2003 + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK RAPE OF LOCK AND OTHER POEMS *** + + + + +Produced by Clytie Siddall, Charles Aldarondo, Tiffany +Vergon and the Online Distributed Proofreading Team. + + + + + + + + + + +THE RAPE OF THE LOCK + + +AND OTHER POEMS + + + +BY + +ALEXANDER POPE + + + + + + +EDITED + +WITH INTRODUCTION AND NOTES + +BY + +THOMAS MARC PARROTT, PH.D. + +PROFESSOR OF ENGLISH, PRINCETON UNIVERSITY + + + +THIS EDITION PUBLISHED 1906 + + + + +PREFACE + +It has been the aim of the editor in preparing this little book to get +together sufficient material to afford a student in one of our high +schools or colleges adequate and typical specimens of the vigorous and +versatile genius of Alexander Pope. With this purpose he has included in +addition to 'The Rape of the Lock', the 'Essay on Criticism' as +furnishing the standard by which Pope himself expected his work to be +judged, the 'First Epistle' of the 'Essay on Man' as a characteristic +example of his didactic poetry, and the 'Epistle to Arbuthnot', both for +its exhibition of Pope's genius as a satirist and for the picture it +gives of the poet himself. To these are added the famous close of the +'Dunciad', the 'Ode to Solitude', a specimen of Pope's infrequent lyric +note, and the 'Epitaph on Gay'. + +The first edition of 'The Rape of the Lock' has been given as an +appendix in order that the student may have the opportunity of comparing +the two forms of this poem, and of realizing the admirable art with +which Pope blended old and new in the version that is now the only one +known to the average reader. The text throughout is that of the Globe +Edition prepared by Professor A. W. Ward. + +The editor can lay no claim to originality in the notes with which he +has attempted to explain and illustrate these poems. He is indebted at +every step to the labors of earlier editors, particularly to Elwin, +Courthope, Pattison, and Hales. If he has added anything of his own, it +has been in the way of defining certain words whose meaning or +connotation has changed since the time of Pope, and in paraphrasing +certain passages to bring out a meaning which has been partially +obscured by the poet's effort after brevity and concision. + +In the general introduction the editor has aimed not so much to recite +the facts of Pope's life as to draw the portrait of a man whom he +believes to have been too often misunderstood and misrepresented. The +special introductions to the various poems are intended to acquaint the +student with the circumstances under which they were composed, to trace +their literary genesis and relationships, and, whenever necessary, to +give an outline of the train of thought which they embody. + +In conclusion the editor would express the hope that his labors in the +preparation of this book may help, if only in some slight degree, to +stimulate the study of the work of a poet who, with all his limitations, +remains one of the abiding glories of English literature, and may +contribute not less to a proper appreciation of a man who with all his +faults was, on the evidence of those who knew him best, not only a great +poet, but a very human and lovable personality. + +T. M. P. + +'Princeton University', 'June' 4, 1906. + + + + + + * * * * * + + + + + +CONTENTS + + +INTRODUCTION + +THE RAPE OF THE LOCK + +AN ESSAY ON CRITICISM + +AN ESSAY ON MAN, EPISTLE I + +AN EPISTLE TO DR ARBUTHNOT + +ODE ON SOLITUDE + +THE DESCENT OF DULLNESS [FROM THE 'Dunciad', BOOK IV] + +EPITAPH ON GAY + +NOTES + + THE RAPE OF THE LOCK + + AN ESSAY ON CRITICISM + + AN ESSAY ON MAN (EPISTLE I) + + AN EPISTLE TO DR ARBUTHNOT + + SELECTIONS + +APPENDIX + + THE FIRST EDITION OF THE RAPE OF THE LOCK + + + + + + * * * * * + + + + + +INTRODUCTION + + +Perhaps no other great poet in English Literature has been so +differently judged at different times as Alexander Pope. Accepted almost +on his first appearance as one of the leading poets of the day, he +rapidly became recognized as the foremost man of letters of his age. He +held this position throughout his life, and for over half a century +after his death his works were considered not only as masterpieces, but +as the finest models of poetry. With the change of poetic temper that +occurred at the beginning of the nineteenth century Pope's fame was +overshadowed. The romantic poets and critics even raised the question +whether Pope was a poet at all. And as his poetical fame diminished, the +harsh judgments of his personal character increased. It is almost +incredible with what exulting bitterness critics and editors of Pope +have tracked out and exposed his petty intrigues, exaggerated his +delinquencies, misrepresented his actions, attempted in short to blast +his character as a man. + +Both as a man and as a poet Pope is sadly in need of a defender to-day. +And a defense is by no means impossible. The depreciation of Pope's +poetry springs, in the main, from an attempt to measure it by other +standards than those which he and his age recognized. The attacks upon +his character are due, in large measure, to a misunderstanding of the +spirit of the times in which he lived and to a forgetfulness of the +special circumstances of his own life. Tried in a fair court by +impartial judges Pope as a poet would be awarded a place, if not among +the noblest singers, at least high among poets of the second order. And +the flaws of character which even his warmest apologist must admit would +on the one hand be explained, if not excused, by circumstances, and on +the other more than counterbalanced by the existence of noble qualities +to which his assailants seem to have been quite blind. + +Alexander Pope was born in London on May 21, 1688. His father was a +Roman Catholic linen draper, who had married a second time. Pope was the +only child of this marriage, and seems to have been a delicate, +sweet-tempered, precocious, and, perhaps, a rather spoiled child. + +Pope's religion and his chronic ill-health are two facts of the highest +importance to be taken into consideration in any study of his life or +judgment of his character. The high hopes of the Catholics for a +restoration of their religion had been totally destroyed by the +Revolution of 1688. During all Pope's lifetime they were a sect at once +feared, hated, and oppressed by the severest laws. They were excluded +from the schools and universities, they were burdened with double taxes, +and forbidden to acquire real estate. All public careers were closed to +them, and their property and even their persons were in times of +excitement at the mercy of informers. In the last year of Pope's life a +proclamation was issued forbidding Catholics to come within ten miles of +London, and Pope himself, in spite of his influential friends, thought +it wise to comply with this edict. A fierce outburst of persecution +often evokes in the persecuted some of the noblest qualities of human +nature; but a long-continued and crushing tyranny that extends to all +the details of daily life is only too likely to have the most +unfortunate results on those who are subjected to it. And as a matter of +fact we find that the well-to-do Catholics of Pope's day lived in an +atmosphere of disaffection, political intrigue, and evasion of the law, +most unfavorable for the development of that frank, courageous, and +patriotic spirit for the lack of which Pope himself has so often been +made the object of reproach. + +In a well-known passage of the 'Epistle to Arbuthnot', Pope has spoken +of his life as one long disease. He was in fact a humpbacked dwarf, not +over four feet six inches in height, with long, spider-like legs and +arms. He was subject to violent headaches, and his face was lined and +contracted with the marks of suffering. In youth he so completely ruined +his health by perpetual studies that his life was despaired of, and only +the most careful treatment saved him from an early death. Toward the +close of his life he became so weak that he could neither dress nor +undress without assistance. He had to be laced up in stiff stays in +order to sit erect, and wore a fur doublet and three pairs of stockings +to protect himself against the cold. With these physical defects he had +the extreme sensitiveness of mind that usually accompanies chronic ill +health, and this sensitiveness was outraged incessantly by the brutal +customs of the age. Pope's enemies made as free with his person as with +his poetry, and there is little doubt that he felt the former attacks +the more bitterly of the two. Dennis, his first critic, called him "a +short squab gentleman, the very bow of the God of love; his outward form +is downright monkey." A rival poet whom he had offended hung up a rod in +a coffee house where men of letters resorted, and threatened to whip +Pope like a naughty child if he showed his face there. It is said, +though perhaps not on the best authority, that when Pope once forgot +himself so far as to make love to Lady Mary Wortley Montague, the lady's +answer was "a fit of immoderate laughter." In an appendix to the +'Dunciad' Pope collected some of the epithets with which his enemies had +pelted him, "an ape," "an ass," "a frog," "a coward," "a fool," "a +little abject thing." He affected, indeed, to despise his assailants, +but there is only too good evidence that their poisoned arrows rankled +in his heart. Richardson, the painter, found him one day reading the +latest abusive pamphlet. "These things are my diversion," said the poet, +striving to put the best face on it; but as he read, his friends saw his +features "writhen with anguish," and prayed to be delivered from all +such "diversions" as these. Pope's enemies and their savage abuse are +mostly forgotten to-day. Pope's furious retorts have been secured to +immortality by his genius. It would have been nobler, no doubt, to have +answered by silence only; but before one condemns Pope it is only fair +to realize the causes of his bitterness. + +Pope's education was short and irregular. He was taught the rudiments of +Latin and Greek by his family priest, attended for a brief period a +school in the country and another in London, and at the early age of +twelve left school altogether, and settling down at his father's house +in the country began to read to his heart's delight. He roamed through +the classic poets, translating passages that pleased him, went up for a +time to London to get lessons in French and Italian, and above all read +with eagerness and attention the works of older English poets,--Spenser, +Waller, and Dryden. He had already, it would seem, determined to become +a poet, and his father, delighted with the clever boy's talent, used to +set him topics, force him to correct his verses over and over, and +finally, when satisfied, dismiss him with the praise, "These are good +rhymes." He wrote a comedy, a tragedy, an epic poem, all of which he +afterward destroyed and, as he laughingly confessed in later years, he +thought himself "the greatest genius that ever was." + +Pope was not alone, however, in holding a high opinion of his talents. +While still a boy in his teens he was taken up and patronized by a +number of gentlemen, Trumbull, Walsh, and Cromwell, all dabblers in +poetry and criticism. He was introduced to the dramatist Wycherly, +nearly fifty years his senior, and helped to polish some of the old +man's verses. His own works were passed about in manuscript from hand to +hand till one of them came to the eyes of Dryden's old publisher, +Tonson. Tonson wrote Pope a respectful letter asking for the honor of +being allowed to publish them. One may fancy the delight with which the +sixteen-year-old boy received this offer. It is a proof of Pope's +patience as well as his precocity that he delayed three years before +accepting it. It was not till 1709 that his first published verses, the +'Pastorals', a fragment translated from Homer, and a modernized version +of one of the 'Canterbury Tales', appeared in Tonson's 'Miscellany'. + +With the publication of the 'Pastorals', Pope embarked upon his life as +a man of letters. They seem to have brought him a certain recognition, +but hardly fame. That he obtained by his next poem, the 'Essay on +Criticism', which appeared in 1711. It was applauded in the 'Spectator', +and Pope seems about this time to have made the acquaintance of Addison +and the little senate which met in Button's coffee house. His poem the +'Messiah' appeared in the 'Spectator' in May 1712; the first draft of +'The Rape of the Lock' in a poetical miscellany in the same year, and +Addison's request, in 1713, that he compose a prologue for the tragedy +of 'Cato' set the final stamp upon his rank as a poet. + +Pope's friendly relations with Addison and his circle were not, however, +long continued. In the year 1713 he gradually drew away from them and +came under the influence of Swift, then at the height of his power in +political and social life. Swift introduced him to the brilliant Tories, +politicians and lovers of letters, Harley, Bolingbroke, and Atterbury, +who were then at the head of affairs. Pope's new friends seem to have +treated him with a deference which he had never experienced before, and +which bound him to them in unbroken affection. Harley used to regret +that Pope's religion rendered him legally incapable of holding a +sinecure office in the government, such as was frequently bestowed in +those days upon men of letters, and Swift jestingly offered the young +poet twenty guineas to become a Protestant. But now, as later, Pope was +firmly resolved not to abandon the faith of his parents for the sake of +worldly advantage. And in order to secure the independence he valued so +highly he resolved to embark upon the great work of his life, the +translation of Homer. + +"What led me into that," he told a friend long after, "was purely the +want of money. I had then none; not even to buy books." It seems that +about this time, 1713, Pope's father had experienced some heavy +financial losses, and the poet, whose receipts in money had so far been +by no means in proportion to the reputation his works had brought him, +now resolved to use that reputation as a means of securing from the +public a sum which would at least keep him for life from poverty or the +necessity of begging for patronage. It is worth noting that Pope was the +first Englishman of letters who threw himself thus boldly upon the +public and earned his living by his pen. + +The arrangements for the publication and sale of Pope's translation of +Homer were made with care and pushed on with enthusiasm. He issued in +1713 his proposals for an edition to be published by subscription, and +his friends at once became enthusiastic canvassers. We have a +characteristic picture of Swift at this time, bustling about a crowded +ante-chamber, and informing the company that the best poet in England +was Mr. Pope (a Papist) who had begun a translation of Homer for which +they must all subscribe, "for," says he, "the author shall not begin to +print till I have a thousand guineas for him." The work was to be in six +volumes, each costing a guinea. Pope obtained 575 subscribers, many of +whom took more than one set. Lintot, the publisher, gave Pope £1200 for +the work and agreed to supply the subscription copies free of charge. As +a result Pope made something between £5000 and £6000, a sum absolutely +unprecedented in the history of English literature, and amply sufficient +to make him independent for life. + +But the sum was honestly earned by hard and wearisome work. Pope was no +Greek scholar; it is said, indeed, that he was just able to make out the +sense of the original with a translation. And in addition to the fifteen +thousand lines of the 'Iliad', he had engaged to furnish an introduction +and notes. At first the magnitude of the undertaking frightened him. +"What terrible moments," he said to Spence, "does one feel after one has +engaged for a large work. In the beginning of my translating the +'Iliad', I wished anybody would hang me a hundred times. It sat so +heavily on my mind at first that I often used to dream of it and do +sometimes still." In spite of his discouragement, however, and of the +ill health which so constantly beset him, Pope fell gallantly upon his +task, and as time went on came almost to enjoy it. He used to translate +thirty or forty verses in the morning before rising and, in his own +characteristic phrase, "piddled over them for the rest of the day." He +used every assistance possible, drew freely upon the scholarship of +friends, corrected and recorrected with a view to obtaining clearness +and point, and finally succeeded in producing a version which not only +satisfied his own critical judgment, but was at once accepted by the +English-speaking world as the standard translation of Homer. + +The first volume came out in June, 1715, and to Pope's dismay and wrath +a rival translation appeared almost simultaneously. Tickell, one of +Addison's "little senate," had also begun a translation of the 'Iliad', +and although he announced in the preface that he intended to withdraw in +favor of Pope and take up a translation of the 'Odyssey', the poet's +suspicions were at once aroused. And they were quickly fanned into a +flame by the gossip of the town which reported that Addison, the +recognized authority in literary criticism, pronounced Tickell's version +"the best that ever was in any language." Rumor went so far, in fact, as +to hint pretty broadly that Addison himself was the author, in part, at +least, of Tickell's book; and Pope, who had been encouraged by Addison +to begin his long task, felt at once that he had been betrayed. His +resentment was all the more bitter since he fancied that Addison, now at +the height of his power and prosperity in the world of letters and of +politics, had attempted to ruin an enterprise on which the younger man +had set all his hopes of success and independence, for no better reason +than literary jealousy and political estrangement. We know now that Pope +was mistaken, but there was beyond question some reason at the time for +his thinking as he did, and it is to the bitterness which this incident +caused in his mind that we owe the famous satiric portrait of Addison as +Atticus. + +The last volume of the 'Iliad' appeared in the spring of 1720, and in it +Pope gave a renewed proof of his independence by dedicating the whole +work, not to some lord who would have rewarded him with a handsome +present, but to his old acquaintance, Congreve, the last survivor of the +brilliant comic dramatists of Dryden's day. And now resting for a time +from his long labors, Pope turned to the adornment and cultivation of +the little house and garden that he had leased at Twickenham. + +Pope's father had died in 1717, and the poet, rejecting politely but +firmly the suggestion of his friend, Atterbury, that he might now turn +Protestant, devoted himself with double tenderness to the care of his +aged and infirm mother. He brought her with him to Twickenham, where she +lived till 1733, dying in that year at the great age of ninety-one. It +may have been partly on her account that Pope pitched upon Twickenham as +his abiding place. Beautifully situated on the banks of the Thames, it +was at once a quiet country place and yet of easy access to London, to +Hampton Court, or to Kew. The five acres of land that lay about the +house furnished Pope with inexhaustible entertainment for the rest of +his life. He "twisted and twirled and harmonized" his bit of ground +"till it appeared two or three sweet little lawns opening and opening +beyond one another, the whole surrounded by impenetrable woods." +Following the taste of his times in landscape gardening, he adorned his +lawns with artificial mounds, a shell temple, an obelisk, and a +colonnade. But the crowning glory was the grotto, a tunnel decorated +fantastically with shells and bits of looking-glass, which Pope dug +under a road that ran through his grounds. Here Pope received in state, +and his house and garden was for years the center of the most brilliant +society in England. Here Swift came on his rare visits from Ireland, and +Bolingbroke on his return from exile. Arbuthnot, Pope's beloved +physician, was a frequent visitor, and Peterborough, one of the most +distinguished of English soldiers, condescended to help lay out the +garden. Congreve came too, at times, and Gay, the laziest and most +good-natured of poets. Nor was the society of women lacking at these +gatherings. Lady Mary Wortley Montague, the wittiest woman in England, +was often there, until her bitter quarrel with the poet; the grim old +Duchess of Marlborough appeared once or twice in Pope's last years; and +the Princess of Wales came with her husband to inspire the leaders of +the opposition to the hated Walpole and the miserly king. And from first +to last, the good angel of the place was the blue-eyed, sweet-tempered +Patty Blount, Pope's best and dearest friend. + +Not long after the completion of the 'Iliad', Pope undertook to edit +Shakespeare, and completed the work in 1724. The edition is, of course, +quite superseded now, but it has its place in the history of +Shakespearean studies as the first that made an effort, though irregular +and incomplete, to restore the true text by collation and conjecture. It +has its place, too, in the story of Pope's life, since the bitter +criticism which it received, all the more unpleasant to the poet since +it was in the main true, was one of the principal causes of his writing +the 'Dunciad'. Between the publication of his edition of Shakespeare, +however, and the appearance of the 'Dunciad', Pope resolved to complete +his translation of Homer, and with the assistance of a pair of friends, +got out a version of the Odyssey in 1725. Like the 'Iliad', this was +published by subscription, and as in the former case the greatest men in +England were eager to show their appreciation of the poet by filling up +his lists. Sir Robert Walpole, the great Whig statesman, took ten +copies, and Harley, the fallen Tory leader, put himself, his wife, and +his daughter down for sixteen. Pope made, it is said, about £3700 by +this work. + +In 1726, Swift visited Pope and encouraged him to complete a satire +which he seems already to have begun on the dull critics and hack +writers of the day. For one cause or another its publication was +deferred until 1728, when it appeared under the title of the 'Dunciad'. +Here Pope declared open war upon his enemies. All those who had attacked +his works, abused his character, or scoffed at his personal deformities, +were caricatured as ridiculous and sometimes disgusting figures in a +mock epic poem celebrating the accession of a new monarch to the throne +of Dullness. The 'Dunciad' is little read to-day except by professed +students of English letters, but it made, naturally enough, a great stir +at the time and vastly provoked the wrath of all the dunces whose names +it dragged to light. Pope has often been blamed for stooping to such +ignoble combat, and in particular for the coarseness of his abuse, and +for his bitter jests upon the poverty of his opponents. But it must be +remembered that no living writer had been so scandalously abused as +Pope, and no writer that ever lived was by nature so quick to feel and +to resent insult. The undoubted coarseness of the work is in part due to +the gross license of the times in speech and writing, and more +particularly to the influence of Swift, at this time predominant over +Pope. And in regard to Pope's trick of taunting his enemies with +poverty, it must frankly be confessed that he seized upon this charge as +a ready and telling weapon. Pope was at heart one of the most charitable +of men. In the days of his prosperity he is said to have given away one +eighth of his income. And he was always quick to succor merit in +distress; he pensioned the poet Savage and he tried to secure patronage +for Johnson. But for the wretched hack writers of the common press who +had barked against him he had no mercy, and he struck them with the +first rod that lay ready to his hands. + +During his work on the 'Dunciad', Pope came into intimate relations with +Bolingbroke, who in 1725 had returned from his long exile in France and +had settled at Dawley within easy reach of Pope's villa at Twickenham. +Bolingbroke was beyond doubt one of the most brilliant and stimulating +minds of his age. Without depth of intellect or solidity of character, +he was at once a philosopher, a statesman, a scholar, and a fascinating +talker. Pope, who had already made his acquaintance, was delighted to +renew and improve their intimacy, and soon came wholly under the +influence of his splendid friend. It is hardly too much to say that all +the rest of Pope's work is directly traceable to Bolingbroke. The 'Essay +on Man' was built up on the precepts of Bolingbroke's philosophy; the +'Imitations of Horace' were undertaken at Bolingbroke's suggestion; and +the whole tone of Pope's political and social satire during the years +from 1731 to 1738 reflects the spirit of that opposition to the +administration of Walpole and to the growing influence of the commercial +class, which was at once inspired and directed by Bolingbroke. And yet +it is exactly in the work of this period that we find the best and with +perhaps one exception, the 'Essay on Man', the most original, work of +Pope. He has obtained an absolute command over his instrument of +expression. In his hands the heroic couplet sings, and laughs, and +chats, and thunders. He has turned from the ignoble warfare with the +dunces to satirize courtly frivolity and wickedness in high places. And +most important of all to the student of Pope, it is in these last works +that his personality is most clearly revealed. It has been well said +that the best introduction to the study of Pope, the man, is to get the +'Epistle to Arbuthnot' by heart. + +Pope gradually persuaded himself that all the works of these years, the +'Essay on Man', the 'Satires, Epistles', and 'Moral Essays', were but +parts of one stupendous whole. He told Spence in the last years of his +life: "I had once thought of completing my ethic work in four +books.--The first, you know, is on the Nature of Man [the 'Essay on +Man']; the second would have been on knowledge and its limits--here +would have come in an Essay on Education, part of which I have inserted +in the 'Dunciad' ['i.e.' in the Fourth Book, published in 1742]. The +third was to have treated of Government, both ecclesiastical and +civil--and this was what chiefly stopped my going on. I could not have +said what 'I would' have said without provoking every church on the face +of the earth; and I did not care for living always in boiling +water.--This part would have come into my 'Brutus' [an epic poem which +Pope never completed], which is planned already. The fourth would have +been on Morality; in eight or nine of the most concerning branches of +it." + +It is difficult, if not impossible, to believe that Pope with his +irregular methods of work and illogical habit of thought had planned so +vast and elaborate a system before he began its execution. It is far +more likely that he followed his old method of composing on the +inspiration of the moment, and produced the works in question with +little thought of their relation or interdependence. But in the last +years of his life, when he had made the acquaintance of Warburton, and +was engaged in reviewing and perfecting the works of this period, he +noticed their general similarity in form and spirit, and, possibly under +Warburton's influence, conceived the notion of combining and +supplementing them to form that "Greater Essay on Man" of which he spoke +to Spence, and of which Warburton himself has given us a detailed +account. + +Warburton, a wide-read, pompous, and polemical clergyman, had introduced +himself to the notice of Pope by a defense of the philosophical and +religious principles of the 'Essay on Man'. In spite of the influence of +the free-thinking Bolingbroke, Pope still remained a member of the +Catholic church and sincerely believed himself to be an orthodox, though +liberal, Christian, and he had, in consequence, been greatly +disconcerted by a criticism of his poem published in Switzerland and +lately translated into English. Its author, Pierre de Crousaz, +maintained, and with a considerable degree of truth, that the principles +of Pope's poem if pushed to their logical conclusion were destructive to +religion and would rank their author rather among atheists than +defenders of the faith. The very word "atheist" was at that day +sufficient to put the man to whom it was applied beyond the pale of +polite society, and Pope, who quite lacked the ability to refute in +logical argument the attack of de Crousaz, was proportionately delighted +when Warburton came forward in his defense, and in a series of letters +asserted that Pope's whole intention was to vindicate the ways of God to +man, and that de Crousaz had mistaken his purpose and misunderstood his +language. Pope's gratitude to his defender knew no bounds; he declared +that Warburton understood the 'Essay' better than he did himself; he +pronounced him the greatest critic he ever knew, secured an introduction +to him, introduced him to his own rich and influential friends, in short +made the man's fortune for him outright. When the University of Oxford +hesitated to give Warburton, who had never attended a university, the +degree of D.D., Pope declined to accept the degree of D.C.L. which had +been offered him at the same time, and wrote the Fourth Book of the +'Dunciad' to satirize the stupidity of the university authorities. In +conjunction with Warburton he proceeded further to revise the whole +poem, for which his new friend wrote notes and a ponderous introduction, +and made the capital mistake of substituting the frivolous, but clever, +Colley Gibber, with whom he had recently become embroiled, for his old +enemy, Theobald, as the hero. And the last year of his life was spent in +getting out new editions of his poems accompanied by elaborate +commentaries from the pen of Warburton. + +In the spring of 1744, it was evident that Pope was failing fast. In +addition to his other ailments he was now attacked by an asthmatical +dropsy, which no efforts of his physicians could remove. Yet he +continued to work almost to the last, and distributed copies of his +'Ethic Epistles' to his friends about three weeks before his death, with +the smiling remark that like the dying Socrates he was dispensing his +morality among his friends. His mind began to wander; he complained that +he saw all things as through a curtain, and told Spence once "with a +smile of great pleasure and with the greatest softness" that he had seen +a vision. His friends were devoted in their attendance. Bolingbroke sat +weeping by his chair, and on Spence's remarking how Pope with every +rally was always saying something kindly of his friends, replied: "I +never in my life knew a man that had so tender a heart for his +particular friends, or a more general friendship for mankind. I have +known him these thirty years; and value myself more for that man's love +than"--here his head dropped and his voice broke in tears. It was +noticed that whenever Patty Blount came into the room, the dying flame +of life flashed up in a momentary glow. At the very end a friend +reminded Pope that as a professed Catholic he ought to send for a +priest. The dying man replied that he did not believe it essential, but +thanked him for the suggestion. When the priest appeared, Pope attempted +to rise from his bed that he might receive the sacrament kneeling, and +the priest came out from the sick room "penetrated to the last degree +with the state of mind in which he found his penitent, resigned and +wrapt up in the love of God and man." The hope that sustained Pope to +the end was that of immortality. "I am so certain of the soul's being +immortal," he whispered, almost with his last breath, "that I seem to +feel it within me, as it were by intuition." He died on the evening of +May 30, so quietly that his friends hardly knew that the end had come. +He was buried in Twickenham Church, near the monument he had erected to +his parents, and his coffin was carried to the grave by six of the +poorest men of the parish. + +It is plain even from so slight a sketch as this that the common +conception of Pope as "the wicked wasp of Twickenham," a bitter, +jealous, and malignant spirit, is utterly out of accord with the facts +of his life. Pope's faults of character lie on the surface, and the most +perceptible is that which has done him most harm in the eyes of +English-speaking men. He was by nature, perhaps by training also, +untruthful. If he seldom stooped to an outright lie, he never hesitated +to equivocate; and students of his life have found that it is seldom +possible to take his word on any point where his own works or interests +were concerned. I have already (p. x) attempted to point out the +probable cause of this defect; and it is, moreover, worth while to +remark that Pope's manifold intrigues and evasions were mainly of the +defensive order. He plotted and quibbled not so much to injure others as +to protect himself. To charge Pope with treachery to his friends, as has +sometimes been done, is wholly to misunderstand his character. + +Another flaw, one can hardly call it a vice, in Pope's character was his +constant practice of considering everything that came in his way as +copy. It was this which led him to reclaim his early letters from his +friends, to alter, rewrite, and redate them, utterly unconscious of the +trouble which he was preparing for his future biographers. The letters, +he thought, were good reading but not so good as he could make them, and +he set to work to improve them with all an artist's zeal, and without a +trace of a historian's care for facts. It was this which led him to +embody in his description of a rich fool's splendid house and park +certain unmistakable traces of a living nobleman's estate and to start +in genuine amazement and regret when the world insisted on identifying +the nobleman and the fool. And when Pope had once done a good piece of +work, he had all an artist's reluctance to destroy it. He kept bits of +verse by him for years and inserted them into appropriate places in his +poems. This habit it was that brought about perhaps the gravest charge +that has ever been made against Pope, that of accepting £1000 to +suppress a satiric portrait of the old Duchess of Marlborough, and yet +of publishing it in a revision of a poem that he was engaged on just +before his death. The truth seems to be that Pope had drawn this +portrait in days when he was at bitter enmity with the Duchess, and +after the reconcilement that took place, unwilling to suppress it +entirely, had worked it over, and added passages out of keeping with the +first design, but pointing to another lady with whom he was now at odds. +Pope's behavior, we must admit, was not altogether creditable, but it +was that of an artist reluctant to throw away good work, not that of a +ruffian who stabs a woman he has taken money to spare. + +Finally Pope was throughout his life, and notably in his later years, +the victim of an irritable temper and a quick, abusive tongue. His +irritability sprang in part, we may believe, from his physical +sufferings, even more, however, from the exquisitely sensitive heart +which made him feel a coarse insult as others would a blow. And of the +coarseness of the insults that were heaped upon Pope no one except the +careful student of his life can have any conception. His genius, his +morals, his person, his parents, and his religion were overwhelmed in +one indiscriminate flood of abuse. Too high spirited to submit tamely to +these attacks, too irritable to laugh at them, he struck back, and his +weapon was personal satire which cut like a whip and left a brand like a +hot iron. And if at times, as in the case of Addison, Pope was mistaken +in his object and assaulted one who was in no sense his enemy, the fault +lies not so much in his alleged malice as in the unhappy state of +warfare in which he lived. + +Over against the faults of Pope we may set more than one noble +characteristic. The sensitive heart and impulsive temper that led him so +often into bitter warfare, made him also most susceptible to kindness +and quick to pity suffering. He was essentially of a tender and loving +nature, a devoted son, and a loyal friend, unwearied in acts of kindness +and generosity. His ruling passion, to use his own phrase, was a +devotion to letters, and he determined as early and worked as diligently +to make himself a poet as ever Milton did. His wretched body was +dominated by a high and eager mind, and he combined in an unparalleled +degree the fiery energy of the born poet with the tireless patience of +the trained artist. + +But perhaps the most remarkable characteristic of Pope is his manly +independence. In an age when almost without exception his fellow-writers +stooped to accept a great man's patronage or sold their talents into the +slavery of politics, Pope stood aloof from patron and from party. He +repeatedly declined offers of money that were made him, even when no +condition was attached. He refused to change his religion, though he was +far from being a devout Catholic, in order to secure a comfortable +place. He relied upon his genius alone for his support, and his genius +gave him all that he asked, a modest competency. His relations with his +rich and powerful friends were marked by the same independent spirit. He +never cringed or flattered, but met them on even terms, and raised +himself by merit alone from his position as the unknown son of an humble +shopkeeper to be the friend and associate of the greatest fortunes and +most powerful minds in England. It is not too much to say that the +career of a man of letters as we know it to-day, a career at once +honorable and independent, takes its rise from the life and work of +Alexander Pope. + +The long controversies that have raged about Pope's rank as a poet seem +at last to be drawing to a close; and it has become possible to strike a +balance between the exaggerated praise of his contemporaries and the +reckless depreciation of romantic critics. That he is not a poet of the +first order is plain, if for no other reason than that he never produced +a work in any of the greatest forms of poetry. The drama, the epic, the +lyric, were all outside his range. On the other hand, unless a +definition of poetry be framed--and Dr. Johnson has well remarked that +"to circumscribe poetry by a definition will only show the narrowness of +the definer"--which shall exclude all gnomic and satiric verse, and so +debar the claims of Hesiod, Juvenal, and Boileau, it is impossible to +deny that Pope is a true poet. Certain qualities of the highest poet +Pope no doubt lacked, lofty imagination, intense passion, wide human +sympathy. But within the narrow field which he marked out for his own he +approaches perfection as nearly as any English poet, and Pope's merit +consists not merely in the smoothness of his verse or the polish of +separate epigrams, as is so often stated, but quite as much in the vigor +of his conceptions and the unity and careful proportion of each poem as +a whole. It is not too much to say that 'The Rape of the Lock' is one of +the best-planned poems in any language. It is as symmetrical and +exquisitely finished as a Grecian temple. + +Historically Pope represents the fullest embodiment of that spirit which +began to appear in English literature about the middle of the +seventeenth century, and which we are accustomed to call the "classical" +spirit. In essence this movement was a protest against the irregularity +and individual license of earlier poets. Instead of far-fetched wit and +fanciful diction, the classical school erected the standards of common +sense in conception and directness in expression. And in so doing they +restored poetry which had become the diversion of the few to the +possession of the many. Pope, for example, is preeminently the poet of +his time. He dealt with topics that were of general interest to the +society in which he lived; he pictured life as he saw it about him. And +this accounts for his prompt and general acceptance by the world of his +day. + +For the student of English literature Pope's work has a threefold value. +It represents the highest achievement of one of the great movements in +the developments of English verse. It reflects with unerring accuracy +the life and thought of his time--not merely the outward life of beau +and belle in the days of Queen Anne, but the ideals of the age in art, +philosophy, and politics. And finally it teaches as hardly any other +body of English verse can be said to do, the perennial value of +conscious and controlling art. Pope's work lives and will live while +English poetry is read, not because of its inspiration, imagination, or +depth of thought, but by its unity of design, vigor of expression, and +perfection of finish--by those qualities, in short, which show the poet +as an artist in verse. + + + +CHIEF DATES IN POPE'S LIFE + +1688 Born, May 21. + +1700 Moves to Binfield. + +1709 'Pastorals'. + +1711 'Essay on Criticism'. + +1711-12 Contributes to 'Spectator'. + +1712 'Rape of the Lock', first form. + +1713 'Windsor Forest'. + +1713 Issues proposals for translation of Homer. + +1714 'Rape of the Lock', second form. + +1715 First volume of the 'Iliad'. + +1715 'Temple of Fame'. + +1717 Pope's father dies. + +1717 'Works', including some new poems. + +1719 Settles at Twickenham. + +1720 Sixth and last volume of the 'Iliad'. + +1722 Begins translation of 'Odyssey'. + +1725 Edits Shakespeare. + +1726 Finishes translation of 'Odyssey'. + +1727-8 'Miscellanies' by Pope and Swift. + +1728-9 'Dunciad'. + +1731-2 'Moral Essays': 'Of Taste', 'Of the Use of Riches'. + +1733-4 'Essay on Man'. + +1733-8 'Satires and Epistles'. + +1735 'Works'. + +1735 'Letters' published by Curll. + +1741 'Works in Prose'; vol. II. includes the correspondence with Swift. + +1742 Fourth book of 'Dunciad'. + +1742 Revised 'Dunciad'. + +1744 Died, May 30. + +1751 First collected edition, published by Warburton, 9 vols. + + + + + + * * * * * + + + + + +SELECTIONS FROM POPE + + + + + + * * * * * + + + + + +THE RAPE OF THE LOCK + + + +AN HEROI-COMICAL POEM + + + + Nolueram, Belinda, tuos violare capillos; + Sed juvat, hoc precibus me tribuisse tuis. + + + Mart, [Epigr, XII. 84.] + + +TO MRS. ARABELLA FERMOR + +MADAM, + +It will be in vain to deny that I have some regard for this piece, since +I dedicate it to You. Yet you may bear me witness, it was intended only +to divert a few young Ladies, who have good sense and good humour enough +to laugh not only at their sex's little unguarded follies, but at their +own. But as it was communicated with the air of a Secret, it soon found +its way into the world. An imperfect copy having been offer'd to a +Bookseller, you had the good-nature for my sake to consent to the +publication of one more correct: This I was forc'd to, before I had +executed half my design, for the Machinery was entirely wanting to +compleat it. + +The Machinery, Madam, is a term invented by the Critics, to signify that +part which the Deities, Angels, or Dĉmons are made to act in a Poem: +For the ancient Poets are in one respect like many modern Ladies: let an +action be never so trivial in itself, they always make it appear of the +utmost importance. These Machines I determined to raise on a very new +and odd foundation, the Rosicrucian doctrine of Spirits. + +I know how disagreeable it is to make use of hard words before a Lady; +but't is so much the concern of a Poet to have his works understood, and +particularly by your Sex, that you must give me leave to explain two or +three difficult terms. + +The Rosicrucians are a people I must bring you acquainted with. The best +account I know of them is in a French book call'd 'Le Comte de +Gabalis', which both in its title and size is so like a Novel, that +many of the Fair Sex have read it for one by mistake. According to these +Gentlemen, the four Elements are inhabited by Spirits, which they call +Sylphs, Gnomes, Nymphs, and Salamanders. The Gnomes or Dĉmons of Earth +delight in mischief; but the Sylphs whose habitation is in the Air, are +the best-condition'd creatures imaginable. For they say, any mortals may +enjoy the most intimate familiarities with these gentle Spirits, upon a +condition very easy to all true Adepts, an inviolate preservation of +Chastity. + +As to the following Canto's, all the passages of them are as fabulous, +as the Vision at the beginning, or the Transformation at the end; +(except the loss of your Hair, which I always mention with reverence). +The Human persons are as fictitious as the airy ones; and the character +of Belinda, as it is now manag'd, resembles you in nothing but in +Beauty. + +If this Poem had as many Graces as there are in your Person, or in your +Mind, yet I could never hope it should pass thro' the world half so +Uncensur'd as You have done. But let its fortune be what it will, mine +is happy enough, to have given me this occasion of assuring you that I +am, with the truest esteem, Madam, + +Your most obedient, Humble Servant, + +A. Pope + + + + + +CANTO I + + + What dire offence from am'rous causes springs, + What mighty contests rise from trivial things, + I sing--This verse to CARYL, Muse! is due: + This, ev'n Belinda may vouchsafe to view: + Slight is the subject, but not so the praise, 5 + If She inspire, and He approve my lays. + + Say what strange motive, Goddess! could compel + A well-bred Lord t' assault a gentle Belle? + O say what stranger cause, yet unexplor'd, + Could make a gentle Belle reject a Lord? 10 + In tasks so bold, can little men engage, + And in soft bosoms dwells such mighty Rage? + + Sol thro' white curtains shot a tim'rous ray, + And oped those eyes that must eclipse the day: + Now lap-dogs give themselves the rousing shake, 15 + And sleepless lovers, just at twelve, awake: + Thrice rung the bell, the slipper knock'd the ground, + And the press'd watch return'd a silver sound. + Belinda still her downy pillow prest, + Her guardian SYLPH prolong'd the balmy rest: 20 + 'Twas He had summon'd to her silent bed + The morning-dream that hover'd o'er her head; + A Youth more glitt'ring than a Birth-night Beau, + (That ev'n in slumber caus'd her cheek to glow) + Seem'd to her ear his winning lips to lay, 25 + And thus in whispers said, or seem'd to say. + + Fairest of mortals, thou distinguish'd care + Of thousand bright Inhabitants of Air! + If e'er one vision touch.'d thy infant thought, + Of all the Nurse and all the Priest have taught; 30 + Of airy Elves by moonlight shadows seen, + The silver token, and the circled green, + Or virgins visited by Angel-pow'rs, + With golden crowns and wreaths of heav'nly flow'rs; + Hear and believe! thy own importance know, 35 + Nor bound thy narrow views to things below. + Some secret truths, from learned pride conceal'd, + To Maids alone and Children are reveal'd: + What tho' no credit doubting Wits may give? + The Fair and Innocent shall still believe. 40 + Know, then, unnumber'd Spirits round thee fly, + The light Militia of the lower sky: + These, tho' unseen, are ever on the wing, + Hang o'er the Box, and hover round the Ring. + Think what an equipage thou hast in Air, 45 + And view with scorn two Pages and a Chair. + As now your own, our beings were of old, + And once inclos'd in Woman's beauteous mould; + Thence, by a soft transition, we repair + From earthly Vehicles to these of air. 50 + Think not, when Woman's transient breath is fled + That all her vanities at once are dead; + Succeeding vanities she still regards, + And tho' she plays no more, o'erlooks the cards. + Her joy in gilded Chariots, when alive, 55 + And love of Ombre, after death survive. + For when the Fair in all their pride expire, + To their first Elements their Souls retire: + The Sprites of fiery Termagants in Flame + Mount up, and take a Salamander's name. 60 + Soft yielding minds to Water glide away, + And sip, with Nymphs, their elemental Tea. + The graver Prude sinks downward to a Gnome, + In search of mischief still on Earth to roam. + The light Coquettes in Sylphs aloft repair, 65 + And sport and flutter in the fields of Air. + + "Know further yet; whoever fair and chaste + Rejects mankind, is by some Sylph embrac'd: + For Spirits, freed from mortal laws, with ease + Assume what sexes and what shapes they please. 70 + What guards the purity of melting Maids, + In courtly balls, and midnight masquerades, + Safe from the treach'rous friend, the daring spark, + The glance by day, the whisper in the dark, + When kind occasion prompts their warm desires, 75 + When music softens, and when dancing fires? + 'Tis but their Sylph, the wise Celestials know, + Tho' Honour is the word with Men below. + + Some nymphs there are, too conscious of their face, + For life predestin'd to the Gnomes' embrace. 80 + These swell their prospects and exalt their pride, + When offers are disdain'd, and love deny'd: + Then gay Ideas crowd the vacant brain, + While Peers, and Dukes, and all their sweeping train, + And Garters, Stars, and Coronets appear, 85 + And in soft sounds, Your Grace salutes their ear. + 'T is these that early taint the female soul, + Instruct the eyes of young Coquettes to roll, + Teach Infant-cheeks a bidden blush to know, + And little hearts to flutter at a Beau. 90 + + Oft, when the world imagine women stray, + The Sylphs thro' mystic mazes guide their way, + Thro' all the giddy circle they pursue, + And old impertinence expel by new. + What tender maid but must a victim fall 95 + To one man's treat, but for another's ball? + When Florio speaks what virgin could withstand, + If gentle Damon did not squeeze her hand? + With varying vanities, from ev'ry part, + They shift the moving Toyshop of their heart; 100 + Where wigs with wigs, with sword-knots sword-knots strive, + Beaux banish beaux, and coaches coaches drive. + This erring mortals Levity may call; + Oh blind to truth! the Sylphs contrive it all. + + Of these am I, who thy protection claim, 105 + A watchful sprite, and Ariel is my name. + Late, as I rang'd the crystal wilds of air, + In the clear Mirror of thy ruling Star + I saw, alas! some dread event impend, + Ere to the main this morning sun descend, 110 + But heav'n reveals not what, or how, or where: + Warn'd by the Sylph, oh pious maid, beware! + This to disclose is all thy guardian can: + Beware of all, but most beware of Man!" + + He said; when Shock, who thought she slept too long, 115 + Leap'd up, and wak'd his mistress with his tongue. + 'T was then, Belinda, if report say true, + Thy eyes first open'd on a Billet-doux; + Wounds, Charms, and Ardors were no sooner read, + But all the Vision vanish'd from thy head. 120 + + And now, unveil'd, the Toilet stands display'd, + Each silver Vase in mystic order laid. + First, rob'd in white, the Nymph intent adores, + With head uncover'd, the Cosmetic pow'rs. + A heav'nly image in the glass appears, 125 + To that she bends, to that her eyes she rears; + Th' inferior Priestess, at her altar's side, + Trembling begins the sacred rites of Pride. + Unnumber'd treasures ope at once, and here + The various off'rings of the world appear; 130 + From each she nicely culls with curious toil, + And decks the Goddess with the glitt'ring spoil. + This casket India's glowing gems unlocks, + And all Arabia breathes from yonder box. + The Tortoise here and Elephant unite, 135 + Transformed to combs, the speckled, and the white. + Here files of pins extend their shining rows, + Puffs, Powders, Patches, Bibles, Billet-doux. + Now awful Beauty puts on all its arms; + The fair each moment rises in her charms, 140 + Repairs her smiles, awakens ev'ry grace, + And calls forth all the wonders of her face; + Sees by degrees a purer blush arise, + And keener lightnings quicken in her eyes. + The busy Sylphs surround their darling care, 145 + These set the head, and those divide the hair, + Some fold the sleeve, whilst others plait the gown: + And Betty's prais'd for labours not her own. + + + + + +CANTO II + + + Not with more glories, in th' etherial plain, + The Sun first rises o'er the purpled main, + Than, issuing forth, the rival of his beams + Launch'd on the bosom of the silver Thames. + Fair Nymphs, and well-drest Youths around her shone. 5 + But ev'ry eye was fix'd on her alone. + On her white breast a sparkling Cross she wore, + Which Jews might kiss, and Infidels adore. + Her lively looks a sprightly mind disclose, + Quick as her eyes, and as unfix'd as those: 10 + Favours to none, to all she smiles extends; + Oft she rejects, but never once offends. + Bright as the sun, her eyes the gazers strike, + And, like the sun, they shine on all alike. + Yet graceful ease, and sweetness void of pride, 15 + Might hide her faults, if Belles had faults to hide: + If to her share some female errors fall, + Look on her face, and you'll forget 'em all. + + This Nymph, to the destruction of mankind, + Nourish'd two Locks, which graceful hung behind 20 + In equal curls, and well conspir'd to deck + With shining ringlets the smooth iv'ry neck. + Love in these labyrinths his slaves detains, + And mighty hearts are held in slender chains. + With hairy springes we the birds betray, 25 + Slight lines of hair surprise the finny prey, + Fair tresses man's imperial race ensnare, + And beauty draws us with a single hair. + + Th' advent'rous Baron the bright locks admir'd; + He saw, he wish'd, and to the prize aspir'd. 30 + Resolv'd to win, he meditates the way, + By force to ravish, or by fraud betray; + For when success a Lover's toil attends, + Few ask, if fraud or force attain'd his ends. + + For this, ere Phoebus rose, he had implor'd 35 + Propitious heav'n, and ev'ry pow'r ador'd, + But chiefly Love--to Love an Altar built, + Of twelve vast French Romances, neatly gilt. + There lay three garters, half a pair of gloves; + And all the trophies of his former loves; 40 + With tender Billet-doux he lights the pyre, + And breathes three am'rous sighs to raise the fire. + Then prostrate falls, and begs with ardent eyes + Soon to obtain, and long possess the prize: + The pow'rs gave ear, and granted half his pray'r, 45 + The rest, the winds dispers'd in empty air. + + But now secure the painted vessel glides, + The sun-beams trembling on the floating tides: + While melting music steals upon the sky, + And soften'd sounds along the waters die; 50 + Smooth flow the waves, the Zephyrs gently play, + Belinda smil'd, and all the world was gay. + All but the Sylph--with careful thoughts opprest, + Th' impending woe sat heavy on his breast. + He summons strait his Denizens of air; 55 + The lucid squadrons round the sails repair: + Soft o'er the shrouds aërial whispers breathe, + That seem'd but Zephyrs to the train beneath. + Some to the sun their insect-wings unfold, + Waft on the breeze, or sink in clouds of gold; 60 + Transparent forms, too fine for mortal sight, + Their fluid bodies half dissolv'd in light, + Loose to the wind their airy garments flew, + Thin glitt'ring textures of the filmy dew, + Dipt in the richest tincture of the skies, 65 + Where light disports in ever-mingling dyes, + While ev'ry beam new transient colours flings, + Colours that change whene'er they wave their wings. + Amid the circle, on the gilded mast, + Superior by the head, was Ariel plac'd; 70 + His purple pinions op'ning to the sun, + He rais'd his azure wand, and thus begun. + + Ye Sylphs and Sylphids, to your chief give ear! + Fays, Fairies, Genii, Elves, and Dĉmons, hear! + Ye know the spheres and various tasks assign'd 75 + By laws eternal to th' aërial kind. + Some in the fields of purest Ĉther play, + And bask and whiten in the blaze of day. + Some guide the course of wand'ring orbs on high, + Or roll the planets thro' the boundless sky. 80 + Some less refin'd, beneath the moon's pale light + Pursue the stars that shoot athwart the night, + Or suck the mists in grosser air below, + Or dip their pinions in the painted bow, + Or brew fierce tempests on the wintry main, 85 + Or o'er the glebe distil the kindly rain. + Others on earth o'er human race preside, + Watch all their ways, and all their actions guide: + Of these the chief the care of Nations own, + And guard with Arms divine the British Throne. 90 + + Our humbler province is to tend the Fair, + Not a less pleasing, tho' less glorious care; + To save the powder from too rude a gale, + Nor let th' imprison'd-essences exhale; + To draw fresh colours from the vernal flow'rs; 95 + To steal from rainbows e'er they drop in show'rs + A brighter wash; to curl their waving hairs, + Assist their blushes, and inspire their airs; + Nay oft, in dreams, invention we bestow, + To change a Flounce, or add a Furbelow. 100 + + This day, black Omens threat the brightest Fair, + That e'er deserv'd a watchful spirit's care; + Some dire disaster, or by force, or slight; + But what, or where, the fates have wrapt in night. + Whether the nymph shall break Diana's law, 105 + Or some frail China jar receive a flaw; + Or stain her honour or her new brocade; + Forget her pray'rs, or miss a masquerade; + Or lose her heart, or necklace, at a ball; + Or whether Heav'n has doom'd that Shock must fall. 110 + Haste, then, ye spirits! to your charge repair: + The flutt'ring fan be Zephyretta's care; + The drops to thee, Brillante, we consign; + And, Momentilla, let the watch be thine; + Do thou, Crispissa, tend her fav'rite Lock; 115 + Ariel himself shall be the guard of Shock. + + To fifty chosen Sylphs, of special note, + We trust th' important charge, the Petticoat: + Oft have we known that seven-fold fence to fail, + Tho' stiff with hoops, and arm'd with ribs of whale; 120 + Form a strong line about the silver bound, + And guard the wide circumference around. + + Whatever spirit, careless of his charge, + His post neglects, or leaves the fair at large, + Shall feel sharp vengeance soon o'ertake his sins, 125 + Be stopp'd in vials, or transfix'd with pins; + Or plung'd in lakes of bitter washes lie, + Or wedg'd whole ages in a bodkin's eye: + Gums and Pomatums shall his flight restrain, + While clogg'd he beats his silken wings in vain; 130 + Or Alum styptics with contracting pow'r + Shrink his thin essence like a rivel'd flow'r: + Or, as Ixion fix'd, the wretch shall feel + The giddy motion of the whirling Mill, + In fumes of burning Chocolate shall glow, 135 + And tremble at the sea that froths below! + + He spoke; the spirits from the sails descend; + Some, orb in orb, around the nymph extend; + Some thrid the mazy ringlets of her hair; + Some hang upon the pendants of her ear: 140 + With beating hearts the dire event they wait, + Anxious, and trembling for the birth of Fate. + + + + + +CANTO III + + + Close by those meads, for ever crown'd with flow'rs, + Where Thames with pride surveys his rising tow'rs, + There stands a structure of majestic frame, + Which from the neighb'ring Hampton takes its name. + Here Britain's statesmen oft the fall foredoom 5 + Of foreign Tyrants and of Nymphs at home; + Here thou, great ANNA! whom three realms obey. + Dost sometimes counsel take--and sometimes Tea. + + Hither the heroes and the nymphs resort, + To taste awhile the pleasures of a Court; 10 + In various talk th' instructive hours they past, + Who gave the ball, or paid the visit last; + One speaks the glory of the British Queen, + And one describes a charming Indian screen; + A third interprets motions, looks, and eyes; 15 + At ev'ry word a reputation dies. + Snuff, or the fan, supply each pause of chat, + With singing, laughing, ogling, and _all that_. + + Mean while, declining from the noon of day, + The sun obliquely shoots his burning ray; 20 + The hungry Judges soon the sentence sign, + And wretches hang that jury-men may dine; + The merchant from th' Exchange returns in peace, + And the long labours of the Toilet cease. + Belinda now, whom thirst of fame invites, 25 + Burns to encounter two advent'rous Knights, + At Ombre singly to decide their doom; + And swells her breast with conquests yet to come. + Straight the three bands prepare in arms to join, + Each band the number of the sacred nine. 30 + + Soon as she spreads her hand, th' aërial guard + Descend, and sit on each important card: + First Ariel perch'd upon a Matadore, + Then each, according to the rank they bore; + For Sylphs, yet mindful of their ancient race, 35 + Are, as when women, wondrous fond of place. + Behold, four Kings in majesty rever'd, + With hoary whiskers and a forky beard; + And four fair Queens whose hands sustain a flow'r, + Th' expressive emblem of their softer pow'r; 40 + Four Knaves in garbs succinct, a trusty band, + Caps on their heads, and halberts in their hand; + And particolour'd troops, a shining train, + Draw forth to combat on the velvet plain. + + The skilful Nymph reviews her force with care: 45 + Let Spades be trumps! she said, and trumps they were. + + Now move to war her sable Matadores, + In show like leaders of the swarthy Moors. + Spadillio first, unconquerable Lord! + Led off two captive trumps, and swept the board. 50 + As many more Manillio forc'd to yield, + And march'd a victor from the verdant field. + Him Basto follow'd, but his fate more hard + Gain'd but one trump and one Plebeian card. + With his broad sabre next, a chief in years, 55 + The hoary Majesty of Spades appears, + Puts forth one manly leg, to sight reveal'd, + The rest, his many-colour'd robe conceal'd. + The rebel Knave, who dares his prince engage, + Proves the just victim of his royal rage. 60 + Ev'n mighty Pam, that Kings and Queens o'erthrew + And mow'd down armies in the fights of Lu, + Sad chance of war! now destitute of aid, + Falls undistinguish'd by the victor spade! + + Thus far both armies to Belinda yield; 65 + Now to the Baron fate inclines the field. + His warlike Amazon her host invades, + Th' imperial consort of the crown of Spades. + The Club's black Tyrant first her victim dy'd, + Spite of his haughty mien, and barb'rous pride: 70 + What boots the regal circle on his head, + His giant limbs, in state unwieldy spread; + That long behind he trails his pompous robe, + And, of all monarchs, only grasps the globe? + + The Baron now his Diamonds pours apace; 75 + Th' embroider'd King who shows but half his face, + And his refulgent Queen, with pow'rs combin'd + Of broken troops an easy conquest find. + Clubs, Diamonds, Hearts, in wild disorder seen, + With throngs promiscuous strow the level green. 80 + Thus when dispers'd a routed army runs, + Of Asia's troops, and Afric's sable sons, + With like confusion different nations fly, + Of various habit, and of various dye, + The pierc'd battalions dis-united fall, 85 + In heaps on heaps; one fate o'erwhelms them all. + + The Knave of Diamonds tries his wily arts, + And wins (oh shameful chance!) the Queen of Hearts. + At this, the blood the virgin's cheek forsook, + A livid paleness spreads o'er all her look; 90 + She sees, and trembles at th' approaching ill, + Just in the jaws of ruin, and Codille. + And now (as oft in some distemper'd State) + On one nice Trick depends the gen'ral fate. + An Ace of Hearts steps forth: The King unseen 95 + Lurk'd in her hand, and mourn'd his captive Queen: + He springs to Vengeance with an eager pace, + And falls like thunder on the prostrate Ace. + The nymph exulting fills with shouts the sky; + The walls, the woods, and long canals reply. 100 + + Oh thoughtless mortals! ever blind to fate, + Too soon dejected, and too soon elate. + Sudden, these honours shall be snatch'd away, + And curs'd for ever this victorious day. + + For lo! the board with cups and spoons is crown'd, 105 + The berries crackle, and the mill turns round; + On shining Altars of Japan they raise + The silver lamp; the fiery spirits blaze: + From silver spouts the grateful liquors glide, + While China's earth receives the smoking tide: 110 + At once they gratify their scent and taste, + And frequent cups prolong the rich repast. + Straight hover round the Fair her airy band; + Some, as she sipp'd, the fuming liquor fann'd, + Some o'er her lap their careful plumes display'd, 115 + Trembling, and conscious of the rich brocade. + Coffee, (which makes the politician wise, + And see thro' all things with his half-shut eyes) + Sent up in vapours to the Baron's brain + New Stratagems, the radiant Lock to gain. 120 + Ah cease, rash youth! desist ere't is too late, + Fear the just Gods, and think of Scylla's Fate! + Chang'd to a bird, and sent to flit in air, + She dearly pays for Nisus' injur'd hair! + + But when to mischief mortals bend their will, 125 + How soon they find fit instruments of ill! + Just then, Clarissa drew with tempting grace + A two-edg'd weapon from her shining case: + So Ladies in Romance assist their Knight, + Present the spear, and arm him for the fight. 130 + He takes the gift with rev'rence, and extends + The little engine on his fingers' ends; + This just behind Belinda's neck he spread, + As o'er the fragrant steams she bends her head. + Swift to the Lock a thousand Sprites repair, 135 + A thousand wings, by turns, blow back the hair; + And thrice they twitch'd the diamond in her ear; + Thrice she look'd back, and thrice the foe drew near. + Just in that instant, anxious Ariel sought + The close recesses of the Virgin's thought; 140 + As on the nosegay in her breast reclin'd, + He watch'd th' Ideas rising in her mind, + Sudden he view'd, in spite of all her art, + An earthly Lover lurking at her heart. + Amaz'd, confus'd, he found his pow'r expir'd, 145 + Resign'd to fate, and with a sigh retir'd. + + The Peer now spreads the glitt'ring Forfex wide, + T' inclose the Lock; now joins it, to divide. + Ev'n then, before the fatal engine clos'd, + A wretched Sylph too fondly interpos'd; 150 + Fate urg'd the shears, and cut the Sylph in twain, + (But airy substance soon unites again) + The meeting points the sacred hair dissever + From the fair head, for ever, and for ever! + + Then flash'd the living lightning from her eyes, 155 + And screams of horror rend th' affrighted skies. + Not louder shrieks to pitying heav'n are cast, + When husbands, or when lapdogs breathe their last; + Or when rich China vessels fall'n from high, + In glitt'ring dust and painted fragments lie! 160 + + Let wreaths of triumph now my temples twine + (The victor cry'd) the glorious Prize is mine! + While fish in streams, or birds delight in air, + Or in a coach and six the British Fair, + As long as Atalantis shall be read, 165 + Or the small pillow grace a Lady's bed, + While visits shall be paid on solemn days, + When num'rous wax-lights in bright order blaze, + While nymphs take treats, or assignations give, + So long my honour, name, and praise shall live! 170 + What Time would spare, from Steel receives its date, + And monuments, like men, submit to fate! + Steel could the labour of the Gods destroy, + And strike to dust th' imperial tow'rs of Troy; + Steel could the works of mortal pride confound, 175 + And hew triumphal arches to the ground. + What wonder then, fair nymph! thy hairs should feel, + The conqu'ring force of unresisted steel? + + + + + +CANTO IV + + + But anxious cares the pensive nymph oppress'd, + And secret passions labour'd in her breast. + Not youthful kings in battle seiz'd alive, + Not scornful virgins who their charms survive, + Not ardent lovers robb'd of all their bliss, 5 + Not ancient ladies when refus'd a kiss, + Not tyrants fierce that unrepenting die, + Not Cynthia when her manteau's pinn'd awry, + E'er felt such rage, resentment, and despair, + As thou, sad Virgin! for thy ravish'd Hair. 10 + + For, that sad moment, when the Sylphs withdrew + And Ariel weeping from Belinda flew, + Umbriel, a dusky, melancholy sprite, + As ever sully'd the fair face of light, + Down to the central earth, his proper scene, 15 + Repair'd to search the gloomy Cave of Spleen. + + Swift on his sooty pinions flits the Gnome, + And in a vapour reach'd the dismal dome. + No cheerful breeze this sullen region knows, + The dreaded East is all the wind that blows. 20 + Here in a grotto, shelter'd close from air, + And screen'd in shades from day's detested glare, + She sighs for ever on her pensive bed, + Pain at her side, and Megrim at her head. + + Two handmaids wait the throne: alike in place, 25 + But diff'ring far in figure and in face. + Here stood Ill-nature like an ancient maid, + Her wrinkled form in black and white array'd; + With store of pray'rs, for mornings, nights, and noons, + Her hand is fill'd; her bosom with lampoons. 30 + + There Affectation, with a sickly mien, + Shows in her cheek the roses of eighteen, + Practis'd to lisp, and hang the head aside. + Faints into airs, and languishes with pride, + On the rich quilt sinks with becoming woe, 35 + Wrapt in a gown, for sickness, and for show. + The fair ones feel such maladies as these, + When each new night-dress gives a new disease. + + A constant Vapour o'er the palace flies; + Strange phantoms rising as the mists arise; 40 + Dreadful, as hermit's dreams in haunted shades, + Or bright, as visions of expiring maids. + Now glaring fiends, and snakes on rolling spires, + Pale spectres, gaping tombs, and purple fires: + Now lakes of liquid gold, Elysian scenes, 45 + And crystal domes, and angels in machines. + + Unnumber'd throngs on every side are seen, + Of bodies chang'd to various forms by Spleen. + Here living Tea-pots stand, one arm held out, + One bent; the handle this, and that the spout: 50 + A Pipkin there, like Homer's Tripod walks; + Here sighs a Jar, and there a Goose-pie talks; + Men prove with child, as pow'rful fancy works, + And maids turn'd bottles, call aloud for corks. + + Safe past the Gnome thro' this fantastic band, 55 + A branch of healing Spleenwort in his hand. + Then thus address'd the pow'r: "Hail, wayward Queen! + Who rule the sex to fifty from fifteen: + Parent of vapours and of female wit, + Who give th' hysteric, or poetic fit, 60 + On various tempers act by various ways, + Make some take physic, others scribble plays; + Who cause the proud their visits to delay, + And send the godly in a pet to pray. + A nymph there is, that all thy pow'r disdains, 65 + And thousands more in equal mirth maintains. + But oh! if e'er thy Gnome could spoil a grace, + Or raise a pimple on a beauteous face, + Like Citron-waters matrons cheeks inflame, + Or change complexions at a losing game; 70 + If e'er with airy horns I planted heads, + Or rumpled petticoats, or tumbled beds, + Or caus'd suspicion when no soul was rude, + Or discompos'd the head-dress of a Prude, + Or e'er to costive lap-dog gave disease, 75 + Which not the tears of brightest eyes could ease: + Hear me, and touch Belinda with chagrin, + That single act gives half the world the spleen." + + The Goddess with a discontented air + Seems to reject him, tho' she grants his pray'r. 80 + A wond'rous Bag with both her hands she binds, + Like that where once Ulysses held the winds; + There she collects the force of female lungs, + Sighs, sobs, and passions, and the war of tongues. + A Vial next she fills with fainting fears, 85 + Soft sorrows, melting griefs, and flowing tears. + The Gnome rejoicing bears her gifts away, + Spreads his black wings, and slowly mounts to day. + + Sunk in Thalestris' arms the nymph he found, + Her eyes dejected and her hair unbound. 90 + Full o'er their heads the swelling bag he rent, + And all the Furies issu'd at the vent. + Belinda burns with more than mortal ire, + And fierce Thalestris fans the rising fire. + "O wretched maid!" she spread her hands, and cry'd, 95 + (While Hampton's echoes, "Wretched maid!" reply'd) + "Was it for this you took such constant care + The bodkin, comb, and essence to prepare? + For this your locks in paper durance bound, + For this with tort'ring irons wreath'd around? 100 + For this with fillets strain'd your tender head, + And bravely bore the double loads of lead? + Gods! shall the ravisher display your hair, + While the Fops envy, and the Ladies stare! + Honour forbid! at whose unrivall'd shrine 105 + Ease, pleasure, virtue, all our sex resign. + Methinks already I your tears survey, + Already hear the horrid things they say, + Already see you a degraded toast, + And all your honour in a whisper lost! 110 + How shall I, then, your helpless fame defend? + 'T will then be infamy to seem your friend! + And shall this prize, th' inestimable prize, + Expos'd thro' crystal to the gazing eyes, + And heighten'd by the diamond's circling rays, 115 + On that rapacious hand for ever blaze? + Sooner shall grass in Hyde-park Circus grow, + And wits take lodgings in the sound of Bow; + Sooner let earth, air, sea, to Chaos fall, + Men, monkeys, lap-dogs, parrots, perish all!" 120 + + She said; then raging to Sir Plume repairs, + And bids her Beau demand the precious hairs; + (Sir Plume of amber snuff-box justly vain, + And the nice conduct of a clouded cane) + With earnest eyes, and round unthinking face, 125 + He first the snuff-box open'd, then the case, + And thus broke out--"My Lord, why, what the devil? + "Z--ds! damn the lock! 'fore Gad, you must be civil! + Plague on't!'t is past a jest--nay prithee, pox! + Give her the hair"--he spoke, and rapp'd his box. 130 + + "It grieves me much" (reply'd the Peer again) + "Who speaks so well should ever speak in vain. + But by this Lock, this sacred Lock I swear, + (Which never more shall join its parted hair; + Which never more its honours shall renew, 135 + Clipp'd from the lovely head where late it grew) + That while my nostrils draw the vital air, + This hand, which won it, shall for ever wear." + He spoke, and speaking, in proud triumph spread + The long-contended honours of her head. 140 + + But Umbriel, hateful Gnome! forbears not so; + He breaks the Vial whence the sorrows flow. + Then see! the nymph in beauteous grief appears, + Her eyes half-languishing, half-drown'd in tears; + On her heav'd bosom hung her drooping head, 145 + Which, with a sigh, she rais'd; and thus she said. + "For ever curs'd be this detested day, + Which snatch'd my best, my fav'rite curl away! + Happy! ah ten times happy had I been, + If Hampton-Court these eyes had never seen! 150 + Yet am not I the first mistaken maid, + By love of Courts to num'rous ills betray'd. + Oh had I rather un-admir'd remain'd + In some lone isle, or distant Northern land; + Where the gilt Chariot never marks the way, 155 + Where none learn Ombre, none e'er taste Bohea! + There kept my charms conceal'd from mortal eye, + Like roses, that in deserts bloom and die. + What mov'd my mind with youthful Lords to roam? + Oh had I stay'd, and said my pray'rs at home! 160 + 'T was this, the morning omens seem'd to tell, + Thrice from my trembling hand the patch-box fell; + The tott'ring China shook without a wind. + Nay, Poll sat mute, and Shock was most unkind! + A Sylph too warn'd me of the threats of fate, 165 + In mystic visions, now believ'd too late! + See the poor remnants of these slighted hairs! + My hands shall rend what ev'n thy rapine spares: + These in two sable ringlets taught to break, + Once gave new beauties to the snowy neck; 170 + The sister-lock now sits uncouth, alone, + And in its fellow's fate foresees its own; + Uncurl'd it hangs, the fatal shears demands, + And tempts once more thy sacrilegious hands. + Oh hadst thou, cruel! been content to seize 175 + Hairs less in sight, or any hairs but these!" + + + + + +CANTO V + + + She said: the pitying audience melt in tears. + But Fate and Jove had stopp'd the Baron's ears. + In vain Thalestris with reproach assails, + For who can move when fair Belinda fails? + Not half so fix'd the Trojan could remain, 5 + While Anna begg'd and Dido rag'd in vain. + Then grave Clarissa graceful wav'd her fan; + Silence ensu'd, and thus the nymph began. + + "Say why are Beauties prais'd and honour'd most, + The wise man's passion, and the vain man's toast? 10 + Why deck'd with all that land and sea afford, + Why Angels call'd, and Angel-like ador'd? + Why round our coaches crowd the white-glov'd Beaux, + Why bows the side-box from its inmost rows; + How vain are all these glories, all our pains, 15 + Unless good sense preserve what beauty gains: + That men may say, when we the front-box grace: + 'Behold the first in virtue as in face!' + Oh! if to dance all night, and dress all day, + Charm'd the small-pox, or chas'd old-age away; 20 + Who would not scorn what housewife's cares produce, + Or who would learn one earthly thing of use? + To patch, nay ogle, might become a Saint, + Nor could it sure be such a sin to paint. + But since, alas! frail beauty must decay, 25 + Curl'd or uncurl'd, since Locks will turn to grey; + Since painted, or not painted, all shall fade, + And she who scorns a man, must die a maid; + What then remains but well our pow'r to use, + And keep good-humour still whate'er we lose? 30 + And trust me, dear! good-humour can prevail, + When airs, and flights, and screams, and scolding fail. + Beauties in vain their pretty eyes may roll; + Charms strike the sight, but merit wins the soul." + + So spoke the Dame, but no applause ensu'd; 35 + Belinda frown'd, Thalestris call'd her Prude. + "To arms, to arms!" the fierce Virago cries, + And swift as lightning to the combat flies. + All side in parties, and begin th' attack; + Fans clap, silks rustle, and tough whalebones crack; 40 + Heroes' and Heroines' shouts confus'dly rise, + And bass, and treble voices strike the skies. + No common weapons in their hands are found, + Like Gods they fight, nor dread a mortal wound. + + So when bold Homer makes the Gods engage, 45 + And heav'nly breasts with human passions rage; + 'Gainst Pallas, Mars; Latona, Hermes arms; + And all Olympus rings with loud alarms: + Jove's thunder roars, heav'n trembles all around, + Blue Neptune storms, the bellowing deeps resound: 50 + Earth shakes her nodding tow'rs, the ground gives way. + And the pale ghosts start at the flash of day! + + Triumphant Umbriel on a sconce's height + Clapp'd his glad wings, and sate to view the fight: + Propp'd on the bodkin spears, the Sprites survey 55 + The growing combat, or assist the fray. + + While thro' the press enrag'd Thalestris flies, + And scatters death around from both her eyes, + A Beau and Witling perish'd in the throng, + One died in metaphor, and one in song. 60 + "O cruel nymph! a living death I bear," + Cry'd Dapperwit, and sunk beside his chair. + A mournful glance Sir Fopling upwards cast, + "Those eyes are made so killing"--was his last. + Thus on Mĉander's flow'ry margin lies 65 + Th' expiring Swan, and as he sings he dies. + + When bold Sir Plume had drawn Clarissa down, + Chloe stepp'd in, and kill'd him with a frown; + She smil'd to see the doughty hero slain, + But, at her smile, the Beau reviv'd again. 70 + + Now Jove suspends his golden scales in air, + Weighs the Men's wits against the Lady's hair; + The doubtful beam long nods from side to side; + At length the wits mount up, the hairs subside. + + See, fierce Belinda on the Baron flies, 75 + With more than usual lightning in her eyes: + Nor fear'd the Chief th' unequal fight to try, + Who sought no more than on his foe to die. + But this bold Lord with manly strength endu'd, + She with one finger and a thumb subdu'd: 80 + Just where the breath of life his nostrils drew, + A charge of Snuff the wily virgin threw; + The Gnomes direct, to ev'ry atom just, + The pungent grains of titillating dust. + Sudden, with starting tears each eye o'erflows, 85 + And the high dome re-echoes to his nose. + + Now meet thy fate, incens'd Belinda cry'd, + And drew a deadly bodkin from her side. + (The same, his ancient personage to deck, + Her great great grandsire wore about his neck, 90 + In three seal-rings; which after, melted down, + Form'd a vast buckle for his widow's gown: + Her infant grandame's whistle next it grew, + The bells she jingled, and the whistle blew; + Then in a bodkin grac'd her mother's hairs, 95 + Which long she wore, and now Belinda wears.) + + "Boast not my fall" (he cry'd) "insulting foe! + Thou by some other shalt be laid as low, + Nor think, to die dejects my lofty mind: + All that I dread is leaving you behind! 100 + Rather than so, ah let me still survive, + And burn in Cupid's flames--but burn alive." + + "Restore the Lock!" she cries; and all around + "Restore the Lock!" the vaulted roofs rebound. + Not fierce Othello in so loud a strain 105 + Roar'd for the handkerchief that caus'd his pain. + But see how oft ambitious aims are cross'd, + And chiefs contend 'till all the prize is lost! + The Lock, obtain'd with guilt, and kept with pain, + In ev'ry place is sought, but sought in vain: 110 + With such a prize no mortal must be blest, + So heav'n decrees! with heav'n who can contest? + + Some thought it mounted to the Lunar sphere, + Since all things lost on earth are treasur'd there. + There Hero's wits are kept in pond'rous vases, 115 + And beau's in snuff-boxes and tweezer-cases. + There broken vows and death-bed alms are found, + And lovers' hearts with ends of riband bound, + The courtier's promises, and sick man's pray'rs, + The smiles of harlots, and the tears of heirs, 120 + Cages for gnats, and chains to yoke a flea, + Dry'd butterflies, and tomes of casuistry. + + But trust the Muse--she saw it upward rise, + Tho' mark'd by none but quick, poetic eyes: + (So Rome's great founder to the heav'ns withdrew, 125 + To Proculus alone confess'd in view) + A sudden Star, it shot thro' liquid air, + And drew behind a radiant trail of hair. + Not Berenice's Locks first rose so bright, + The heav'ns bespangling with dishevell'd light. 130 + The Sylphs behold it kindling as it flies, + And pleas'd pursue its progress thro' the skies. + + This the Beau monde shall from the Mall survey, + And hail with music its propitious ray. + This the blest Lover shall for Venus take, 135 + And send up vows from Rosamonda's lake. + This Partridge soon shall view in cloudless skies, + When next he looks thro' Galileo's eyes; + And hence th' egregious wizard shall foredoom + The fate of Louis, and the fall of Rome. 140 + + Then cease, bright Nymph! to mourn thy ravish'd hair, + Which adds new glory to the shining sphere! + Not all the tresses that fair head can boast, + Shall draw such envy as the Lock you lost. + For, after all the murders of your eye, 145 + When, after millions slain, yourself shall die: + When those fair suns shall set, as set they must, + And all those tresses shall be laid in dust, + This Lock, the Muse shall consecrate to fame, + And 'midst the stars inscribe Belinda's name. 150 + + + + + + * * * * * + + + + + +CONTENTS OF THE ESSAY ON CRITICISM + + +PART I + + +Introduction. That 'tis as great a fault to judge ill, as to write +v. 1. ill, and a more dangerous one to the public, + + +v. 9 to 18 That a true Taste is as rare to be found, as a true + Genius. + +v. 19 to 25 That most men are born with some Taste, but spoiled by + false Education. + +v. 26 to 45 The multitude of Critics, and causes of them. + +v. 46 to 67. That we are to study our own Taste, and know the Limits + of it. + +v. 68 to 87 Nature the best guide of Judgment. + +v. 88 Improv'd by Art and Rules,--which are but methodis'd + Nature. + +v. id, to 110 Rules derived from the Practice of the Ancient Poets. + +v. 120 to 138 That therefore the Ancients are necessary to be studyd, + by a Critic, particularly Homer and Virgil. + +v. 140 to 180 Of Licenses, and the use of them by the Ancients. + +v. 181, etc. Reverence due to the Ancients, and praise of them. + + + +PART II. Ver. 201, etc. + + Causes hindering a true Judgment, + +v. 208 1. Pride. +v. 215 2. Imperfect Learning. + +v. 233 to 288 3. Judging by parts, and not by the whole. + +v. 288, 305, Critics in Wit, Language, Versification, only. +399, etc. + +v. 384 4. Being too hard to please, or too apt to admire. + +v. 394 5. Partiality--too much Love to a Sect,--to the + Ancients or Moderns. + +v. 408 6. Prejudice or Prevention. + +v. 424 7. Singularity. + +v. 430 8. Inconstancy. + +v. 452 etc. 9. Party Spirit. + +v. 466 10. Envy. + +v. 508, etc. Against Envy, and in praise of Good-nature. + +v. 526, etc. When Severity is chiefly to be used by Critics. + + + +PART III. Ver. 560, etc. + +v. 563 Rules for the Conduct of Manners in a Critic. + +v. 566 1. Candour, Modesty. + +v. 572 Good-breeding. + +v. 578 Sincerity, and Freedom of advice. + +v. 584 2. When one's Counsel is to be restrained. + +v. 600 Character of an incorrigible Poet. + +v. 610 And of an impertinent Critic, etc. + +v. 629 Character of a good Critic. + +v. 645. The History of Criticism, and Characters of the best + Critics, + Aristotle, + +v. 653 Horace, + +v. 665 Dionysius, + +v. 667 Petronius, + +v. 670 Quintilian, + +v. 675 Longinus. + +v. 693 Of the Decay of Criticism, and its Revival. + Erasmus, + +v. 705 Vida, + + +v. 714 Boileau, + +v. 725 Lord Roscommon, etc. + +Conclusion. + + + + + +AN ESSAY ON CRITICISM + + + 'Tis hard to say, if greater want of skill + Appear in writing or in judging ill; + But, of the two, less dang'rous is th' offence + To tire our patience, than mislead our sense. + Some few in that, but numbers err in this, 5 + Ten censure wrong for one who writes amiss; + A fool might once himself alone expose, + Now one in verse makes many more in prose. + + 'Tis with our judgments as our watches, none + Go just alike, yet each believes his own. 10 + In Poets as true genius is but rare, + True Taste as seldom is the Critic's share; + Both must alike from Heav'n derive their light, + These born to judge, as well as those to write. + Let such teach others who themselves excel, 15 + And censure freely who have written well. + Authors are partial to their wit, 'tis true, + But are not Critics to their judgment too? + + Yet if we look more closely, we shall find + Most have the seeds of judgment in their mind: 20 + Nature affords at least a glimm'ring light; + The lines, tho' touch'd but faintly, are drawn right. + But as the slightest sketch, if justly trac'd, } + Is by ill-colouring but the more disgrac'd, } + So by false learning is good sense defac'd: } 25 + Some are bewilder'd in the maze of schools, + And some made coxcombs Nature meant but fools. + + In search of wit these lose their common sense, + And then turn Critics in their own defence: + Each burns alike, who can, or cannot write, 30 + Or with a Rival's, or an Eunuch's spite. + All fools have still an itching to deride, + And fain would be upon the laughing side. + If Mĉvius scribble in Apollo's spite, + There are who judge still worse than he can write. 35 + + Some have at first for Wits, then Poets past, + Turn'd Critics next, and prov'd plain fools at last. + Some neither can for Wits nor Critics pass, + As heavy mules are neither horse nor ass. + Those half-learn'd witlings, num'rous in our isle, 40 + As half-form'd insects on the banks of Nile; + Unfinish'd things, one knows not what to call, + Their generation's so equivocal: + To tell 'em, would a hundred tongues require, + Or one vain wit's, that might a hundred tire. 45 + + But you who seek to give and merit fame, + And justly bear a Critic's noble name, + Be sure yourself and your own reach to know, + How far your genius, taste, and learning go; + Launch not beyond your depth, but be discreet, 50 + And mark that point where sense and dulness meet. + + Nature to all things fix'd the limits fit, + And wisely curb'd proud man's pretending wit. + As on the land while here the ocean gains, + In other parts it leaves wide sandy plains; 55 + Thus in the soul while memory prevails, + The solid pow'r of understanding fails; + Where beams of warm imagination play, + The memory's soft figures melt away. + One science only will one genius fit; 60 + So vast is art, so narrow human wit: + Not only bounded to peculiar arts, + But oft in those confin'd to single parts. + Like kings we lose the conquests gain'd before, + By vain ambition still to make them more; 65 + Each might his sev'ral province well command, + Would all but stoop to what they understand. + + First follow Nature, and your judgment frame + By her just standard, which is still the same: + Unerring NATURE, still divinely bright, 70 + One clear, unchang'd, and universal light, + Life, force, and beauty, must to all impart, + At once the source, and end, and test of Art. + Art from that fund each just supply provides, + Works without show, and without pomp presides: 75 + In some fair body thus th' informing soul + With spirits feeds, with vigour fills the whole, + Each motion guides, and ev'ry nerve sustains; + Itself unseen, but in th' effects, remains. + Some, to whom Heav'n in wit has been profuse, 80 + Want as much more, to turn it to its use; + For wit and judgment often are at strife, + Tho' meant each other's aid, like man and wife. + 'T is more to guide, than spur the Muse's steed; + Restrain his fury, than provoke his speed; 85 + The winged courser, like a gen'rous horse, + Shows most true mettle when you check his course. + + Those RULES of old discovered, not devis'd, + Are Nature still, but Nature methodiz'd; + Nature, like liberty, is but restrain'd 90 + By the same laws which first herself ordain'd. + + Hear how learn'd Greece her useful rules indites, + When to repress, and when indulge our flights: + High on Parnassus' top her sons she show'd, + And pointed out those arduous paths they trod; 95 + Held from afar, aloft, th' immortal prize, + And urg'd the rest by equal steps to rise. + Just precepts thus from great examples giv'n, + She drew from them what they deriv'd from Heav'n. + The gen'rous Critic fann'd the Poet's fire, 100 + And taught the world with reason to admire. + Then Criticism the Muse's handmaid prov'd, + To dress her charms, and make her more belov'd: + But following wits from that intention stray'd, + Who could not win the mistress, woo'd the maid; 105 + Against the Poets their own arms they turn'd, + Sure to hate most the men from whom they learn'd. + So modern 'Pothecaries, taught the art + By Doctor's bills to play the Doctor's part, + Bold in the practice of mistaken rules, 110 + Prescribe, apply, and call their masters fools. + Some on the leaves of ancient authors prey, + Nor time nor moths e'er spoil'd so much as they. + Some drily plain, without invention's aid, + Write dull receipts how poems may be made. 115 + These leave the sense, their learning to display, + And those explain the meaning quite away. + + You then whose judgment the right course would steer, + Know well each ANCIENT'S proper character; + His fable, subject, scope in ev'ry page; 120 + Religion, Country, genius of his Age: + Without all these at once before your eyes, + Cavil you may, but never criticize. + Be Homer's works your study and delight, + Read them by day, and meditate by night; 125 + Thence form your judgment, thence your maxims bring, + And trace the Muses upward to their spring. + Still with itself compar'd, his text peruse; + And let your comment be the Mantuan Muse. + + When first young Maro in his boundless mind 130 + A work t' outlast immortal Rome design'd, + Perhaps he seem'd above the critic's law, + And but from Nature's fountains scorn'd to draw: + But when t' examine ev'ry part he came, + Nature and Homer were, he found, the same. 135 + Convinc'd, amaz'd, he checks the bold design; + And rules as strict his labour'd work confine, + As if the Stagirite o'erlook'd each line. + Learn hence for ancient rules a just esteem; + To copy nature is to copy them. 140 + + Some beauties yet no Precepts can declare, + For there's a happiness as well as care. + Music resembles Poetry, in each + Are nameless graces which no methods teach, + And which a master-hand alone can reach. 145 + If, where the rules not far enough extend, + (Since rules were made but to promote their end) + Some lucky Licence answer to the full + Th' intent propos'd, that Licence is a rule. + Thus Pegasus, a nearer way to take, 150 + May boldly deviate from the common track; + From vulgar bounds with brave disorder part, + And snatch a grace beyond the reach of art, + Which without passing thro' the judgment, gains + The heart, and all its end at once attains. 155 + In prospects thus, some objects please our eyes, + Which out of nature's common order rise, + The shapeless rock, or hanging precipice. + Great wits sometimes may gloriously offend, + And rise to faults true Critics dare not mend. 160 + But tho' the Ancients thus their rules invade, + (As Kings dispense with laws themselves have made) + Moderns, beware! or if you must offend + Against the precept, ne'er transgress its End; + Let it be seldom, and compell'd by need; 165 + And have, at least, their precedent to plead. + The Critic else proceeds without remorse, + Seizes your fame, and puts his laws in force. + I know there are, to whose presumptuous thoughts + Those freer beauties, ev'n in them, seem faults. 170 + Some figures monstrous and mis-shap'd appear, + Consider'd singly, or beheld too near, + Which, but proportion'd to their light, or place, + Due distance reconciles to form and grace. + A prudent chief not always must display 175 + His pow'rs in equal ranks, and fair array. + But with th' occasion and the place comply, + Conceal his force, nay seem sometimes to fly. + Those oft are stratagems which error seem, + Nor is it Homer nods, but we that dream. 180 + + Still green with bays each ancient Altar stands, + Above the reach of sacrilegious hands; + Secure from Flames, from Envy's fiercer rage, + Destructive War, and all-involving Age. + See, from each clime the learn'd their incense bring! 185 + Hear, in all tongues consenting Pĉans ring! + In praise so just let ev'ry voice be join'd, + And fill the gen'ral chorus of mankind. + Hail, Bards triumphant! born in happier days; + Immortal heirs of universal praise! 190 + Whose honours with increase of ages grow, + As streams roll down, enlarging as they flow; + Nations unborn your mighty names shall sound, + And worlds applaud that must not yet be found! + Oh may some spark of your celestial fire, 195 + The last, the meanest of your sons inspire, + (That on weak wings, from far, pursues your flights; + Glows while he reads, but trembles as he writes) + To teach vain Wits a science little known, + T' admire superior sense, and doubt their own! 200 + + Of all the Causes which conspire to blind + Man's erring judgment, and misguide the mind, + What the weak head with strongest bias rules, + Is _Pride_, the never-failing voice of fools. + Whatever nature has in worth denied, 205 + She gives in large recruits of needful pride; + For as in bodies, thus in souls, we find + What wants in blood and spirits, swell'd with wind: + Pride, where wit fails, steps in to our defence, + And fills up all the mighty Void of sense. 210 + If once right reason drives that cloud away, + Truth breaks upon us with resistless day. + Trust not yourself; but your defects to know, + Make use of ev'ry friend--and ev'ry foe. + + A _little learning_ is a dang'rous thing; 215 + Drink deep, or taste not the Pierian spring. + There shallow draughts intoxicate the brain, + And drinking largely sobers us again. + Fir'd at first sight with what the Muse imparts, + In fearless youth we tempt the heights of Arts, 220 + While from the bounded level of our mind + Short views we take, nor see the lengths behind; + But more advanc'd, behold with strange surprise + New distant scenes of endless science rise! + So pleas'd at first the tow'ring Alps we try, 225 + Mount o'er the vales, and seem to tread the sky, + Th' eternal snows appear already past, + And the first clouds and mountains seem the last; + But, those attain'd, we tremble to survey + The growing labours of the lengthen'd way, 230 + Th' increasing prospect tires our wand'ring eyes, + Hills peep o'er hills, and Alps on Alps arise! + + A perfect Judge will read each work of Wit + With the same spirit that its author writ: + Survey the WHOLE, nor seek slight faults to find 235 + Where nature moves, and rapture warms the mind; + Nor lose, for that malignant dull delight, + The gen'rous pleasure to be charm'd with Wit. + But in such lays as neither ebb, nor flow, + Correctly cold, and regularly low, 240 + That shunning faults, one quiet tenour keep, + We cannot blame indeed--but we may sleep. + In wit, as nature, what affects our hearts + Is not th' exactness of peculiar parts; + 'Tis not a lip, or eye, we beauty call, 245 + But the joint force and full result of all. + Thus when we view some well-proportion'd dome, + (The world's just wonder, and ev'n thine, O Rome!) + No single parts unequally surprize, + All comes united to th' admiring eyes; 250 + No monstrous height, or breadth, or length appear; + The Whole at once is bold, and regular. + + Whoever thinks a faultless piece to see, + Thinks what ne'er was, nor is, nor e'er shall be. + In every work regard the writer's End, 255 + Since none can compass more than they intend; + And if the means be just, the conduct true, + Applause, in spight of trivial faults, is due; + As men of breeding, sometimes men of wit, + T' avoid great errors, must the less commit: 260 + Neglect the rules each verbal Critic lays, + For not to know some trifles, is a praise. + Most Critics, fond of some subservient art, + Still make the Whole depend upon a Part: + They talk of principles, but notions prize, 265 + And all to one lov'd Folly sacrifice. + + Once on a time, La Mancha's Knight, they say, + A certain bard encount'ring on the way, + Discours'd in terms as just, with looks as sage, + As e'er could Dennis of the Grecian stage; 270 + Concluding all were desp'rate sots and fools, + Who durst depart from Aristotle's rules. + Our Author, happy in a judge so nice, + Produc'd his Play, and begg'd the Knight's advice; + Made him observe the subject, and the plot, 275 + The manners, passions, unities; what not? + All which, exact to rule, were brought about, + Were but a Combat in the lists left out. + "What! leave the Combat out?" exclaims the Knight; + Yes, or we must renounce the Stagirite. 280 + "Not so, by Heav'n" (he answers in a rage), + "Knights, squires, and steeds, must enter on the stage." + So vast a throng the stage can ne'er contain. + "Then build a new, or act it in a plain." + + Thus Critics, of less judgment than caprice, 285 + Curious not knowing, not exact but nice, + Form short Ideas; and offend in arts + (As most in manners) by a love to parts. + + Some to _Conceit_ alone their taste confine, + And glitt'ring thoughts struck out at ev'ry line; 290 + Pleas'd with a work where nothing's just or fit; + One glaring Chaos and wild heap of wit. + Poets like painters, thus, unskill'd to trace + The naked nature and the living grace, + With gold and jewels cover ev'ry part, 295 + And hide with ornaments their want of art. + True Wit is Nature to advantage dress'd, + What oft was thought, but ne'er so well express'd; + Something, whose truth convinc'd at sight we find, + That gives us back the image of our mind. 300 + As shades more sweetly recommend the light, + So modest plainness sets off sprightly wit. + For works may have more wit than does 'em good, + As bodies perish thro' excess of blood. + + Others for Language all their care express, 305 + And value books, as women men, for Dress: + Their praise is still--the Style is excellent: + The Sense, they humbly take upon content. + Words are like leaves; and where they most abound, + Much fruit of sense beneath is rarely found, 310 + False Eloquence, like the prismatic glass, + Its gaudy colours spreads on ev'ry place; + The face of Nature we no more survey, + All glares alike, without distinction gay: + But true expression, like th' unchanging Sun, 315 + Clears and improves whate'er it shines upon, + It gilds all objects, but it alters none. + Expression is the dress of thought, and still + Appears more decent, as more suitable; + A vile conceit in pompous words express'd, 320 + Is like a clown in regal purple dress'd: + For diff'rent styles with diff'rent subjects sort, + As several garbs with country, town, and court. + + Some by old words to fame have made pretence, + Ancients in phrase, mere moderns in their sense; 325 + Such labour'd nothings, in so strange a style, + Amaze th' unlearn'd, and make the learned smile. + Unlucky, as Fungoso in the play, } + These sparks with awkward vanity display } + What the fine gentleman wore yesterday; } 330 + And but so mimic ancient wits at best, + As apes our grandsires, in their doublets drest. + In words, as fashions, the same rule will hold; + Alike fantastic, if too new, or old: + Be not the first by whom the new are try'd, 335 + Nor yet the last to lay the old aside. + + But most by Numbers judge a Poet's song; + And smooth or rough, with them is right or wrong: + In the bright Muse though thousand charms conspire, + Her voice is all these tuneful fools admire; 340 + Who haunt Parnassus but to please their ear, } + Not mend their minds; as some to Church repair, } + Not for the doctrine, but the music there. } + These equal syllables alone require, + Tho' oft the ear the open vowe's tire; 345 + While expletives their feeble aid do join; + And ten low words oft creep in one dull line: + While they ring round the same unvary'd chimes, + With sure returns of still expected rhymes; + Where-e'er you find "the cooling western breeze," 350 + In the next line, it "whispers through the trees:" + If crystal streams "with pleasing murmurs creep," + The reader's threaten'd (not in vain) with "sleep:" + Then, at the last and only couplet fraught + With some unmeaning thing they call a thought, 355 + A needless Alexandrine ends the song + That, like a wounded snake, drags its slow length along. + Leave such to tune their own dull rhymes, and know + What's roundly smooth or languishingly slow; + And praise the easy vigour of a line, 360 + Where Denham's strength, and Waller's sweetness join. + True ease in writing comes from art, not chance, + As those move easiest who have learn'd to dance. + 'Tis not enough no harshness gives offence, + The sound must seem an Echo to the sense: 365 + Soft is the strain when Zephyr gently blows, + And the smooth stream in smoother numbers flows; + But when loud surges lash the sounding shore, + The hoarse, rough verse should like the torrent roar: + When Ajax strives some rock's vast weight to throw, 370 + The line too labours, and the words move slow; + Not so, when swift Camilla scours the plain, + Flies o'er th' unbending corn, and skims along the main. + Hear how Timotheus' varied lays surprize, + And bid alternate passions fall and rise! 375 + While, at each change, the son of Libyan Jove + Now burns with glory, and then melts with love, + Now his fierce eyes with sparkling fury glow, + Now sighs steal out, and tears begin to flow: + Persians and Greeks like turns of nature found, 380 + And the world's victor stood subdu'd by Sound! + The pow'r of Music all our hearts allow, + And what Timotheus was, is DRYDEN now. + + Avoid Extremes; and shun the fault of such, + Who still are pleas'd too little or too much. 385 + At ev'ry trifle scorn to take offence, + That always shows great pride, or little sense; + Those heads, as stomachs, are not sure the best, + Which nauseate all, and nothing can digest. + Yet let not each gay Turn thy rapture move; 390 + For fools admire, but men of sense approve: + As things seem large which we thro' mists descry, + Dulness is ever apt to magnify. + + Some foreign writers, some our own despise; + The Ancients only, or the Moderns prize. 395 + Thus Wit, like Faith, by each man is apply'd + To one small sect, and all are damn'd beside. + Meanly they seek the blessing to confine, + And force that sun but on a part to shine, + Which not alone the southern wit sublimes, 400 + But ripens spirits in cold northern climes; + Which from the first has shone on ages past, + Enlights the present, and shall warm the last; + Tho' each may feel increases and decays, + And see now clearer and now darker days. 405 + Regard not then if Wit be old or new, + But blame the false, and value still the true. + + Some ne'er advance a Judgment of their own, + But catch the spreading notion of the Town; + They reason and conclude by precedent, 410 + And own stale nonsense which they ne'er invent. + Some judge of author's names, not works, and then + Nor praise nor blame the writings, but the men. + Of all this servile herd the worst is he + That in proud dulness joins with Quality, 415 + A constant Critic at the great man's board, + To fetch and carry nonsense for my Lord. + What woful stuff this madrigal would be, + In some starv'd hackney sonneteer, or me? + But let a Lord once own the happy lines, 420 + How the wit brightens! how the style refines! + Before his sacred name flies ev'ry fault, + And each exalted stanza teems with thought! + + The Vulgar thus through Imitation err; + As oft the Learn'd by being singular; 425 + So much they scorn the crowd, that if the throng + By chance go right, they purposely go wrong; + So Schismatics the plain believers quit, + And are but damn'd for having too much wit. + Some praise at morning what they blame at night; 430 + But always think the last opinion right. + A Muse by these is like a mistress us'd, + This hour she's idoliz'd, the next abus'd; + While their weak heads like towns unfortify'd, + 'Twixt sense and nonsense daily change their side. 435 + Ask them the cause; they're wiser still, they say; + And still to-morrow's wiser than to-day. + We think our fathers fools, so wise we grow, + Our wiser sons, no doubt, will think us so. + Once School-divines this zealous isle o'er-spread; 440 + Who knew most Sentences, was deepest read; + Faith, Gospel, all, seem'd made to be disputed, + And none had sense enough to be confuted: + Scotists and Thomists, now, in peace remain, + Amidst their kindred cobwebs in Duck-lane. 445 + If Faith itself has diff'rent dresses worn, + What wonder modes in Wit should take their turn? + Oft', leaving what is natural and fit, + The current folly proves the ready wit; + And authors think their reputation safe, 450 + Which lives as long as fools are pleas'd to laugh. + Some valuing those of their own side or mind, + Still make themselves the measure of mankind: + Fondly we think we honour merit then, + When we but praise ourselves in other men. 455 + + Parties in Wit attend on those of State, + And public faction doubles private hate. + Pride, Malice, Folly, against Dryden rose, + In various shapes of Parsons, Critics, Beaus; + But sense surviv'd, when merry jests were past; 460 + For rising merit will buoy up at last. + Might he return, and bless once more our eyes, + New Blackmores and new Milbourns must arise: + Nay should great Homer lift his awful head, + Zoilus again would start up from the dead. 465 + Envy will merit, as its shade, pursue; + But like a shadow, proves the substance true; + For envy'd Wit, like Sol eclips'd, makes known + Th' opposing body's grossness, not its own, + When first that sun too pow'rful beams displays, 470 + It draws up vapours which obscure its rays; + But ev'n those clouds at last adorn its way, + Reflect new glories, and augment the day. + + Be thou the first true merit to befriend; + His praise is lost, who stays, till all commend. 475 + Short is the date, alas, of modern rhymes, + And 'tis but just to let them live betimes. + No longer now that golden age appears, + When Patriarch-wits surviv'd a thousand years: + Now length of Fame (our second life) is lost, 480 + And bare threescore is all ev'n that can boast; + Our sons their fathers' failing language see, + And such as Chaucer is, shall Dryden be. + So when the faithful pencil has design'd + Some bright Idea of the master's mind, 485 + Where a new world leaps out at his command, + And ready Nature waits upon his hand; + When the ripe colours soften and unite, + And sweetly melt into just shade and light; + When mellowing years their full perfection give, 490 + And each bold figure just begins to live, + The treach'rous colours the fair art betray, + And all the bright creation fades away! + + Unhappy Wit, like most mistaken things, + Atones not for that envy which it brings. 495 + In youth alone its empty praise we boast, + But soon the short-liv'd vanity is lost: + Like some fair flow'r the early spring supplies. + That gaily blooms, but ev'n in blooming dies. + What is this Wit, which must our cares employ? 500 + The owner's wife, that other men enjoy; + Then most our trouble still when most admir'd, + And still the more we give, the more requir'd; + Whose fame with pains we guard, but lose with ease, + Sure some to vex, but never all to please; 505 + 'Tis what the vicious fear, the virtuous shun, + By fools't is hated, and by knaves undone! + + If Wit so much from Ign'rance undergo, + Ah let not Learning too commence its foe! + Of old, those met rewards who could excel, 510 + And such were prais'd who but endeavour'd well: + Tho' triumphs were to gen'rals only due, + Crowns were reserv'd to grace the soldiers too, + Now, they who reach Parnassus' lofty crown, + Employ their pains to spurn some others down; 515 + And while self-love each jealous writer rules, + Contending wits become the sport of fools: + But still the worst with most regret commend, + For each ill Author is as bad a Friend. + To what base ends, and by what abject ways, 520 + Are mortals urg'd thro' sacred lust of praise! + Ah ne'er so dire a thirst of glory boast, + Nor in the Critic let the Man be lost. + Good-nature and good-sense must ever join; + To err is human, to forgive, divine. 525 + + But if in noble minds some dregs remain + Not yet purg'd off, of spleen and sour disdain; + Discharge that rage on more provoking crimes, + Nor fear a dearth in these flagitious times. + No pardon vile Obscenity should find, 530 + Tho' wit and art conspire to move your mind; + But Dulness with Obscenity must prove + As shameful sure as Impotence in love. + In the fat age of pleasure wealth and ease + Sprung the rank weed, and thriv'd with large increase: 535 + When love was all an easy Monarch's care; + Seldom at council, never in a war: + Jilts rul'd the state, and statesmen farces writ; + Nay wits had pensions, and young Lords had wit: + The Fair sate panting at a Courtier's play, 540 + And not a Mask went unimprov'd away: + The modest fan was lifted up no more, + And Virgins smil'd at what they blush'd before. + The following licence of a Foreign reign + Did all the dregs of bold Socinus drain; 545 + Then unbelieving priests reform'd the nation, + And taught more pleasant methods of salvation; + Where Heav'n's free subjects might their rights dispute, + Lest God himself should seem too absolute: + Pulpits their sacred satire learn'd to spare, 550 + And Vice admir'd to find a flatt'rer there! + Encourag'd thus, Wit's Titans brav'd the skies, + And the press groan'd with licens'd blasphemies. + These monsters, Critics! with your darts engage, + Here point your thunder, and exhaust your rage! 555 + Yet shun their fault, who, scandalously nice, + Will needs mistake an author into vice; + All seems infected that th' infected spy, + As all looks yellow to the jaundic'd eye. + + Learn then what MORALS Critics ought to show, 560 + For't is but half a Judge's task, to know. + 'Tis not enough, taste, judgment, learning, join; + In all you speak, let truth and candour shine: + That not alone what to your sense is due + All may allow; but seek your friendship too. 565 + + Be silent always when you doubt your sense; + And speak, tho' sure, with seeming diffidence: + Some positive, persisting fops we know, + Who, if once wrong, will needs be always so; + But you, with pleasure own your errors past, 570 + And make each day a Critic on the last. + + 'T is not enough, your counsel still be true; + Blunt truths more mischief than nice falsehoods do; + Men must be taught as if you taught them not, + And things unknown propos'd as things forgot. 575 + Without Good Breeding, truth is disapprov'd; + That only makes superior sense belov'd. + + Be niggards of advice on no pretence; + For the worst avarice is that of sense. + With mean complacence ne'er betray your trust, 580 + Nor be so civil as to prove unjust. + Fear not the anger of the wise to raise; + Those best can bear reproof, who merit praise. + + 'T were well might critics still this freedom take, + But Appius reddens at each word you speak, 585 + And stares, tremendous, with a threat'ning eye, + Like some fierce Tyrant in old tapestry. + Fear most to tax an Honourable fool, + Whose right it is, uncensur'd, to be dull; + Such, without wit, are Poets when they please, 590 + As without learning they can take Degrees. + Leave dang'rous truths to unsuccessful Satires, + And flattery to fulsome Dedicators, + Whom, when they praise, the world believes no more, + Than when they promise to give scribbling o'er. 595 + 'T is best sometimes your censure to restrain, + And charitably let the dull be vain: + Your silence there is better than your spite, + For who can rail so long as they can write? + Still humming on, their drowsy course they keep, 600 + And lash'd so long, like tops, are lash'd asleep. + False steps but help them to renew the race, + As, after stumbling, Jades will mend their pace. + What crowds of these, impenitently bold, + In sounds and jingling syllables grown old, 605 + Still run on Poets, in a raging vein, + Ev'n to the dregs and squeezings of the brain, + Strain out the last dull droppings of their sense, + And rhyme with all the rage of Impotence. + + Such shameless Bards we have; and yet't is true, 610 + There are as mad abandon'd Critics too. + The bookful blockhead, ignorantly read, + With loads of learned lumber in his head, + With his own tongue still edifies his ears, + And always list'ning to himself appears. 615 + All books he reads, and all he reads assails. + From Dryden's Fables down to Durfey's Tales. + With him, most authors steal their works, or buy; + Garth did not write his own Dispensary. + + Name a new Play, and he's the Poet's friend, 620 + Nay show'd his faults--but when would Poets mend? + No place so sacred from such fops is barr'd, + Nor is Paul's church more safe than Paul's churchyard: + Nay, fly to Altars; there they'll talk you dead: + For Fools rush in where Angels fear to tread. 625 + Distrustful sense with modest caution speaks, } + It still looks home, and short excursions makes; } + But rattling nonsense in full volleys breaks, } + And never shock'd, and never turn'd aside, + Bursts out, resistless, with a thund'ring tide. 630 + + But where's the man, who counsel can bestow, + Still pleas'd to teach, and yet not proud to know? + Unbiass'd, or by favour, or by spite; + Not dully prepossess'd, nor blindly right; + Tho' learn'd, well-bred; and tho' well-bred, sincere, 635 + Modestly bold, and humanly severe: + Who to a friend his faults can freely show, + And gladly praise the merit of a foe? + Blest with a taste exact, yet unconfin'd; + A knowledge both of books and human kind: 640 + Gen'rous converse; a soul exempt from pride; + And love to praise, with reason on his side? + + Such once were Critics; such the happy few, + Athens and Rome in better ages knew. + The mighty Stagirite first left the shore, 645 + Spread all his sails, and durst the deeps explore: + He steer'd securely, and discover'd far, + Led by the light of the Mĉonian Star. + Poets, a race long unconfin'd, and free, + Still fond and proud of savage liberty, 650 + Receiv'd his laws; and stood convinc'd 't was fit, + Who conquer'd Nature, should preside o'er Wit. + + Horace still charms with graceful negligence, + And without method talks us into sense, + Will, like a friend, familiarly convey 655 + The truest notions in the easiest way. + He, who supreme in judgment, as in wit, + Might boldly censure, as he boldly writ, + Yet judg'd with coolness, tho' he sung with fire; + His Precepts teach but what his works inspire. 660 + Our Critics take a contrary extreme, + They judge with fury, but they write with fle'me: + Nor suffers Horace more in wrong Translations + By Wits, than Critics in as wrong Quotations. + + See Dionysius Homer's thoughts refine, 665 + And call new beauties forth from ev'ry line! + Fancy and art in gay Petronius please, + The scholar's learning, with the courtier's ease. + + In grave Quintilian's copious work, we find + The justest rules, and clearest method join'd: 670 + Thus useful arms in magazines we place, + All rang'd in order, and dispos'd with grace, + But less to please the eye, than arm the hand, + Still fit for use, and ready at command. + + Thee, bold Longinus! all the Nine inspire, 675 + And bless their Critic with a Poet's fire. + An ardent Judge, who zealous in his trust, + With warmth gives sentence, yet is always just; + Whose own example strengthens all his laws; + And is himself that great Sublime he draws. 680 + + Thus long succeeding Critics justly reign'd, + Licence repress'd, and useful laws ordain'd. + Learning and Rome alike in empire grew; + And Arts still follow'd where her Eagles flew; + From the same foes, at last, both felt their doom, 685 + And the same age saw Learning fall, and Rome. + With Tyranny, then Superstition join'd, + As that the body, this enslav'd the mind; + Much was believ'd, but little understood, + And to be dull was constru'd to be good; 690 + A second deluge Learning thus o'er-run, + And the Monks finish'd what the Goths begun. + + At length Erasmus, that great injur'd name, + (The glory of the Priesthood, and the shame!) + Stemm'd the wild torrent of a barb'rous age, 695 + And drove those holy Vandals off the stage. + + But see! each Muse, in LEO'S golden days, + Starts from her trance, and trims her wither'd bays, + Rome's ancient Genius, o'er its ruins spread, + Shakes off the dust, and rears his rev'rend head. 700 + Then Sculpture and her sister-arts revive; + Stones leap'd to form, and rocks began to live; + With sweeter notes each rising Temple rung; + A Raphael painted, and a Vida sung. + Immortal Vida: on whose honour'd brow 705 + The Poet's bays and Critic's ivy grow: + Cremona now shal ever boast thy name, + As next in place to Mantua, next in fame! + + But soon by impious arms from Latium chas'd, + Their ancient bounds the banish'd Muses pass'd; 710 + Thence Arts o'er all the northern world advance, + But Critic-learning flourish'd most in France: + The rules a nation, born to serve, obeys; + And Boileau still in right of Horace sways. + But we, brave Britons, foreign laws despis'd, 715 + And kept unconquer'd, and unciviliz'd; + Fierce for the liberties of wit, and bold, + We still defy'd the Romans, as of old. + Yet some there were, among the sounder few + Of those who less presum'd, and better knew, 720 + Who durst assert the juster ancient cause, + And here restor'd Wit's fundamental laws. + Such was the Muse, whose rules and practice tell, + "Nature's chief Master-piece is writing well." + + Such was Roscommon, not more learn'd than good, 725 + With manners gen'rous as his noble blood; + To him the wit of Greece and Rome was known, + And ev'ry author's merit, but his own. + Such late was Walsh--the Muse's judge and friend, + Who justly knew to blame or to commend; 730 + To failings mild, but zealous for desert; + The clearest head, and the sincerest heart. + This humble praise, lamented shade! receive, + This praise at least a grateful Muse may give: + The Muse, whose early voice you taught to sing, 735 + Prescrib'd her heights, and prun'd her tender wing, + (Her guide now lost) no more attempts to rise, + But in low numbers short excursions tries: + Content, if hence th' unlearn'd their wants may view, + The learn'd reflect on what before they knew: 740 + Careless of censure, nor too fond of fame; + Still pleas'd to praise, yet not afraid to blame, + Averse alike to flatter, or offend; + Not free from faults, nor yet too vain to mend. + + + + + + * * * * * + + + + + +AN ESSAY ON MAN + + + +TO H. ST. JOHN LORD BOLINGBROKE + + + +THE DESIGN + + +Having proposed to write some pieces on Human Life and Manners, such as +(to use my Lord Bacon's expression) _come home to Men's Business and +Bosoms_, I thought it more satisfactory to begin with considering _Man_ +in the abstract, his _Nature_ and his _State_; since, to prove any moral +duty, to enforce any moral precept, or to examine the perfection or +imperfection of any creature whatsoever, it is necessary first to know +what _condition_ and _relation_ it is placed in, and what is the proper +end and purpose of its _being_. + +The science of Human Nature is, like all other sciences, reduced to a +_few clear points_: There are not _many certain truths_ in this world. +It is therefore in the Anatomy of the mind as in that of the Body; more +good will accrue to mankind by attending to the large, open, and +perceptible parts, than by studying too much such finer nerves and +vessels, the conformations and uses of which will for ever escape our +observation. The _disputes_ are all upon these last, and, I will venture +to say, they have less sharpened the _wits_ than the _hearts_ of men +against each other, and have diminished the practice, more than advanced +the theory of Morality. If I could flatter myself that this Essay has +any merit, it is in steering betwixt the extremes of doctrines seemingly +opposite, in passing over terms utterly unintelligible, and in forming a +_temperate_ yet not _inconsistent_, and a _short_ yet not _imperfect_ +system of Ethics. + +This I might have done in prose, but I chose verse, and even rhyme, for +two reasons. The one will appear obvious; that principles, maxims, or +precepts so written, both strike the reader more strongly at first, and +are more easily retained by him afterwards: The other may seem odd, but +is true, I found I could express them more _shortly_ this way than in +prose itself; and nothing is more certain, than that much of the _force_ +as well as _grace_ of arguments or instructions, depends on their +_conciseness_. I was unable to treat this part of my subject more in +_detail_, without becoming dry and tedious; or more _poetically_, +without sacrificing perspicuity to ornament, without wandring from the +precision, or breaking the chain of reasoning: If any man can unite all +these without diminution of any of them, I freely confess he will +compass a thing above my capacity. + +What is now published, is only to be considered as a _general Map_ of +MAN, marking out no more than the _greater parts_, their _extent_, their +_limits_, and their _connection_, and leaving the particular to be more +fully delineated in the charts which are to follow. Consequently, these +Epistles in their progress (if I have health and leisure to make any +progress) will be less dry, and more susceptible of poetical ornament. I +am here only opening the _fountains_, and clearing the passage. To +deduce the _rivers_, to follow them in their course, and to observe +their effects, may be a task more agreeable. + +P. + + + + + +ARGUMENT OF EPISTLE I + + +Of the Nature and State of Man, with respect to the UNIVERSE. + + +_Of_ Man _in the abstract_. + + +I. v. 17 &c. _That we can judge only with regard to our_ own + system, _being ignorant of the_ relations _of + systems and things_. + +II. v. 35, &c. _That Man is not to be deemed_ imperfect, _but a Being + suited to his_ place _and_ rank _in the creation, + agreeable to the_ general Order _of things, and + conformable to_ Ends _and_ Relations _to him unknown_. + +III. v. 77, &c. _That it is partly upon his_ ignorance _of_ future + _events, and partly upon the_ hope _of a_ future + _state, that all his happiness in the present + depends_. + +IV. v. 109, &c. _The_ pride _of aiming at more knowledge, and + pretending to more Perfections, the cause of Man's + error and misery. The_ impiety _of putting himself in + the place of_ God, _and judging of the fitness or + unfitness, perfection or imperfection, justice or + injustice of his dispensations_. + +V. v. 131, &c. _The_ absurdity _of conceiting himself the _final cause + _of the creation, or expecting that perfection in the_ + moral _world, which is not in the_ natural. + +VI. v. 173, &c. _The_ unreasonableness _of his complaints against_ + Providence, _while on the one hand he demands the + Perfections of the Angels, and on the other the bodily + qualifications of the Brutes; though, to possess any of + the_ sensitive faculties _in a higher degree, would + render him miserable_. + +VII. v. 207. _That throughout the whole visible world, an universal_ + order _and_ gradation _in the sensual and mental + faculties is observed, which causes a_ subordination + _of creature to creature, and of all creatures to Man. + The gradations of_ sense, instinct, thought, + reflection, reason; _that Reason alone countervails + fill the other faculties_. + +VIII. v. 233. _How much further this_ order _and_ subordination _of + living creatures may extend, above and below us; were + any part of which broken, not that part only, but the + whole connected_ creation _must be destroyed_. + +IX. v. 250. _The_ extravagance, madness, _and_ pride _of such a + desire_. + +X. v. 281, &c. _The consequence of all, the_ absolute submission +_to the end_. _due to Providence, both as to our_ present _and_ + future state, + + + + + +EPISTLE I + + + Awake, my ST. JOHN! leave all meaner things + To low ambition, and the pride of Kings. + Let us (since Life can little more supply + Than just to look about us and to die) + Expatiate free o'er all this scene of Man; 5 + A mighty maze! but not without a plan; + A Wild, where weeds and flow'rs promiscuous shoot; + Or Garden, tempting with forbidden fruit. + Together let us beat this ample field, + Try what the open, what the covert yield; 10 + The latent tracts, the giddy heights, explore + Of all who blindly creep, or sightless soar; + Eye Nature's walks, shoot Folly as it flies, + And catch the Manners living as they rise; + Laugh where we must, be candid where we can; 15 + But vindicate the ways of God to Man. + +I. Say first, of God above, or Man below, + What can we reason, but from what we know? + Of Man, what see we but his station here, + From which to reason, or to which refer? 20 + Thro' worlds unnumber'd tho' the God be known, + 'Tis ours to trace him only in our own. + He, who thro' vast immensity can pierce, + See worlds on worlds compose one universe, + Observe how system into system runs, 25 + What other planets circle other suns, + What vary'd Being peoples ev'ry star, + May tell why Heav'n has made us as we are. + But of this frame the bearings, and the ties, + The strong connexions, nice dependencies, 30 + Gradations just, has thy pervading soul + Look'd thro'? or can a part contain the whole? + + Is the great chain, that draws all to agree, + And drawn supports, upheld by God, or thee? + +II. Presumptuous Man! the reason wouldst thou find, 35 + Why form'd so weak, so little, and so blind? + First, if thou canst, the harder reason guess, + Why form'd no weaker, blinder, and no less? + Ask of thy mother earth, why oaks are made + Taller or stronger than the weeds they shade? 40 + Or ask of yonder argent fields above, + Why JOVE'S satellites are less than JOVE? + + Of Systems possible, if 'tis confest + That Wisdom infinite must form the best, + Where all must full or not coherent be, 45 + And all that rises, rise in due degree; + Then, in the scale of reas'ning life, 'tis plain, + There must be, somewhere, such a rank as Man: + And all the question (wrangle e'er so long) + Is only this, if God has plac'd him wrong? 50 + + Respecting Man, whatever wrong we call, + May, must be right, as relative to all. + In human works, tho' labour'd on with pain, + A thousand movements scarce one purpose gain; + In God's, one single can its end produce; 55 + Yet serves to second too some other use. + So Man, who here seems principal alone, + Perhaps acts second to some sphere unknown, + Touches some wheel, or verges to some goal; + 'Tis but a part we see, and not a whole. 60 + + When the proud steed shall know why Man restrains + His fiery course, or drives him o'er the plains: + When the dull Ox, why now he breaks the clod, + Is now a victim, and now Ĉgypt's God: + Then shall Man's pride and dulness comprehend 65 + His actions', passions', being's, use and end; + Why doing, suff'ring, check'd, impell'd; and why + This hour a slave, the next a deity. + + Then say not Man's imperfect, Heav'n in fault; + Say rather, Man's as perfect as he ought: 70 + His knowledge measur'd to his state and place; + His time a moment, and a point his space. + If to be perfect in a certain sphere, + What matter, soon or late, or here or there? + The blest to day is as completely so, 75 + As who began a thousand years ago. + +III. Heav'n from all creatures hides the book of Fate, + All but the page prescrib'd, their present state: + From brutes what men, from men what spirits know: + Or who could suffer Being here below? 80 + The lamb thy riot dooms to bleed to-day, + Had he thy Reason, would he skip and play? + Pleas'd to the last, he crops the flow'ry food, + And licks the hand just rais'd to shed his blood. + Oh blindness to the future! kindly giv'n, 85 + That each may fill the circle mark'd by Heav'n: + Who sees with equal eye, as God of all, + A hero perish, or a sparrow fall, + Atoms or systems into ruin hurl'd, + And now a bubble burst, and now a world. 90 + + Hope humbly then: with trembling pinions soar; + Wait the great teacher Death; and God adore. + What future bliss, he gives not thee to know, + But gives that Hope to be thy blessing now. + Hope springs eternal in the human breast: 95 + Man never Is, but always To be blest: + The soul, uneasy and confin'd from home, + Rests and expatiates in a life to come. + + Lo, the poor Indian! whose untutor'd mind + Sees God in clouds, or hears him in the wind: 100 + His soul, proud Science never taught to stray + Far as the solar walk, or milky way; + Yet simple Nature to his hope has giv'n, + Behind the cloud-topt hill, an humbler heav'n; + Some safer world in depth of woods embrac'd, 105 + Some happier island in the watry waste, + Where slaves once more their native land behold, + No fiends torment, no Christians thirst for gold. + To Be, contents his natural desire, + He asks no Angel's wing, no Seraph's fire; 110 + But thinks, admitted to that equal sky, + His faithful dog shall bear him company. + +IV. Go, wiser thou! and, in thy scale of sense, + Weight thy Opinion against Providence; + Call imperfection what thou fancy'st such, 115 + Say, here he gives too little, there too much: + Destroy all Creatures for thy sport or gust, + Yet cry, If Man's unhappy, God's unjust; + If Man alone engross not Heav'n's high care, + Alone made perfect here, immortal there: 120 + Snatch from his hand the balance and the rod, + Re-judge his justice, be the God of God. + In Pride, in reas'ning Pride, our error lies; + All quit their sphere, and rush into the skies. + + Pride still is aiming at the blest abodes, 125 + Men would be Angels, Angels would be Gods. + Aspiring to be Gods, if Angels fell, + Aspiring to be Angels, Men rebel: + And who but wishes to invert the laws + Of ORDER, sins against th' Eternal Cause. 130 + +V. Ask for what end the heav'nly bodies shine, + Earth for whose use? Pride answers, "'Tis for mine: + For me kind Nature wakes her genial Pow'r, + Suckles each herb, and spreads out ev'ry flow'r; + Annual for me, the grape, the rose renew 135 + The juice nectareous, and the balmy dew; + For me, the mine a thousand treasures brings; + For me, health gushes from a thousand springs; + Seas roll to waft me, suns to light me rise; + My foot-stool earth, my canopy the skies." 140 + + But errs not Nature from his gracious end, + From burning suns when livid deaths descend, + When earthquakes swallow, or when tempests sweep + Towns to one grave, whole nations to the deep? + "No, ('tis reply'd) the first Almighty Cause 145 + Acts not by partial, but by gen'ral laws; + Th' exceptions few; some change since all began: + And what created perfect?"--Why then Man? + If the great end be human Happiness, + Then Nature deviates; and can Man do less? 150 + As much that end a constant course requires + Of show'rs and sun-shine, as of Man's desires; + As much eternal springs and cloudless skies, + As Men for ever temp'rate, calm, and wise. + If plagues or earthquakes break not Heav'n's design, 155 + Why then a Borgia, or a Catiline? + Who knows but he, whose hand the lightning forms, + Who heaves old Ocean, and who wings the storms; + Pours fierce Ambition in a Cĉsar's mind, + Or turns young Ammon loose to scourge mankind? 160 + From pride, from pride, our very reas'ning springs; + Account for moral, as for nat'ral things: + Why charge we Heav'n in those, in these acquit? + In both, to reason right is to submit. + + Better for Us, perhaps, it might appear, 165 + Were there all harmony, all virtue here; + That never air or ocean felt the wind; + That never passion discompos'd the mind. + But ALL subsists by elemental strife; + And Passions are the elements of Life. 170 + The gen'ral ORDER, since the whole began, + Is kept in Nature, and is kept in Man. + +VI. What would this Man? Now upward will he soar, + And little less than Angel, would be more; + Now looking downwards, just as griev'd appears 175 + To want the strength of bulls, the fur of bears. + Made for his use all creatures if he call, + Say what their use, had he the pow'rs of all? + Nature to these, without profusion, kind, + The proper organs, proper pow'rs assign'd; 180 + Each seeming want compensated of course, + Here with degrees of swiftness, there of force; + All in exact proportion to the state; + Nothing to add, and nothing to abate. + Each beast, each insect, happy in its own: 185 + Is Heav'n unkind to Man, and Man alone? + Shall he alone, whom rational we call, + Be pleas'd with nothing, if not bless'd with all? + + The bliss of Man (could Pride that blessing find) + Is not to act or think beyond mankind; 190 + No pow'rs of body or of soul to share, + But what his nature and his state can bear. + Why has not Man a microscopic eye? + For this plain reason, Man is not a Fly. + Say what the use, were finer optics giv'n, 195 + T' inspect a mite, not comprehend the heav'n? + Or touch, if tremblingly alive all o'er, + To smart and agonize at every pore? + Or quick effluvia darting thro' the brain, + Die of a rose in aromatic pain? 200 + If Nature thunder'd in his op'ning ears, + And stunn'd him with the music of the spheres, + How would he wish that Heav'n had left him still + The whisp'ring Zephyr, and the purling rill? + Who finds not Providence all good and wise, 205 + Alike in what it gives, and what denies? + +VII. Far as Creation's ample range extends, + The scale of sensual, mental pow'rs ascends: + Mark how it mounts, to Man's imperial race, + From the green myriads in the peopled grass: 210 + What modes of sight betwixt each wide extreme, + The mole's dim curtain, and the lynx's beam: + Of smell, the headlong lioness between, + And hound sagacious on the tainted green: + Of hearing, from the life that fills the Flood, 215 + To that which warbles thro' the vernal wood: + The spider's touch, how exquisitely fine! + Feels at each thread, and lives along the line: + In the nice bee, what sense so subtly true + From pois'nous herbs extracts the healing dew? 220 + How Instinct varies in the grov'lling swine, + Compar'd, half-reas'ning elephant, with thine! + 'Twixt that, and Reason, what a nice barrier, + For ever sep'rate, yet for ever near! + Remembrance and Reflection how ally'd; 225 + What thin partitions Sense from Thought divide: + And Middle natures, how they long to join, + Yet never pass th' insuperable line! + Without this just gradation, could they be + Subjected, these to those, or all to thee? 230 + The pow'rs of all subdu'd by thee alone, + Is not thy Reason all these pow'rs in one? + +VIII. See, thro' this air, this ocean, and this earth, + All matter quick, and bursting into birth. + Above, how high, progressive life may go! 235 + Around, how wide! how deep extend below! + Vast chain of Being! which from God began, + Natures ethereal, human, angel, man, + Beast, bird, fish, insect, what no eye can see, + No glass can reach; from Infinite to thee, 240 + From thee to Nothing.--On superior pow'rs + Were we to press, inferior might on ours: + Or in the full creation leave a void, + Where, one step broken, the great scale's destroy'd: + From Nature's chain whatever link you strike, 245 + Tenth or ten thousandth, breaks the chain alike. + + And, if each system in gradation roll + Alike essential to th' amazing Whole, + The least confusion but in one, not all + That system only, but the Whole must fall. 250 + Let Earth unbalanc'd from her orbit fly, + Planets and Suns run lawless thro' the sky; + Let ruling Angels from their spheres be hurl'd, + Being on Being wreck'd, and world on world; + Heav'n's whole foundations to their centre nod, 255 + And Nature tremble to the throne of God. + All this dread ORDER break--for whom? for thee? + Vile worm!--Oh Madness! Pride! Impiety! + +IX. What if the foot, ordain'd the dust to tread, + Or hand, to toil, aspir'd to be the head? 260 + What if the head, the eye, or ear repin'd + To serve mere engines to the ruling Mind? + Just as absurd for any part to claim + To be another, in this gen'ral frame: + Just as absurd, to mourn the tasks or pains, 265 + The great directing MIND of ALL ordains. + + All are but parts of one stupendous whole, + Whose body Nature is, and God the soul; + That, chang'd thro' all, and yet in all the same; + Great in the earth, as in th' ethereal frame; 270 + Warms in the sun, refreshes in the breeze, + Glows in the stars, and blossoms in the trees, + Lives thro' all life, extends thro' all extent, + Spreads undivided, operates unspent; + Breathes in our soul, informs our mortal part, 275 + As full, as perfect, in a hair as heart: + As full, as perfect, in vile Man that mourns, + As the rapt Seraph that adores and burns: + To him no high, no low, no great, no small; + He fills, he bounds, connects, and equals all. 280 + +X. Cease then, nor ORDER Imperfection name: + Our proper bliss depends on what we blame. + Know thy own point: This kind, this due degree + Of blindness, weakness, Heav'n bestows on thee. + Submit.--In this, or any other sphere, 285 + Secure to be as blest as thou canst bear: + Safe in the hand of one disposing Pow'r, + Or in the natal, or the mortal hour. + All Nature is but Art, unknown to thee; + All Chance, Direction, which thou canst not see; 290 + All Discord, Harmony not understood; + All partial Evil, universal Good: + And, spite of Pride, in erring Reason's spite, + One truth is clear, WHATEVER IS, IS RIGHT. + + + + + + * * * * * + + + + + +EPISTLE TO DR ARBUTHNOT + + +Advertisement to the first publication of this _Epistle_ + + +This paper is a sort of bill of complaint, begun many years since, and +drawn up by snatches, as the several occasions offered. I had no +thoughts of publishing it, till it pleased some Persons of Rank and +Fortune (the Authors of _Verses to the Imitator of Horace_, and of an +_Epistle to a Doctor of Divinity from a Nobleman at Hampton Court_) to +attack, in a very extraordinary manner, not only my Writings (of which, +being public, the Public is judge), but my P_erson, Morals_, and +_Family_, whereof, to those who know me not, a truer information may be +requisite. Being divided between the necessity to say something of +_myself_, and my own laziness to undertake so awkward a task, I thought +it the shortest way to put the last hand to this Epistle. If it have any +thing pleasing, it will be that by which I am most desirous to please, +the _Truth_ and the _Sentiment_; and if any thing offensive, it will be +only to those I am least sorry to offend, _the vicious_ or _the +ungenerous_. + +Many will know their own pictures in it, there being not a circumstance +but what is true; but I have, for the most part, spared their _Names_, +and they may escape being laughed at, if they please. + +I would have some of them know, it was owing to the request of the +learned and candid Friend to whom it is inscribed, that I make not as +free use of theirs as they have done of mine. However, I shall have this +advantage, and honour, on my side, that whereas, by their proceeding, +any abuse may be directed at any man, no injury can possibly be done by +mine, since a nameless character can never be found out, but by its +_truth_ and _likeness_. + +P. + + + + + + P. shut, shut the door, good John! fatigu'd, I said, + Tie up the knocker, say I'm sick, I'm dead. + The Dog-star rages! nay't is past a doubt, + All Bedlam, or Parnassus, is let out: + Fire in each eye, and papers in each hand, 5 + They rave, recite, and madden round the land. + + What walls can guard me, or what shade can hide? + They pierce my thickets, thro' my Grot they glide; + By land, by water, they renew the charge; + They stop the chariot, and they board the barge. 10 + No place is sacred, not the Church is free; + Ev'n Sunday shines no Sabbath-day to me; + Then from the Mint walks forth the Man of rhyme, + Happy to catch me just at Dinner-time. + + Is there a Parson, much bemus'd in beer, 15 + A maudlin Poetess, a rhyming Peer, + A Clerk, foredoom'd his father's soul to cross, + Who pens a Stanza, when he should _engross_? + Is there, who, lock'd from ink and paper, scrawls + With desp'rate charcoal round his darken'd walls? 20 + All fly to TWIT'NAM, and in humble strain + Apply to me, to keep them mad or vain. + Arthur, whose giddy son neglects the Laws, + Imputes to me and my damn'd works the cause: + Poor Cornus sees his frantic wife elope, 25 + And curses Wit, and Poetry, and Pope. + + Friend to my Life! (which did not you prolong, + The world had wanted many an idle song) + What _Drop_ or _Nostrum_ can this plague remove? + Or which must end me, a Fool's wrath or love? 30 + A dire dilemma! either way I'm sped, + If foes, they write, if friends, they read me dead. + Seiz'd and tied down to judge, how wretched I! + Who can't be silent, and who will not lie. + To laugh, were want of goodness and of grace, 35 + And to be grave, exceeds all Pow'r of face. + I sit with sad civility, I read + With honest anguish, and an aching head; + And drop at last, but in unwilling ears, + This saving counsel, "Keep your piece nine years." 40 + + "Nine years!" cries he, who high in Drury-lane, + Lull'd by soft Zephyrs thro' the broken pane, + Rhymes ere he wakes, and prints before _Term_ ends, + Oblig'd by hunger, and request of friends: + "The piece, you think, is incorrect? why, take it, 45 + I'm all submission, what you'd have it, make it." + + Three things another's modest wishes bound, + My Friendship, and a Prologue, and ten pound. + + Pitholeon sends to me: "You know his Grace + I want a Patron; ask him for a Place." 50 + "Pitholeon libell'd me,"--"but here's a letter + Informs you, Sir, 't was when he knew no better. + Dare you refuse him? Curll invites to dine," + "He'll write a _Journal_, or he'll turn Divine." + + Bless me! a packet.--"'Tis a stranger sues, 55 + A Virgin Tragedy, an Orphan Muse." + If I dislike it, "Furies, death and rage!" + If I approve, "Commend it to the Stage." + There (thank my stars) my whole Commission ends, + The Play'rs and I are, luckily, no friends, 60 + Fir'd that the house reject him, "'Sdeath I'll print it, + And shame the fools--Your Int'rest, Sir, with Lintot!" + 'Lintot, dull rogue! will think your price too much:' + "Not, Sir, if you revise it, and retouch." + All my demurs but double his Attacks; 65 + At last he whispers, "Do; and we go snacks." + Glad of a quarrel, straight I clap the door, + Sir, let me see your works and you no more. + + 'Tis sung, when Midas' Ears began to spring, + (Midas, a sacred person and a king) 70 + His very Minister who spy'd them first, + (Some say his Queen) was forc'd to speak, or burst. + And is not mine, my friend, a sorer case, + When ev'ry coxcomb perks them in my face? + A. Good friend, forbear! you deal in dang'rous things. 75 + I'd never name Queens, Ministers, or Kings; + Keep close to Ears, and those let asses prick; + 'Tis nothing--P. Nothing? if they bite and kick? + Out with it, DUNCIAD! let the secret pass, + That secret to each fool, that he's an Ass: 80 + The truth once told (and wherefore should we lie?) + The Queen of Midas slept, and so may I. + + You think this cruel? take it for a rule, + No creature smarts so little as a fool. + Let peals of laughter, Codrus! round thee break, 85 + Thou unconcern'd canst hear the mighty crack: + Pit, Box, and gall'ry in convulsions hurl'd, + Thou stand'st unshook amidst a bursting world. + Who shames a Scribbler? break one cobweb thro', + He spins the slight, self-pleasing thread anew: 90 + Destroy his fib or sophistry, in vain, + The creature's at his dirty work again, + Thron'd in the centre of his thin designs, + Proud of a vast extent of flimsy lines! + Whom have I hurt? has Poet yet, or Peer, 95 + Lost the arch'd eye-brow, or Parnassian sneer? + + * * * * * + + Does not one table Bavius still admit? + Still to one Bishop Philips seem a wit? + Still Sappho--A. Hold! for God's sake--you 'll offend, + No Names!--be calm!--learn prudence of a friend! 100 + I too could write, and I am twice as tall; + But foes like these--P. One Flatt'rer's worse than all. + Of all mad creatures, if the learn'd are right, + It is the slaver kills, and not the bite. + A fool quite angry is quite innocent: 105 + Alas! 'tis ten times worse when they _repent_. + + One dedicates in high heroic prose, + And ridicules beyond a hundred foes: + One from all Grubstreet will my fame defend, + And more abusive, calls himself my friend. 110 + This prints my _Letters_, that expects a bribe, + And others roar aloud, "Subscribe, subscribe." + + There are, who to my person pay their court: + I cough like _Horace_, and, tho' lean, am short, + _Ammon's_ great son one shoulder had too high, 115 + Such _Ovid's_ nose, and "Sir! you have an Eye"-- + Go on, obliging creatures, make me see + All that disgrac'd my Betters, met in me. + Say for my comfort, languishing in bed, + "Just so immortal _Maro_ held his head:" 120 + And when I die, be sure you let me know + Great _Homer_ died three thousand years ago. + + Why did I write? what sin to me unknown + Dipt me in ink, my parents', or my own? + As yet a child, nor yet a fool to fame, 125 + I lisp'd in numbers, for the numbers came. + I left no calling for this idle trade, + No duty broke, no father disobey'd. + The Muse but serv'd to ease some friend, not Wife, + To help me thro' this long disease, my Life, 130 + To second, ARBUTHNOT! thy Art and Care, + And teach the Being you preserv'd, to bear. + + But why then publish? _Granville_ the polite, + And knowing _Walsh_, would tell me I could write; + Well-natur'd _Garth_ inflam'd with early praise; 135 + And _Congreve_ lov'd, and _Swift_ endur'd my lays; + The courtly _Talbot, Somers, Sheffield_, read; + Ev'n mitred _Rochester_ would nod the head, + And _St. John's_ self (great _Dryden's_ friends before) + With open arms receiv'd one Poet more. 140 + Happy my studies, when by these approv'd! + Happier their author, when by these belov'd! + From these the world will judge of men and books, + Not from the _Burnets, Oldmixons_, and _Cookes_. + + Soft were my numbers; who could take offence, 145 + While pure Description held the place of Sense? + Like gentle _Fanny's_ was my flow'ry theme, + A painted mistress, or a purling stream. + Yet then did _Gildon_ draw his venal quill;-- + I wish'd the man a dinner, and sat still. 150 + Yet then did _Dennis_ rave in furious fret; + I never answer'd,--I was not in debt. + If want provok'd, or madness made them print, + I wag'd no war with _Bedlam_ or the _Mint_. + + Did some more sober Critic come abroad; 155 + If wrong, I smil'd; if right, I kiss'd the rod. + Pains, reading, study, are their just pretence, + And all they want is spirit, taste, and sense. + Commas and points they set exactly right, + And 'twere a sin to rob them of their mite. 160 + Yet ne'er one sprig of laurel grac'd these ribalds, + From slashing _Bentley_ down to pidling _Tibalds_: + Each wight, who reads not, and but scans and spells, + Each Word-catcher, that lives on syllables, + Ev'n such small Critics some regard may claim, 165 + Preserv'd in _Milton's_ or in _Shakespeare's_ name. + Pretty! in amber to observe the forms + Of hairs, or straws, or dirt, or grubs, or worms! + The things, we know, are neither rich nor rare, + But wonder how the devil they got there. 170 + + Were others angry: I excus'd them too; + Well might they rage, I gave them but their due. + A man's true merit 'tis not hard to find; + But each man's secret standard in his mind, + That Casting-weight pride adds to emptiness, 175 + This, who can gratify? for who can _guess?_ + The Bard whom pilfer'd Pastorals renown, + Who turns a Persian tale for half a Crown, + Just writes to make his barrenness appear, + And strains, from hard-bound brains, eight lines a year; 180 + He, who still wanting, tho' he lives on theft, + Steals much, spends little, yet has nothing left: + And He, who now to sense, now nonsense leaning, + Means not, but blunders round about a meaning: + And He, whose fustian's so sublimely bad, 185 + It is not Poetry, but prose run mad: + All these, my modest Satire bade _translate_, + And own'd that nine such Poets made a _Tate_. + How did they fume, and stamp, and roar, and chafe! + And swear, not ADDISON himself was safe. 190 + + Peace to all such! but were there One whose fires + True Genius kindles, and fair Fame inspires; + Blest with each talent and each art to please, + And born to write, converse, and live with ease: + Should such a man, too fond to rule alone, 195 + Bear, like the Turk, no brother near the throne. + View him with scornful, yet with jealous eyes, + And hate for arts that caus'd himself to rise; + Damn with faint praise, assent with civil leer, + And without sneering, teach the rest to sneer; 200 + Willing to wound, and yet afraid to strike, + Just hint a fault, and hesitate dislike; + Alike reserv'd to blame, or to commend. + + A tim'rous foe, and a suspicious friend; + Dreading ev'n fools, by Flatterers besieg'd, 205 + And so obliging, that he ne'er oblig'd; + Like _Cato_, give his little Senate laws, + And sit attentive to his own applause; + While Wits and Templars ev'ry sentence raise, + And wonder with a foolish face of praise:-- 210 + Who but must laugh, if such a man there be? + Who would not weep, if Atticus were he? + + What tho' my Name stood rubric on the walls + Or plaister'd posts, with claps, in capitals? + Or smoking forth, a hundred hawkers' load, 215 + On wings of winds came flying all abroad? + I sought no homage from the Race that write; + I kept, like Asian Monarchs, from their sight: + Poems I heeded (now be-rhym'd so long) + No more than thou, great George! a birth-day song. 220 + I ne'er with wits or witlings pass'd my days, + To spread about the itch of verse and praise; + Nor like a puppy, daggled thro' the town, + To fetch and carry sing-song up and down; + Nor at Rehearsals sweat, and mouth'd, and cry'd, 225 + With handkerchief and orange at my side; + But sick of fops, and poetry, and prate, + To Bufo left the whole Castalian state. + + Proud as Apollo on his forked hill, + Sat full-blown Bufo, puff'd by ev'ry quill; 230 + Fed with soft Dedication all day long. + Horace and he went hand in hand in song. + His Library (where busts of Poets dead + And a true Pindar stood without a head,) + Receiv'd of wits an undistinguish'd race, 235 + Who first his judgment ask'd, and then a place: + Much they extoll'd his pictures, much his seat, + And flatter'd ev'ry day, and some days eat: + Till grown more frugal in his riper days, + He paid some bards with port, and some with praise; 240 + To some a dry rehearsal saw assign'd, + And others (harder still) he paid in kind. + _Dryden_ alone (what wonder?) came not nigh, + _Dryden_ alone escap'd this judging eye: + But still the _Great_ have kindness in reserve, 245 + He help'd to bury whom he help'd to starve. + + May some choice patron bless each gray goose quill! + May ev'ry _Bavius_ have his _Bufo_ still! + So, when a Statesman wants a day's defence, + Or Envy holds a whole week's war with Sense, 250 + Or simple pride for flatt'ry makes demands, + May dunce by dunce be whistled off my hands! + Blest be the _Great!_ for those they take away. + And those they left me; for they left me Gay; + Left me to see neglected Genius bloom, 255 + Neglected die, and tell it on his tomb: + Of all thy blameless life the sole return + My Verse, and Queenb'ry weeping o'er thy urn. + + Oh let me live my own, and die so too! + (To live and die is all I have to do:) 260 + Maintain a Poet's dignity and ease, + And see what friends, and read what books I please; + Above a Patron, tho' I condescend + Sometimes to call a minister my friend. + I was not born for Courts or great affairs; 265 + I pay my debts, believe, and say my pray'rs; + Can sleep without a Poem in my head; + Nor know, if _Dennis_ be alive or dead. + + Why am I ask'd what next shall see the light? + Heav'ns! was I born for nothing but to write? 270 + Has Life no joys for me? or, (to be grave) + Have I no friend to serve, no soul to save? + "I found him close with _Swift_"--'Indeed? no doubt,' + (Cries prating _Balbus_) 'something will come out.' + 'Tis all in vain, deny it as I will. 275 + 'No, such a Genius never can lie still;' + And then for mine obligingly mistakes + The first Lampoon Sir _Will_, or _Bubo_ makes. + Poor guiltless I! and can I choose but smile, + When ev'ry Coxcomb knows me by my _Style_? 280 + + Curst be the verse, how well soe'er it flow, + That tends to make one worthy man my foe, + Give Virtue scandal, Innocence a fear, + Or from the soft-eyed Virgin steal a tear! + But he who hurts a harmless neighbour's peace, 285 + Insults fall'n worth, or Beauty in distress, + Who loves a Lie, lame slander helps about, + Who writes a Libel, or who copies out: + That Fop, whose pride affects a patron's name, + Yet absent, wounds an author's honest fame: 290 + Who can _your_ merit _selfishly_ approve. + And show the _sense_ of it without the _love_; + Who has the vanity to call you friend, + Yet wants the honour, injur'd, to defend; + Who tells whate'er you think, whate'er you say, 295 + And, if he lie not, must at least betray: + Who to the _Dean_, and _silver bell_ can swear, + And sees at _Canons_ what was never there; + Who reads, but with a lust to misapply, + Make Satire a Lampoon, and Fiction, Lie. 300 + A lash like mine no honest man shall dread, + But all such babbling blockheads in his stead. + + Let _Sporus_ tremble--A. What? that thing of silk, + _Sporus_, that mere white curd of Ass's milk? + Satire or sense, alas! can _Sporus_ feel? 305 + Who breaks a butterfly upon a wheel? + P. Yet let me flap this bug with gilded wings, + This painted child of dirt, that stinks and stings; + Whose buzz the witty and the fair annoys, + Yet wit ne'er tastes, and beauty ne'er enjoys: 310 + So well-bred spaniels civilly delight + In mumbling of the game they dare not bite. + Eternal smiles his emptiness betray, + As shallow streams run dimpling all the way. + Whether in florid impotence he speaks, 315 + And, as the prompter breathes, the puppet squeaks; + Or at the ear of _Eve_, familiar Toad, + Half froth, half venom, spits himself abroad, + In puns, or politics, or tales, or lies, + Or spite, or smut, or rhymes, or blasphemies. 320 + His wit all see-saw, between _that_ and _this_, } + Now high, now low, now master up, now miss, } + And he himself one vile Antithesis. } + Amphibious thing! that acting either part, + The trifling head or the corrupted heart, 325 + Fop at the toilet, flatt'rer at the board, + Now trips a Lady, and now struts a Lord. + _Eve's_ tempter thus the Rabbins have exprest, + A Cherub's face, a reptile all the rest; + Beauty that shocks you, parts that none will trust; 330 + Wit that can creep, and pride that licks the dust. + + Not Fortune's worshipper, nor fashion's fool, + Not Lucre's madman, nor Ambition's tool, + Not proud, nor servile;--be one Poet's praise, + That, if he pleas'd, he pleas'd by manly ways: 335 + That Flatt'ry, ev'n to Kings, he held a shame, + And thought a Lie in verse or prose the same. + That not in Fancy's maze he wander'd long, + But stoop'd to Truth, and moraliz'd his song: + That not for Fame, but Virtue's better end, 340 + He stood the furious foe, the timid friend, + The damning critic, half approving wit, + The coxcomb hit, or fearing to be hit; + Laugh'd at the loss of friends he never had, + The dull, the proud, the wicked, and the mad; 345 + The distant threats of vengeance on his head, + The blow unfelt, the tear he never shed; + The tale reviv'd, the lie so oft o'erthrown, + Th' imputed trash, and dulness not his own; + The morals blacken'd when the writings scape, 350 + The libell'd person, and the pictur'd shape; + Abuse, on all he lov'd, or lov'd him, spread, + A friend in exile, or a father, dead; + The whisper, that to greatness still too near, + Perhaps, yet vibrates on his SOV'REIGN'S ear:-- 355 + Welcome for thee, fair _Virtue_! all the past; + For thee, fair Virtue! welcome ev'n the _last_! + A. But why insult the poor, affront the great? + P. A knave's a knave, to me, in ev'ry state: + Alike my scorn, if he succeed or fail, 360 + _Sporus_ at court, or _Japhet_ in a jail + A hireling scribbler, or a hireling peer, + Knight of the post corrupt, or of the shire; + If on a Pillory, or near a Throne, + He gain his Prince's ear, or lose his own. 365 + Yet soft by nature, more a dupe than wit, + _Sappho_ can tell you how this man was bit; + This dreaded Sat'rist _Dennis_ will confess + Foe to his pride, but friend to his distress: + So humble, he has knock'd at _Tibbald's_ door, 370 + Has drunk with _Cibber_, nay has rhym'd for _Moore_. + Full ten years slander'd, did he once reply? + Three thousand suns went down on _Welsted's_ lie. + To please a Mistress one aspers'd his life; + He lash'd him not, but let her be his wife. 375 + Let _Budgel_ charge low _Grubstreet_ on his quill, + And write whate'er he pleas'd, except his Will; + Let the two _Curlls_ of Town and Court, abuse + His father, mother, body, soul, and muse. + Yet why? that Father held it for a rule, 380 + It was a sin to call our neighbour fool: + That harmless Mother thought no wife a whore: + Hear this, and spare his family, _James Moore!_ + Unspotted names, and memorable long! + If there be force in Virtue, or in Song. 385 + + Of gentle blood (part shed in Honour's cause. + While yet in _Britain_ Honour had applause) + Each parent sprung--A. What fortune, pray?--P. Their own, + And better got, than _Bestia's_ from the throne. + Born to no Pride, inheriting no Strife, 390 + Nor marrying Discord in a noble wife, + Stranger to civil and religious rage, + The good man walk'd innoxious thro' his age. + Nor Courts he saw, no suits would ever try, + Nor dar'd an Oath, nor hazarded a Lie. 395 + Un-learn'd, he knew no schoolman's subtle art, + No language, but the language of the heart. + By Nature honest, by Experience wise, + Healthy by temp'rance, and by exercise; + His life, tho' long, to sickness past unknown, 400 + His death was instant, and without a groan. + O grant me, thus to live, and thus to die! + Who sprung from Kings shall know less joy than I. + + O Friend! may each domestic bliss be thine! + Be no unpleasing Melancholy mine: 405 + Me, let the tender office long engage, + To rock the cradle of reposing Age, + With lenient arts extend a Mother's breath, + Make Languor smile, and smooth the bed of Death, + Explore the thought, explain the asking eye, 410 + And keep a while one parent from the sky! + On cares like these if length of days attend, + May Heav'n, to bless those days, preserve my friend, + Preserve him social, cheerful, and serene, + And just as rich as when he serv'd a QUEEN. 415 + A. Whether that blessing be deny'd or giv'n, + Thus far was right, the rest belongs to Heav'n. + + + + + + * * * * * + + + + + +ODE ON SOLITUDE + + + + Happy the man whose wish and care + A few paternal acres bound, + Content to breathe his native air, + In his own ground. + + Whose herds with milk, whose fields with bread, 5 + Whose flocks supply him with attire, + Whose trees in summer yield him shade, + In winter fire. + + Blest, who can unconcern'dly find + Hours, days, and years slide soft away, 10 + In health of body, peace of mind, + Quiet by day, + + Sound sleep by night; study and ease, + Together mixt; sweet recreation; + And Innocence, which most does please 15 + With meditation. + + Thus let me live, unseen, unknown, + Thus unlamented let me die, + Steal from the world, and not a stone + Tell where I lie. 20 + + + + + + * * * * * + + + + + +THE DESCENT OF DULLNESS + +[From the 'Dunciad', Book IV] + + + In vain, in vain--the all-composing Hour + Resistless falls: the Muse obeys the Pow'r. + She comes! she comes! the sable Throne behold + Of _Night_ primĉval and of _Chaos_ old! + Before her, _Fancy's_ gilded clouds decay, 5 + And all its varying Rain-bows die away. + _Wit_ shoots in vain its momentary fires, + The meteor drops, and in a flash expires. + As one by one, at dread Medea's strain, + The sick'ning stars fade off th' ethereal plain; 10 + As Argus' eyes by Hermes' wand opprest, + Clos'd one by one to everlasting rest; + Thus at her felt approach, and secret might, + _Art_ after _Art_ goes out, and all is Night. + See skulking _Truth_ to her old cavern fled, 15 + Mountains of Casuistry heap'd o'er her head! + _Philosophy_, that lean'd on Heav'n before, + Shrinks to her second cause, and is no more. + _Physic_ of _Metaphysic_ begs defence, + And _Metaphysic_ calls for aid on _Sense_! 20 + See _Mystery_ to _Mathematics_ fly! + In vain! they gaze, turn giddy, rave, and die. + _Religion_ blushing veils her sacred fires, + And unawares _Morality_ expires. + For _public_ Flame, nor _private_, dares to shine; 25 + Nor _human_ Spark is left, nor Glimpse _divine_! + Lo! thy dread Empire, CHAOS! is restor'd; + Light dies before thy uncreating word; + Thy hand, great Anarch! lets the curtain fall, + And universal Darkness buries All. 30 + + + + + + * * * * * + + + + + +ON MR. GAY + +IN WESTMINSTER ABBEY, 1732 + + + Of Manners gentle, of Affections mild; + In Wit, a Man; Simplicity, a Child: + With native Humour temp'ring virtuous Rage, + Form'd to delight at once and lash the age: + Above Temptation, in a low Estate, 5 + And uncorrupted, ev'n among the Great: + A safe Companion, and an easy Friend, + Unblam'd thro' Life, lamented in thy End. + These are Thy Honours! not that here thy Bust + Is mix'd with Heroes, or with Kings thy dust; 10 + But that the Worthy and the Good shall say, + Striking their pensive bosoms--_Here_ lies GAY. + + + + + + * * * * * + + + + + +NOTES + +THE RAPE OF THE LOCK + +INTRODUCTION + + +In 1711 Pope, who had just published his 'Essay on Criticism', was +looking about for new worlds to conquer. A fortunate chance threw in his +way a subject exactly suited to his tastes and powers. He seized upon +it, dashed off his first sketch in less than a fortnight, and published +it anonymously in a 'Miscellany' issued by Lintot in 1712. But the theme +had taken firm root in his mind. Dissatisfied with his first treatment +of it, he determined, against the advice of the best critic of the day, +to recast the work, and lift it from a mere society 'jeu d'esprit' into +an elaborate mock-heroic poem. He did so and won a complete success. +Even yet, however, he was not completely satisfied and from time to time +he added a touch to his work until he finally produced the finished +picture which we know as 'The Rape of the Lock'. As it stands, it is an +almost flawless masterpiece, a brilliant picture and light-hearted +mockery of the gay society of Queen Anne's day, on the whole the most +satisfactory creation of Pope's genius, and, perhaps, the best example +of the mock-heroic in any literature. + +The occasion which gave rise to 'The Rape of the Lock' has been so often +related that it requires only a brief restatement. Among the Catholic +families of Queen Anne's day, who formed a little society of their own, +Miss Arabella Fermor was a reigning belle. In a youthful frolic which +overstepped the bounds of propriety Lord Petre, a young nobleman of her +acquaintance, cut off a lock of her hair. The lady was offended, the two +families took up the quarrel, a lasting estrangement, possibly even a +duel, was threatened. At this juncture a common friend of the two +families, a Mr. Caryll, nephew of a well-known Jacobite exile for whom +he is sometimes mistaken, suggested to Pope "to write a poem to make a +jest of it," and so kill the quarrel with laughter. Pope consented, +wrote his first draft of 'The Rape of the Lock', and passed it about in +manuscript. Pope says himself that it had its effect in the two +families; certainly nothing more is heard of the feud. How Miss Fermor +received the poem is a little uncertain. Pope complains in a letter +written some months after the poem had appeared in print that "the +celebrated lady is offended." According to Johnson she liked the verses +well enough to show them to her friends, and a niece of hers said years +afterward that Mr. Pope's praise had made her aunt "very troublesome and +conceited." It is not improbable that Belinda was both flattered and +offended. Delighted with the praise of her beauty she may none the less +have felt called upon to play the part of the offended lady when the +poem got about and the ribald wits of the day began to read into it +double meanings which reflected upon her reputation. To soothe her +ruffled feelings Pope dedicated the second edition of the poem to her in +a delightful letter in which he thanked her for having permitted the +publication of the first edition to forestall an imperfect copy offered +to a bookseller, declared that the character of Belinda resembled her in +nothing but in beauty, and affirmed that he could never hope that his +poem should pass through the world half so uncensured as she had done. +It would seem that the modern critics who have undertaken to champion +Miss Fermor against what they are pleased to term the revolting behavior +of the poet are fighting a needless battle. A pretty girl who would long +since have been forgotten sat as an unconscious model to a great poet; +he made her the central figure in a brilliant picture and rendered her +name immortal. That is the whole story, and when carping critics begin +to search the poem for the improprieties of conduct to which they say +Pope alluded, one has but to answer in Pope's own words. + + If to her share some female errors fall, + Look on her face, and you'll forget 'em all. + +Pope's statement in the dedication that he had been forced into +publishing the first draft of the poem before his design of enlarging it +was half executed is probably to be taken, like many of his statements, +with a sufficient grain of salt. Pope had a curious habit of protesting +that he was forced into publishing his letters, poems, and other +trifles, merely to forestall the appearance of unauthorized editions. It +is more likely that it was the undoubted success of 'The Rape of the +Lock' in its first form which gave him the idea of working up the sketch +into a complete mock-heroic poem. + +Examples of such a poem were familiar enough to Pope. Not to go back to +the pseudo-Homeric mock epic which relates the battle of the frogs and +mice, Vida in Italy and Boileau in France, with both of whom Pope, as +the 'Essay on Criticism' shows, was well acquainted, had done work of +this kind. Vida's description of the game of chess in his 'Scacchia +Ludus' certainly gave him the model for the game of ombre in the third +canto of 'The Rape of the Lock'; Boileau's 'Lutrin' probably suggested +to him the idea of using the mock-heroic for the purposes of satire. + +Now it was a dogma of the critical creed of the day, which Pope devoutly +accepted, that every epic must have a well-recognized "machinery." +Machinery, as he kindly explained to Miss Fermor, was a "term invented +by the critics to signify that part which the deities, angels, or demons +are made to act in a poem," in short for the whole supernatural element. +Such machinery was quite wanting in the first draft of the Rape; it must +be supplied if the poem was to be a true epic, even of the comic kind. +And the machinery must be of a nature which would lend itself to the +light satiric tone of the poem. What was it to be? The employment of +what we may call Christian machinery, the angels and devils of Tasso and +Milton, was, of course, out of the question. The employment of the +classic machinery was almost as impossible. It would have been hard for +such an admirer of the classics as Pope to have taken the deities of +Olympus otherwise than seriously. And even if he had been able to treat +them humorously, the humor would have been a form of burlesque quite at +variance with what he had set out to accomplish. For Pope's purpose, +springing naturally from the occasion which set him to writing the +'Rape', was not to burlesque what was naturally lofty by exhibiting it +in a degraded light, but to show the true littleness of the trivial by +treating it in a grandiose and mock-heroic fashion, to make the quarrel +over the stolen lock ridiculous by raising it to the plane of the epic +contest before the walls of Troy. + +In his perplexity a happy thought, little less in fact than an +inspiration of genius, came to Pope. He had been reading a book by a +clever French abbé treating in a satiric fashion of the doctrines of the +so-called Rosicrucians, in particular of their ideas of elemental +spirits and the influence of these spirits upon human affairs. Here was +the machinery he was looking for made to his hand. There would be no +burlesque in introducing the Rosicrucian sylphs and gnomes into a +mock-heroic poem, for few people, certainly not the author of the 'Comte +de Gabalis', took them seriously. Yet the widespread popularity of this +book, to say nothing of the existence of certain Rosicrucian societies, +had rendered their names familiar to the society for which Pope wrote. +He had but to weave them into the action of his poem, and the brilliant +little sketch of society was transformed into a true mock-epic. + +The manner in which this interweaving was accomplished is one of the +most satisfactory evidences of Pope's artistic genius. He was proud of +it himself. "The making the machinery, and what was published before, +hit so well together, is," he told Spencer, "I think, one of the +greatest proofs of judgment of anything I ever did." And he might well +be proud. Macaulay, in a well-known passage, has pointed out how seldom +in the history of literature such a recasting of a poem has been +successfully accomplished. But Pope's revision of 'The Rape of the Lock' +was so successful that the original form was practically done away with. +No one reads it now but professed students of the literature of Queen +Anne's time. And so artfully has the new matter been woven into the old +that if the recasting of 'The Rape of the Lock' were not a commonplace +even in school histories of English literature, not one reader in a +hundred would suspect that the original sketch had been revised and +enlarged to more than twice its length. It would be an interesting task +for the student to compare the two forms printed in this edition, to +note exactly what has been added, and the reasons for its addition, and +to mark how Pope has smoothed the junctures and blended the old and the +new. Nothing that he could do would admit him more intimately to the +secrets of Pope's mastery of his art. + +A word must be said in closing as to the merits of 'The Rape of the +Lock' and its position in English literature. In the first place it is +an inimitable picture of one phase, at least, of the life of the time, +of the gay, witty, heartless society of Queen Anne's day. Slowly +recovering from the licentious excesses of the Restoration, society at +this time was perhaps unmoral rather than immoral. It was quite without +ideals, unless indeed the conventions of "good form" may be dignified by +that name. It lacked the brilliant enthusiasm of Elizabethan times as +well as the religious earnestness of the Puritans and the devotion to +patriotic and social ideals which marked a later age. Nothing, perhaps, +is more characteristic of the age than its attitude toward women. It +affected indeed a tone of high-flown adoration which thinly veiled a +cynical contempt. It styled woman a goddess and really regarded her as +little better than a doll. The passion of love had fallen from the high +estate it once possessed and become the mere relaxation of the idle +moments of a man of fashion. + +In the comedies of Congreve, for example, a lover even if honestly in +love thinks it as incumbent upon him to make light of his passion before +his friends as to exaggerate it in all the forms of affected compliment +before his mistress. + +In 'The Rape of the Lock' Pope has caught and fixed forever the +atmosphere of this age. It is not the mere outward form and +circumstance, the manners and customs, the patching, powdering, ogling, +gambling, of the day that he has reproduced, though his account of these +would alone suffice to secure the poem immortality as a contribution to +the history of society. The essential spirit of the age breathes from +every line. No great English poem is at once so brilliant and so empty, +so artistic, and yet so devoid of the ideals on which all high art +rests. It is incorrect, I think, to consider Pope in 'The Rape of the +Lock' as the satirist of his age. He was indeed clever enough to +perceive its follies, and witty enough to make sport of them, but it is +much to be doubted whether he was wise enough at this time to raise his +eyes to anything better. In the social satires of Pope's great admirer, +Byron, we are at no loss to perceive the ideal of personal liberty which +the poet opposes to the conventions he tears to shreds. Is it possible +to discover in 'The Rape of the Lock' any substitute for Belinda's +fancies and the Baron's freaks? The speech of Clarissa which Pope +inserted as an afterthought to point the moral of the poem recommends +Belinda to trust to merit rather than to charms. But "merit" is +explicitly identified with good humor, a very amiable quality, but +hardly of the highest rank among the moral virtues. And the avowed end +and purpose of "merit" is merely to preserve what beauty gains, the +flattering attentions of the other sex,--surely the lowest ideal ever +set before womankind. The truth is, I think, that 'The Rape of the Lock' +represents Pope's attitude toward the social life of his time in the +period of his brilliant youth. He was at once dazzled, amused, and +delighted by the gay world in which he found himself. The apples of +pleasure had not yet turned to ashes on his lips, and it is the poet's +sympathy with the world he paints which gives to the poem the air, most +characteristic of the age itself, of easy, idle, unthinking gayety. We +would not have it otherwise. There are sermons and satires in abundance +in English literature, but there is only one 'Rape of the Lock'. + +The form of the poem is in perfect correspondence with its spirit. There +is an immense advance over the 'Essay on Criticism' in ease, polish, and +balance of matter and manner. And it is not merely in matters of detail +that the supremacy of the latter poem is apparent. 'The Rape of the +Lock' is remarkable among all Pope's longer poems as the one complete +and perfect whole. It is no mosaic of brilliant epigrams, but an organic +creation. It is impossible to detach any one of its witty paragraphs and +read it with the same pleasure it arouses when read in its proper +connection. Thalestris' call to arms and Clarissa's moral reproof are +integral parts of the poem. And as a result, perhaps, of its essential +unity 'The Rape of the Lock' bears witness to the presence of a power in +Pope that we should hardly have suspected from his other works, the +power of dramatic characterization. Elsewhere he has shown himself a +master of brilliant portraiture, but Belinda, the Baron, and Thalestris +are something more than portraits. They are living people, acting and +speaking with admirable consistency. Even the little sketch of Sir Plume +is instinct with life. + +Finally 'The Rape of the Lock', in its limitations and defects, no less +than in its excellencies, represents a whole period of English poetry, +the period which reaches with but few exceptions from Dryden to +Wordsworth. The creed which dominated poetic composition during this +period is discussed in the introduction to the Essay on Criticism, (see +p. 103) and is admirably illustrated in that poem itself. Its repression +of individuality, its insistence upon the necessity of following in the +footsteps of the classic poets, and of checking the outbursts of +imagination by the rules of common sense, simply incapacitated the poets +of the period from producing works of the highest order. And its +insistence upon man as he appeared in the conventional, urban society of +the day as the one true theme of poetry, its belief that the end of +poetry was to instruct and improve either by positive teaching or by +negative satire, still further limited its field. One must remember in +attempting an estimate of 'The Rape of the Lock' that it was composed +with an undoubting acceptance of this creed and within all these +narrowing limitations. And when this is borne in mind, it is hardly too +much to say that the poem attains the highest point possible. In its +treatment of the supernatural it is as original as a poem could be at +that day. The brilliancy of its picture of contemporary society could +not be heightened by a single stroke. Its satire is swift and keen, but +never ill natured. And the personality of Pope himself shines through +every line. Johnson advised authors who wished to attain a perfect style +to give their days and nights to a study of Addison. With equal justice +one might advise students who wish to catch the spirit of our so-called +Augustan age, and to realize at once the limitations and possibilities +of its poetry, to devote themselves to the study of 'The Rape of the +Lock'. + + + + +DEDICATION + +'Mrs. Arabella': + +the title of Mrs. was still given in Pope's time to unmarried ladies as +soon as they were old enough to enter society. + + +'the Rosicrucian doctrine': + +the first mention of the Rosicrucians is in a book published in Germany +in 1614, inviting all scholars to join the ranks of a secret society +said to have been founded two centuries before by a certain Christian +Rosenkreuz who had mastered the hidden wisdom of the East. It seems +probable that this book was an elaborate hoax, but it was taken +seriously at the time, and the seventeenth century saw the formation of +numerous groups of "Brothers of the Rosy Cross." They dabbled in +alchemy, spiritualism, and magic, and mingled modern science with +superstitions handed down from ancient times. Pope probably knew nothing +more of them than what he had read in 'Le Comte de Gabalis'. + +This was the work of a French abbé, de Montfaucon Villars (1635-1673), +who was well known in his day both as a preacher and a man of letters. +It is really a satire upon the fashionable mystical studies, but treats +in a tone of pretended seriousness of secret sciences, of elemental +spirits, and of their intercourse with men. It was translated into +English in 1680 and again in 1714. + + + + +CANTO I + +Lines '1-2' + +Pope opens his mock-epic with the usual epic formula, the statement of +the subject. Compare the first lines of the 'Iliad', the 'Ĉneid', and +'Paradise Lost'. In l. 7 he goes on to call upon the "goddess," i.e. the +muse, to relate the cause of the rape. This, too, is an epic formula. +Compare 'Ĉneid', I, 8, and 'Paradise Lost', I, 27-33. + + +'3 Caryl': + +see Introduction, p. 83. In accordance with his wish his name was not +printed in the editions of the poem that came out in Pope's lifetime, +appearing there only as C----or C----l. + + +'4 Belinda': + +a name used by Pope to denote Miss Fermor, the heroine of 'The Rape of +the Lock'. + + +'12' + +This line is almost a translation of a line in the 'Ĉneid' (I, 11), +where Virgil asks if it be possible that such fierce passions (as +Juno's) should exist in the minds of gods. + + +'13 Sol': + +a good instance of the fondness which Pope shared with most poets of his +time for giving classical names to objects of nature. This trick was +supposed to adorn and elevate poetic diction. Try to find other +instances of this in 'The Rape of the Lock'. + +Why is the sun's ray called "tim'rous"? + + +'16' + +It was an old convention that lovers were so troubled by their passion +that they could not sleep. In the 'Prologue to the Canterbury Tales' +(ll. 97-98), Chaucer says of the young squire: + + So hote he lovede, that by nightertale + He sleep namore than dooth a nightingale. + +Pope, of course, is laughing at the easy-going lovers of his day who in +spite of their troubles sleep very comfortably till noon. + + +'17' + +The lady on awaking rang a little hand-bell that stood on a table by her +bed to call her maid. Then as the maid did not appear at once she tapped +impatiently on the floor with the heel of her slipper. The watch in the +next line was a repeater. + + +'19' + +All the rest of this canto was added in the second edition of the poem. +See pp. 84-86. Pope did not notice that he describes Belinda as waking +in I. 14 and still asleep and dreaming in ll. 19-116. + + +'20 guardian Sylph': + +compare ll. 67-78. + + +'23 a Birth-night Beau': + +a fine gentleman in his best clothes, such as he would wear at a ball on +the occasion of a royal birthday. + + +'30' + +The nurse would have told Belinda the old tales of fairies who danced by +moonlight on rings in the greensward, and dropped silver coins into the +shoes of tidy little maids. The priest, on the other hand, would have +repeated to her the legend of St. Cecilia and her guardian angel who +once appeared in bodily form to her husband holding two rose garlands +gathered in Paradise, or of St. Dorothea, who sent an angel messenger +with a basket of heavenly fruits and flowers to convert the pagan +Theophilus. + + +'42 militia': + +used here in the general sense of "soldiery." + + +'44 the box': + +in the theater. + + +'the ring': + +the drive in Hyde Park, where the ladies of society took the air. + + +'46 a chair': + +a sedan chair in which ladies used to be carried about. Why is Belinda +told to scorn it? + + +'50' + +What is the meaning of "vehicles" in this line? + + +'56 Ombre': + +the fashionable game of cards in Pope's day. See his account of a game +in Canto III and the notes on that passage. + + +'57-67' + +See 'Introduction', p. 85. + + +'69-70' + +Compare 'Paradise Lost', I, 423-431. + + +'79' + +conscious of their face: proud of their beauty. + + +'81 These': + +the gnomes who urge the vain beauties to disdain all offers of love and +play the part of prudes. + + +'85 garters, stars, and coronets': + +the garter is the badge of the Knights of the Garter, an order founded +by Edward III, to which only noble princes and noblemen of the highest +rank were admitted. "Stars" are the jeweled decorations worn by members +of other noble orders. "Coronets" are the inferior crowns worn by +princes and nobles, not by sovereigns. + + +'86 "Your Grace"': + +the title bestowed in England on a duchess--The idea in this passage, +ll. 83-86, is that the gnomes fill the girls' minds with hopes of a +splendid marriage and so induce them to "deny love." + + +'94 impertinence': + +purposeless flirtation. + + +'97-98 Florio ... Damon': + +poetic names for fine gentlemen; no special individuals are meant. + + +'100' Why is a woman's heart called a "toy-shop"? + + +'101 Sword-knots': + +tassels worn at the hilts of swords. In Pope's day every gentleman +carried a sword, and these sword-knots were often very gay. + + +'105 who thy protection claim': + +what is the exact meaning of his phrase? + + +'108 thy ruling Star': + +the star that controls thy destinies, a reference to the old belief in +astrology. + + +'115 Shock': + +Belinda's pet dog. His name would seem to show that he was a +rough-haired terrier. + + +'118' + +Does this line mean that Belinda had never seen a billet-doux before? + + +'119 Wounds, Charms, and Ardors': + +the usual language of a love-letter at this time. + + +'124 the Cosmetic pow'rs': + +the deities that preside over a lady's toilet. Note the playful satire +with which Pope describes Belinda's toilet as if it were a religious +ceremony. Who is "th' inferior priestess" in l. 127? + + +'131 nicely': + +carefully. + + +'134 Arabia': + +famous for its perfumes. + + +'145 set the head': + +arrange the head-dress. + + +'147 Betty': + +Belinda's maid. + + + +CANTO II + +'4 Launch'd': + +embarked. + + +'25 springes': + +snares. + + +'26 the finny prey': + +a characteristic instance of Pope's preference or circumlocution to a +direct phrase. + + +'35-36' + +A regular formula in classical epics. In Virgil (XI, 794-795) Phoebus +grants part of the prayer of Arruns; the other part he scatters to the +light winds. + + +'38 vast French Romances': + +these romances were the customary reading of society in Pope's day when +there were as yet no English novels. Some of them were of enormous +length. Addison found several of them in a typical lady's library, great +folio volumes, finely bound in gilt ('Spectator', 37). + + +'58 All but the Sylph': + +so in Homer (1-25), while all the rest of the army is sleeping Agamemnon +is disturbed by fear of the doom impending over the Greeks at the hands +of Hector. + + +'60 Waft': + +wave, or flutter. + + +'70 Superior by the head': + +so in Homer ('Iliad', III, 225-227) Ajax is described as towering over +the other Greeks by head and shoulders. + + +'73 sylphids': + +a feminine form of "sylphs." + + +'74' + +This formal opening of Ariel's address to his followers is a parody of a +passage in 'Paradise Lost', V, 600-601. + + +'75 spheres': + + +either "worlds" or in a more general sense "regions." + +'79' + +What are the "wandering orbs," and how do they differ from planets in l. +80? + + +'97 a wash': + +a lotion for the complexion. + + +'105' + +Diana, the virgin huntress, was in a peculiar sense the goddess of +chastity. + + +'106 China jar': + +the taste for collecting old china was comparatively new in England at +this time. It had been introduced from Holland by Queen Anne's sister, +Queen Mary, and was eagerly caught up by fashionable society. + + +'113 The drops': + +the diamond earrings. + + +'118 the Petticoat': + +the huge hoop skirt which had recently become fashionable. Addison, in a +humorous paper in the 'Tatler' (No. 116), describes one as about +twenty-four yards in circumference. + + +'128 bodkin': + +a large needle. + + +'133 rivel'd': + +an obsolete raiment of "obrivelled." + + +'133 Ixion': + +according to classical mythology Ixion was punished for his sins by +being bound forever upon a whirling wheel. + + +'134 Mill': + +the mill in which cakes of chocolate were ground up preparatory to +making the beverage. + + +'138 orb in orb': + +in concentric circles. + + +'139 thrid': + +a variant form of "thread." + + + +CANTO III + +'3 a structure': + +Hampton Court, a palace on the Thames, a few miles above London. It was +begun by Wolsey, and much enlarged by William III. Queen Anne visited it +occasionally, and cabinet meetings were sometimes held there. Pope +insinuates (l. 6) that the statesmen who met in these councils were as +interested in the conquest of English ladies as of foreign enemies. + + +'8' + +Tea was still in Queen Anne's day a luxury confined to the rich. It +cost, in 1710, from twelve to twenty-eight shillings per pound. + + +'9 The heroes and the nymphs': + +the boating party which started for Hampton Court in Canto II. + + +'17' + +Snuff-taking had just become fashionable at this time. The practice is +said to date from 1702, when an English admiral brought back fifty tons +of snuff found on board some Spanish ships which he had captured in Vigo +Bay. + +In the 'Spectator' for August 8, 1711, a mock advertisement is inserted +professing to teach "the exercise of the snuff-box according to the most +fashionable airs and motions," and in the number for April 4, 1712, +Steele protests against "an impertinent custom the fine women have +lately fallen into of taking snuff." + + +'22 dine': + +the usual dinner hour in Queen Anne's reign was about 3 P.M. Fashionable +people dined at 4, or later. This allowed the fashionable lady who rose +at noon time to do a little shopping and perform "the long labours of +the toilet." + + +'26 two ... Knights': + +one of these was the baron, see l. 66. + + +'27 Ombre': + +a game of cards invented in Spain. It takes its name from the Spanish +phrase originally used by the player who declared trumps: "Yo soy +l'hombre," 'i.e.' I am the man. It could be played by three, five, or +nine players, but the usual number was three as here. Each of these +received nine cards, and one of them named the trump and thus became the +"ombre," who played against the two others. If either of the ombre's +opponents took more tricks than the ombre, it was "codille" (l. 92). +This meant that the opponent took the stake and the ombre had to replace +it for the next hand. + +A peculiar feature of ombre is the rank, or value, of the cards. The +three best cards were called "matadores," a Spanish word meaning +"killers." The first of these matadores was "Spadillio," the ace of +spades; the third was "Basto," the ace of clubs. The second, "Manillio," +varied according to the suit. If a black suit were declared, Maniilio +was the two of trumps; if a red suit, Manillio was the seven of trumps. +It is worth noting also that the red aces were inferior to the face +cards of their suits except when a red suit was trump. + +A brief analysis of the game played on this occasion will clear up the +passage and leave the reader free to admire the ingenuity with which +Pope has described the contest in terms of epic poetry. + +Belinda declares spades trumps and so becomes the "ombre." She leads one +after the other the three matadores; and takes three tricks. She then +leads the next highest card, the king of spades, and wins a fourth +trick. Being out of trumps she now leads the king of clubs; but the +baron, who has actually held more spades than Belinda, trumps it with +the queen of spades. All the trumps are now exhausted and the baron's +long suit of diamonds is established. He takes the sixth, seventh, and +eighth tricks with the king, queen, and knave of diamonds, respectively. +Everything now depends on the last trick, since Belinda and the baron +each have taken four. The baron leads the ace of hearts and Belinda +takes it with the king, thus escaping "codille" and winning the stake. + + +'30 the sacred nine': + +the nine Muses. + + +'41 succint': + +tucked up. + + +'54 one Plebeian card': + +one of Belinda's opponents is now out of trumps and discards a low card +on her lead. + + +'61 Pam': + +a term applied to the knave of clubs which was always the highest card +in Lu, another popular game of that day. + + +'74 the globe': + +the jeweled ball which forms one of the regalia of a monarch. The aspect +of playing cards has changed not a little since Pope's day, but the +globe is still to be seen on the king of clubs. + + +'79 Clubs, Diamonds, Hearts': + +these are the losing cards played by Belinda and the third player on the +baron's winning diamonds. + + +'99' + +Pope's old enemy, Dennis, objected to the impropriety of Belinda's +filling the sky with exulting shouts, and some modern critics have been +foolish enough to echo his objection. The whole scene is a masterpiece +of the mock-heroic. The game is a battle, the cards are warriors, and +Belinda's exclamations of pleasure at winning are in the same fashion +magnified into the cheers of a victorious army. + + +'100 long canals': + +the canals which run through the splendid gardens of Hampton Court, laid +out by William III in the Dutch fashion. + + +'106 The berries crackle': + +it would seem from this phrase that coffee was at that time roasted as +well as ground in the drawing-room. In a letter written shortly after +the date of this poem Pope describes Swift as roasting coffee "with his +own hands in an engine made for that purpose." + +Coffee had been introduced into England about the middle of the +seventeenth century. In 1657 a barber who had opened one of the first +coffeehouses in London was indicted for "making and selling a sort of +liquor called coffee, as a great nuisance and prejudice of the +neighborhood." In Pope's time there were nearly three thousand +coffee-houses in London. + + +'The mill': + +the coffee-mill. + + +'107 Altars of Japan': + +japanned stands for the lamps. + + +'117-118' + +The parenthesis in these lines contains a hit at the would-be omniscient +politicians who haunted the coffee-houses of Queen Anne's day, and who +professed their ability to see through all problems of state with their +eyes half-shut. Pope jestingly attributes their wisdom to the inspiring +power of coffee. + + +'122 Scylla': + +the daughter of King Nisus in Grecian legends. Nisus had a purple hair +and so long as it was untouched he was unconquerable. Scylla fell in +love with one of his enemies and pulled out the hair while Nisus slept. +For this crime she was turned into a bird. The story is told in full in +Ovid's 'Metamorphoses', Bk. VIII. + + +'127 Clarissa': + +it does not appear that Pope had any individual lady in mind. We do not +know, at least, that any lady instigated or aided Lord Petre to cut off +the lock. + + +'144 An earthly Lover': + +we know nothing of any love affair of Miss Fermor's. Pope mentions the +"earthly lover" here to account for Ariel's desertion of Belinda, for he +could only protect her so long as she "rejected mankind"; compare Canto +I, ll. 67-68. + + +'147 Forfex': + +a Latin word meaning scissors. + + +'152' + +Pope borrowed this idea from Milton, who represents the wound inflicted +on Satan, by the Archangel Michael as healing immediately-- + + Th' ethereal substance closed + Not long divisible. + +--'Paradise Lost', VI, 330-331. + + +'165 Atalantis': 'The New Atalantis', + +a four-volume "cornucopia of scandal" involving almost every public +character of the day, was published by a Mrs. Manley in 1709. It was +very widely read. The Spectator found it, along with a key which +revealed the identities of its characters, in the lady's library already +mentioned ('Spectator', No. 37). + + +'166 the small pillow': + +a richly decorated pillow which fashionable ladies used to prop them up +in bed when they received morning visits from gentlemen. Addison gives +an account of such a visit in the 'Spectator', No. 45. + + +'167 solemn days': + +days of marriage or mourning, on which at this time formal calls were +paid. + + +'173 the labour of the gods': + +the walls of Troy built by Apollo and Neptune for King Laomedon. + + +'178 unresisted': + +irresistible. + + + +CANTO IV + +'8 Cynthia': + +a fanciful name for any fashionable lady. No individual is meant. + +'manteau': + +a loose upper garment for women. + + +'16 Spleen': + +the word is used here as a personification of melancholy, or low +spirits. It was not an uncommon affectation in England at this time. A +letter to the 'Spectator', No. 53, calls it "the distemper of the great +and the polite." + + +'17 the Gnome': + +Umbriel, who in accordance with his nature now proceeds to stir up +trouble. Compare Canto I, ll. 63-64. + + +'20' + +The bitter east wind which put every one into a bad humor was supposed +to be one of the main causes of the spleen. + + +'23 She': + +the goddess of the spleen. Compare l. 79. + + +'84 Megrim': + +headache. + + +'29 store': + +a large supply. + + +'38 night-dress': + +the modern dressing-gown. The line means that whenever a fashionable +beauty bought a new dressing-gown she pretended to be ill in order to +show her new possession to sympathetic friends who called on her. + + +'40 phantoms': + +these are the visions, dreadful or delightful, of the disordered +imagination produced by spleen. + + +'43 snakes on rolling spires': + +like the serpent which Milton describes in 'Paradise Lost', IX, 501-502, +"erect amidst his circling spires." + + +'46 angels in machines': + +angels coming to help their votaries. The word "machine" here has an +old-fashioned technical sense. It was first used to describe the +apparatus by which a god was let down upon the stage of the Greek +theater. Since a god was only introduced at a critical moment to help +the distressed hero, the phrase, "deus ex machina," came to mean a god +who rendered aid. Pope transfers it here to angels. + + +'47 throngs': + +Pope now describes the mad fancies of people so affected by spleen as to +imagine themselves transformed to inanimate objects. + + +'51 pipkin': + +a little jar. Homer ('Iliad', XVIII, 373-377) tells how Vulcan had made +twenty wonderful tripods on living wheels that moved from place to place +of their own accord. + + +'52' + +Pope in a note to this poem says that a lady of his time actually +imagined herself to be a goose-pie. + + +'56 A branch': + +so Ĉneas bore a magic branch to protect him when he descended to the +infernal regions ('Ĉneid', VI, 136-143). + +'Spleenwort': + +a sort of fern which was once supposed to be a remedy against the spleen. + + +'58 the sex': + +women. + + +'59 vapours': + +a form of spleen to which women were supposed to be peculiarly liable, +something like our modern hysteria. It seems to have taken its name from +the fogs of England which were thought to cause it. + + +'65 a nymph': + +Belinda, who had always been so light-hearted that she had never been a +victim of the spleen. + + +'89 Citron-waters': + +a liqueur made by distilling brandy with the rind of citrons. It was a +fashionable drink for ladies at this time. + + +'71' + +Made men suspicious of their wives. + + +'82 Ulysses': + +Homer ('Odyssey', X, 1-25) tells how Ĉolus, the god of the winds, gave +Ulysses a wallet of oxhide in which all the winds that might oppose his +journey homeward were closely bound up. + + +'89 Thalestris': + +the name of a warlike queen of the Amazons. Pope uses it here for a +friend of Belinda's, who excites her to revenge herself for the rape of +her lock. It is said that this friend was a certain Mrs. Morley. + + +'102 loads of lead': + +curl papers used to be fastened with strips of lead. + + +'105 Honour': + +female reputation. + + +'109 toast': + +a slang term in Pope's day for a reigning beauty whose health was +regularly drunk by her admirers. Steele ('Tatler', No. 24) says that the +term had its rise from an accident that happened at Bath in the reign of +Charles II. A famous beauty was bathing there in public, and one of her +admirers filled a glass with the water in which she stood and drank her +health. + + "There was in the place," says Steele "a gay fellow, half-fuddled, who + offered to jump in, and swore though he liked not the liquor, he would + have the Toast. He was opposed in his resolution; yet this whim gave + foundation to the present honor which is done to the lady we mention + in our liquors, who has ever since been called a TOAST." + +To understand the point of the story one must know that it was an old +custom to put a bit of toast in hot drinks. + +In this line in the poem Thalestris insinuates that if Belinda submits +tamely to the rape of the lock, her position as a toast will be +forfeited. + + +'113-116' + +Thalestris supposes that the baron will have the lock set in a ring +under a bit of crystal. Old-fashioned hair-rings of this kind are still +to be seen. + + +'117 Hyde-park Circus': + +the Ring of Canto I, l. 44. Grass was not likely to grow there so long +as it remained the fashionable place to drive. + + +'118 in the sound of Bow': + +within hearing of the bells of the church of St. Mary le Bow in +Cheapside. So far back as Ben Jonson's time (Eastward Ho, I, ii, 36) it +was the mark of the unfashionable middle-class citizen to live in this +quarter. A "wit" in Queen Anne's day would have scorned to lodge there. + + +'121 Sir Plume': + +this was Sir George Brown, brother of Mrs. Morley (Thalestris). He was +not unnaturally offended at the picture drawn of him in this poem. Pope +told a friend many years later that + + "nobody was angry but Sir George Brown, and he was a good deal so, and + for a long time. He could not bear that Sir Plume should talk nothing + but nonsense." + + +'124 a clouded cane': + +a cane of polished wood with cloudlike markings. In the 'Tatler', Mr. +Bickerstaff sits in judgment on canes, and takes away a cane, "curiously +clouded, with a transparent amber head, and a blue ribband to hang upon +his wrist," from a young gentleman as a piece of idle foppery. There are +some amusing remarks on the "conduct" of canes in the same essay. + + +'133' + +The baron's oath is a parody of the oath of Achilles ('Iliad', I, 234). + + +'142' + +The breaking of the bottle of sorrows, etc., is the cause of Belinda's +change of mood from wrath as in l. 93 to tears, 143-144. + + +'155 the gilt Chariot': + +the painted and gilded coach in which ladies took the air in London. + + +'156 Bohea:' + +tea, the name comes from a range of hills in China where a certain kind +of tea was grown. + + +'162 the patch-box:' + +the box which held the little bits of black sticking-plaster with which +ladies used to adorn their faces. According to Addison ('Spectator', No. +81), ladies even went so far in this fad as to patch on one side of the +face or the other, according to their politics. + + + + +CANTO V + +'5 the Trojan:' + +Ĉneas, who left Carthage in spite of the wrath of Dido and the +entreaties of her sister Anna. + + +'7-36' + +Pope inserted these lines in a late revision in 1717, in order, as he +said, to open more clearly the moral of the poem. The speech of Clarissa +is a parody of a famous speech by Sarpedon in the 'Iliad', XII, 310-328. + + +'14' + +At this time the gentlemen always sat in the side boxes of the theater; +the ladies in the front boxes. + + +'20' + +As vaccination had not yet been introduced, small-pox was at this time a +terribly dreaded scourge. + + +'23' + +In the 'Spectator', No. 23, there is inserted a mock advertisement, +professing to teach the whole art of ogling, the church ogle, the +playhouse ogle, a flying ogle fit for the ring, etc. + + +'24' + +Painting the face was a common practice of the belles of this time. 'The +Spectator', No. 41, contains a bitter attack on the painted ladies whom +it calls the "Picts." + + +'37 virago:' + +a fierce, masculine woman, here used for Thalestris. + + +'45' + +In the 'Iliad' (Bk. XX) the gods are represented as taking sides for the +Greeks and Trojans and fighting among themselves. Pallas opposes Ares, +or Mars; and Hermes, Latona. + + +'48 Olympus:' + +the hill on whose summit the gods were supposed to dwell, often used for +heaven itself. + + +'50 Neptune:' + +used here for the sea over which Neptune presided. + + +'53 a sconce's height:' + +the top of an ornamental bracket for holding candles. + + +'61' + +Explain the metaphor in this line. + + +'64' + +The quotation is from a song in an opera called 'Camilla'. + + +'65' + +The Mĉander is a river in Asia Minor. Ovid ('Heroides', VII, 1-2) +represents the swan as singing his death-song on its banks. + + +'68' + +Chloe: a fanciful name. No real person is meant. + + +'71' + +The figure of Jove weighing the issue of a battle in his scales is found +in the 'Iliad', VIII, 69-73. Milton imitated it in 'Paradise Lost', IX, +996-1004. When the men's wits mounted it showed that they were lighter, +less important, than the lady's hair, and so were destined to lose the +battle. + + +'89-96' + +This pedigree of Belinda's bodkin is a parody of Homer's account of +Agamemnon's scepter ('Iliad', II, 100-108). + + +'105-106' + +In Shakespeare's play Othello fiercely demands to see a handkerchief +which he has given his wife, and takes her inability to show it to him +as a proof of her infidelity. + + +'113' + +the lunar sphere: it was an old superstition that everything lost on +earth went to the moon. An Italian poet, Ariosto, uses this notion in a +poem with which Pope was familiar ('Orlando Furioso', Canto XXXIV), and +from which he borrowed some of his ideas for the cave of Spleen. + + +'122' + +Why does Pope include "tomes of casuistry" in this collection? + + +'125' + +There was a legend that Romulus never died, but had been caught up to +the skies in a storm. Proculus, a Roman senator, said that Romulus had +descended from heaven and spoken to him and then ascended again (Livy, +I, 16). + + +'129' Berenice's Locks: + +Berenice was an Egyptian queen who dedicated a lock of hair for her +husband's safe return from war. It was said afterward to have become a +constellation, and a Greek poet wrote some verses on the marvel. + + +'132' + +Why were the Sylphs pleased? + + +'133' the Mall: + +the upper side of St. James's park in London, a favorite place at this +time for promenades. + + +'136' Rosamonda's lake: + +a pond near one of the gates of St. James's park, a favorite rendezvous +for lovers. + + +'137' Partridge: + +an almanac maker of Pope's day who was given to prophesying future +events. Shortly before this poem was written Swift had issued a mock +almanac foretelling that Partridge would die on a certain day. When that +day came Swift got out a pamphlet giving a full account of Partridge's +death. In spite of the poor man's protests, Swift and his friends kept +on insisting that he was dead. He was still living, however, when Pope +wrote this poem. Why does Pope call him "th' egregious wizard"? + + +'138' Galileo's eyes: + +the telescope, first used by the Italian astronomer Galileo. + + +'140' Louis XIV of France, + +the great enemy of England at this time + +'--Rome:' + +here used to denote the Roman Catholic Church. + + +'143 the shining sphere:' + +an allusion to the old notion that all the stars were set in one sphere +in the sky. Belinda's lost lock, now a star, is said to add a new light +to this sphere. + + +147 What are the "fair suns"? + + + + + + * * * * * + + + + + +AN ESSAY ON CRITICISM + + +INTRODUCTION + +The 'Essay on Criticism' was the first really important work that Pope +gave to the world. He had been composing verses from early boyhood, and +had actually published a set of 'Pastorals' which had attracted some +attention. He was already known to the literary set of London +coffeehouses as a young man of keen wit and high promise, but to the +reading public at large he was as yet an unknown quantity. With the +appearance of the 'Essay', Pope not only sprang at once into the full +light of publicity, but seized almost undisputed that position as the +first of living English poets which he was to retain unchallenged till +his death. Even after his death down to the Romantic revival, in fact, +Pope's supremacy was an article of critical faith, and this supremacy +was in no small measure founded upon the acknowledged merits of the +'Essay on Criticism.' Johnson, the last great representative of Pope's +own school of thought in matters literary, held that the poet had never +excelled this early work and gave it as his deliberate opinion that if +Pope had written nothing else, the 'Essay' would have placed him among +the first poets and the first critics. The 'Essay on Criticism' is +hardly an epoch-making poem, but it certainly "made" Alexander Pope. + +The poem was published anonymously in the spring of 1711, when Pope was +twenty-three years old. There has been considerable dispute as to the +date of its composition; but the facts seem to be that it was begun in +1707 and finished in 1709 when Pope had it printed, not for publication, +but for purposes of further correction. As it stands, therefore, it +represents a work planned at the close of Pope's precocious youth, and +executed and polished in the first flush of his manhood. And it is quite +fair to say that considering the age of its author the 'Essay on +Criticism' is one of the most remarkable works in English. + +Not that there is anything particularly original about the 'Essay.' On +the contrary, it is one of the most conventional of all Pope's works. It +has nothing of the lively fancy of 'The Rape of the Lock', little or +nothing of the personal note which stamps the later satires and epistles +as so peculiarly Pope's own. Apart from its brilliant epigrammatic +expression the 'Essay on Criticism' might have been written by almost +any man of letters in Queen Anne's day who took the trouble to think a +little about the laws of literature, and who thought about those laws +strictly in accordance with the accepted conventions of his time. Pope +is not in the least to be blamed for this lack of originality. Profound +original criticism is perhaps the very last thing to be expected of a +brilliant boy, and Pope was little more when he planned this work. But +boy as he was, he had already accomplished an immense amount of +desultory reading, not only in literature proper, but in literary +criticism as well. He told Spence in later years that in his youth he +had gone through all the best critics, naming especially Quintilian, +Rapin, and Bossu. A mere cursory reading of the Essay shows that he had +also studied Horace, Vida, and Boileau. Before he began to write he had, +so he told Spence, "digested all the matter of the poem into prose." In +other words, then, the 'Essay on Criticism' is at once the result of +Pope's early studies, the embodiment of the received literary doctrines +of his age, and, as a consecutive study of his poems shows, the +programme in accordance with which, making due allowance for certain +exceptions and inconsistencies, he evolved the main body of his work. + +It would, however, be a mistake to treat, as did Pope's first editor, +the 'Essay on Criticism' as a methodical, elaborate, and systematic +treatise. Pope, indeed, was flattered to have a scholar of such +recognized authority as Warburton to interpret his works, and permitted +him to print a commentary upon the 'Essay', which is quite as long and +infinitely duller than the original. But the true nature of the poem is +indicated by its title. It is not an 'Art of Poetry' such as Boileau +composed, but an 'Essay'. And by the word "essay," Pope meant exactly +what Bacon did,--a tentative sketch, a series of detached thoughts upon +a subject, not a complete study or a methodical treatise. All that we +know of Pope's method of study, habit of thought, and practice of +composition goes to support this opinion. He read widely but +desultorily; thought swiftly and brilliantly, but illogically and +inconsistently; and composed in minute sections, on the backs of letters +and scraps of waste paper, fragments which he afterward united, rather +than blended, to make a complete poem, a mosaic, rather than a picture. + +Yet the 'Essay' is by no means the "collection of independent maxims +tied together by the printer, but having no natural order," which De +Quincey pronounced it to be. It falls naturally into three parts. The +first deals with the rules derived by classic critics from the practice +of great poets, and ever since of binding force both in the composition +and in the criticism of poetry. The second analyzes with admirable +sagacity the causes of faulty criticism as pride, imperfect learning, +prejudice, and so on. The third part discusses the qualities which a +true critic should possess, good taste, learning, modesty, frankness, +and tact, and concludes with a brief sketch of the history of criticism +from Aristotle to Walsh. This is the general outline of the poem, +sufficient, I think, to show that it is not a mere bundle of poetic +formulae. But within these broad limits the thought of the poem wanders +freely, and is quite rambling, inconsistent, and illogical enough to +show that Pope is not formulating an exact and definitely determined +system of thought. + +Such indeed was, I fancy, hardly his purpose. It was rather to give +clear, vivid, and convincing expression to certain ideas which were at +that time generally accepted as orthodox in the realm of literary +criticism. No better expression of these ideas can be found anywhere +than in the 'Essay' itself, but a brief statement in simple prose of +some of the most important may serve as a guide to the young student of +the essay. + +In the first place, the ultimate source alike of poetry and criticism is +a certain intuitive faculty, common to all men, though more highly +developed in some than others, called Reason, or, sometimes, Good Sense. +The first rule for the budding poet or critic is "Follow Nature." This, +by the way, sounds rather modern, and might be accepted by any romantic +poet. But by "Nature" was meant not at all the natural impulses of the +individual, but those rules founded upon the natural and common reason +of mankind which the ancient critics had extracted and codified from the +practice of the ancient poets. Pope says explicitly "to follow nature is +to follow them;" and he praises Virgil for turning aside from his own +original conceptions to imitate Homer, for: + + Nature and Homer were, he found, the same. + +Certain exceptions to these rules were, indeed, allowable,--severer +critics than Pope, by the way, absolutely denied this,--but only to the +ancient poets. The moderns must not dare to make use of them, or at the +very best moderns must only venture upon such exceptions to the rules as +classic precedents would justify. Inasmuch as all these rules were +discovered and illustrated in ancient times, it followed logically that +the great breach with antiquity, which is called the Middle Ages, was a +period of hopeless and unredeemed barbarism, incapable of bringing forth +any good thing. The light of literature began to dawn again with the +revival of learning at the Renaissance, but the great poets of the +Renaissance, Spenser and Shakespeare, for example, were "irregular," +that is, they trusted too much to their individual powers and did not +accept with sufficient humility the orthodox rules of poetry. This +dogma, by the way, is hardly touched upon in the 'Essay', but is +elaborated with great emphasis in Pope's later utterance on the +principles of literature, the well-known 'Epistle to Augustus'. Finally +with the establishment of the reign of Reason in France under Louis XIV, +and in England a little later, the full day had come, and literary sins +of omission and commission that might be winked at in such an untutored +genius as Shakespeare were now unpardonable. This last dogma explains +the fact that in the brief sketch of the history of criticism which +concludes the 'Essay', Pope does not condescend to name an English poet +or critic prior to the reign of Charles II. + +It would be beside the purpose to discuss these ideas to-day or to +attempt an elaborate refutation of their claims to acceptance. Time has +done its work upon them, and the literary creed of the wits of Queen +Anne's day is as antiquated as their periwigs and knee-breeches. Except +for purposes of historical investigation it is quite absurd to take the +'Essay on Criticism' seriously. + +And yet it has even for us of to-day a real value. Our age absolutely +lacks a standard of literary criticism; and of all standards the one +least likely to be accepted is that of Pope and his fellow-believers. +Individual taste reigns supreme in this democratic age, and one man's +judgment is as good as, perhaps a little better than, another's. But +even this democratic and individual age may profit by turning back for a +time to consider some of the general truths, as valid to-day as ever, to +which Pope gave such inimitable expression, or to study the outlines of +that noble picture of the true critic which St. Beuve declared every +professed critic should frame and hang up in his study. An age which +seems at times upon the point of throwing classical studies overboard as +useless lumber might do far worse than listen to the eloquent tribute +which the poet pays to the great writers of antiquity. And finally +nothing could be more salutary for an age in which literature itself has +caught something of the taint of the prevailing commercialism than to +bathe itself again in that spirit of sincere and disinterested love of +letters which breathes throughout the 'Essay' and which, in spite of all +his errors, and jealousies, and petty vices, was the master-passion of +Alexander Pope. + + + +'6 censure:' + +the word has here its original meaning of "judge," not its modern "judge +severely" or "blame." + + +'8' + +Because each foolish poem provokes a host of foolish commentators and +critics. + + +'15-16' + +This assertion that only a good writer can be a fair critic is not to be +accepted without reservation. + + +'17' + +The word "wit" has a number of different meanings in this poem, and the +student should be careful to discriminate between them. It means + +1) mind, intellect, l. 61; +2) learning, culture, l 727; +3) imagination, genius, l. 82; +4) the power to discover amusing analogies, or the apt expression of +such an analogy, ll. 449, 297; +5) a man possessed of wit in its various significations, l. 45; +this last form usually occurs in the plural, ll. 104, 539. + + +'26 the maze of schools:' + +the labyrinth of conflicting systems of thought, especially of criticism. + + +'21 coxcombs ... fools:' + +what is the difference in meaning between these words in this passage? + + +'30-31' + +In this couplet Pope hits off the spiteful envy of conceited critics +toward successful writers. If the critic can write himself, he hates the +author as a rival; if he cannot, he entertains against him the deep +grudge an incapable man so often cherishes toward an effective worker. + + +'34 Mĉvius:' + +a poetaster whose name has been handed down by Virgil and Horace. His +name, like that of his associate, Bavius, has become a by-word for a +wretched scribbler. + +'Apollo': + +here thought of as the god of poetry. The true poet was inspired by +Apollo; but a poetaster like Mĉvius wrote without inspiration, as it +were, in spite of the god. + + +'40-43' + +Pope here compares "half-learned" critics to the animals which old +writers reported were bred from the Nile mud. In 'Antony and Cleopatra', +for example, Lepidus says, "Your serpent of Egypt is bred now of your +mud by the operation of your sun; so is your crocodile." Pope thinks of +these animals as in the unformed stage, part "kindled into life, part a +lump of mud." So these critics are unfinished things for which no proper +name can be found. "Equivocal generation" is the old term used to denote +spontaneous generation of this sort. Pope applies it here to critics +without proper training who spring spontaneously from the mire of +ignorance. + + +'44 tell:' + +count. + + +'45' + +The idea is that a vain wit's tongue could out-talk a hundred ordinary +men's. + + +'53 pretending wit:' + +presuming, or ambitious mind. + + +'56-58 memory ... understanding imagination.' + +This is the old threefold division of the human mind. Pope means that +where one of these faculties is above the average in any individual, +another of them is sure to fall below. Is this always the case? + + +'63 peculiar arts:' + +special branches of knowledge. + + +'73' + +In what sense can nature be called the source, the end, and the test of +art? + + +'76 th' informing soul:' + +the soul which not only dwells in, but animates +and molds the body. + + +'80-81' + +What two meanings are attached to "wit" in this couplet? + + +'84 'Tis more:' + +it is more important. + +'the Muse's steed:' + +Pegasus, the winged horse of Greek mythology, was supposed to be the +horse of the Muses and came to be considered a symbol of poetic genius. + + +'86 gen'rous:' + +high-bred. + + +'88' + +What is the difference between "discovered" and "devised"? + + +'94 Parnassus' top:' + +the Muses were supposed to dwell on the top of Parnassus, a mountain in +Greece. Great poets are here thought of as having climbed the mountain +to dwell with the Muses. + + +'96' + +What is (cf. text) "the immortal prize"? + + +'99 She', + +i.e. learned Greece, especially Greek criticism, which obtained the +rules of poetry from the practice of great poets, and, as it were, +systematized their inspiration. + + +'104 following wits': + +later scholars. + + +'105' + +What is meant by "the mistress" and "the maid" in this line? + + +'109 Doctor's bills:' + +prescriptions. + + +'112' + +These are the prosy commentators on great poets, whose dreary notes +often disgust readers with the original. + + +'120 fable:' + +plot. + + +'123' + +What is the difference between "cavil" and "criticise"? + + +'129 the Mantuan Muse:' + +the poetry of Virgil, which Pope thinks the best commentary on Homer. In +what sense is this to be understood? + + +'130 Maro:' + +Virgil, whose full name was Publius Vergilius Maro, Pope here praises +Virgil's well-known imitation of Homer. Since "nature and Homer were the +same," a young poet like Virgil could do nothing better than copy Homer. + + +'138 the Stagirite:' + +Aristotle, a native of Stagyra, was the first and one of the greatest of +literary critics. His "rules" were drawn from the practice of great +poets, and so, according to Pope, to imitate Homer was to obey the +"ancient rules." + + +'141' + +There are some beauties in poetry which cannot be explained by criticism. + + +'142 happiness:' + +used here to express the peculiar charm of spontaneous poetic expression +as contrasted with "care," 'i.e.' the art of revising and improving, +which can be taught. + + +'152 vulgar bounds:' + +the limitations imposed upon ordinary writers. + + +'157 out of ... rise:' + +surpass the ordinary scenes of nature. + + +'159 Great wits:' + +poets of real genius. + + +'160 faults:' + +here used in the sense of irregularities, exceptions to the rules of +poetry. When these are justified by the poet's genius, true critics do +not presume to correct them. In many editions this couplet comes after +l. 151. This was Pope's first arrangement, but he later shifted it to +its present position. + + +'162 As Kings:' + +the Stuart kings claimed the right to "dispense with laws," that is, to +set them aside in special instances. In 1686 eleven out of twelve +English judges decided in a test case that "it is a privilege +inseparably connected with the sovereignty of the king to dispense with +penal laws, and that according to his own judgment." The English people +very naturally felt that such a privilege opened the door to absolute +monarchy, and after the fall of James II, Parliament declared in 1689 +that "the pretended power of suspending of laws ... without the consent +of Parliament, is illegal." + + +'164 its End:' + +the purpose of every law of poetry, namely, to please the reader. This +purpose must not be "transgressed," 'i.e.' forgotten by those who wish +to make exceptions to these laws. + + +'166 their precedent:' + +the example of classic poets. + + +'179 stratagems ... error:' + +things in the classic poets which to carping critics seem faults are +often clever devices to make a deeper impression on the reader. + + +'180 Homer nods:' + +Horace in his 'Art of Poetry' used this figure to imply that even the +greatest poet sometimes made mistakes. Pope very neatly suggests that it +may be the critic rather than the poet who is asleep. + + +'181 each ancient Altar:' + +used here to denote the works of the great classic writers. The whole +passage down to l. 200 is a noble outburst of enthusiasm for the poets +whom Pope had read so eagerly in early youth. + + +'186 consenting Pĉans:' + +unanimous hymns of praise. + + +'194 must ... found:' + +are not destined to be discovered till some future time. + + +'196' + +Who is "the last, the meanest of your sons"? + + +'203 bias:' + +mental bent, or inclination. + + +'208' + +This line is based upon physiological theories which are now obsolete. +According to these wind or air supplied the lack of blood or of animal +spirits in imperfectly constituted bodies. To such bodies Pope compares +those ill-regulated minds where a deficiency of learning and natural +ability is supplied by self-conceit. + + +'216' The Pierian spring: + +the spring of the Muses, who were called Pierides in Greek mythology. It +is used here as a symbol for learning, particularly for the study of +literature. + + +'222' the lengths behind: + +the great spaces of learning that lie behind the first objects of our +study. + + +'225-232' + +This fine simile is one of the best expressions in English verse of the +modesty of the true scholar, due to his realization of the boundless +extent of knowledge. It was such a feeling that led Sir Isaac Newton to +say after all his wonderful discoveries, + + "I do not know what I may appear to the world, but to myself I seem to + have been only like a boy playing on the seashore and diverting myself + in now and then finding a smoother pebble or a prettier shell than + ordinary whilst the great ocean of truth lay all the time undiscovered + before me." + + +'244' peculiar parts: + +individual parts. + + +'248 ev'n thine, O Rome:' + +there are so many splendid churches in Rome that an inhabitant of this +city would be less inclined than a stranger to wonder at the perfect +proportions of any of them. But there are two, at least, the Pantheon +and St. Peter's, which might justly evoke the admiration even of a +Roman. It was probably of one of these that Pope was thinking. + + +'265' + +What is the difference between "principles" and "notions" in this line? + + +'265 La Mancha's Knight:' + +Don Quixote. The anecdote that follows is not taken from Cervantes' +novel, but from a continuation of it by an author calling himself +Avellanada. The story is that Don Quixote once fell in with a scholar +who had written a play about a persecuted queen of Bohemia. Her +innocence in the original story was established by a combat in the +lists, but this the poet proposed to omit as contrary to the rules of +Aristotle. The Don, although professing great respect for Aristotle, +insisted that the combat was the best part of the story and must be +acted, even if a special theater had to be built for the purpose, or the +play given in the open fields. Pope quotes this anecdote to show how +some critics in spite of their professed acceptance of general rules are +so prejudiced in favor of a minor point as to judge a whole work of art +from one standpoint only. + + +'270 Dennis:' + +John Dennis, a playwright and critic of Pope's time. Pope and he were +engaged in frequent quarrels, but this first reference to him in Pope's +works is distinctly complimentary. The line probably refers to some +remarks by Dennis on the Grecian stage in his 'Impartial Critic', a +pamphlet published in 1693. + + +'273 nice:' + +discriminating; in l. 286 the meaning is "over-scrupulous, finicky." + + +'276 unities:' + +according to the laws of dramatic composition generally accepted in +Pope's day, a play must observe the unities of subject, place, and time. +That is, it must have one main theme, not a number of diverse stories, +for its plot; all the scenes must be laid in one place, or as nearly so +as possible; and the action must be begun and finished within the space +of twenty-four hours. + + +'286 Curious:' + +fastidious, over-particular. + + +'288 by a love to parts:' + +by too diligent attention to particular parts of a work of art, which +hinders them from forming a true judgment of the work as a whole. + + +'289 Conceit:' + +an uncommon or fantastic expression of thought. "Conceits" had been much +sought after by the poets who wrote in the first half of the seventeenth +century. + +'297 True Wit:' + +here opposed to the "conceit" of which Pope has been speaking. It is +defined as a natural idea expressed in fit words. + + +'299 whose truth ... find:' + +of whose truth we find ourselves at once convinced. + + +'308 take upon content:' + +take for granted. + + +'311-317' + +Show how Pope uses the simile of the "prismatic glass" to distinguish +between "false eloquence" and "true expression." + + +'319 decent:' + +becoming. + + +'328 Fungoso:' + +a character in Ben Jonson's 'Every Man out of his Humour'. He is the son +of a miserly farmer, and tries hard, though all in vain, to imitate the +dress and manners of a fine gentleman. + +'329 These sparks:' + +these would-be dandies. + + +'337 Numbers:' + +rhythm, meter. + + +'341 haunt Parnassus: + +read poetry.--ear:' note that in Pope's day this word rhymed with +"repair" and "there." + + +'344 These:' + +critics who care for the meter only in poetry insist on the proper +number of syllables in a line, no matter what sort of sound or sense +results. For instance, they do not object to a series of "open vowels," +'i.e.' hiatuses caused by the juxtaposition of such words as "tho" and +"oft," "the" and "ear." Line 345 is composed especially to show how +feeble a rhythm results from such a succession of "open vowels." They do +not object to bolstering up a line with "expletives," such as "do" in l. +346, nor to using ten "low words," 'i.e.' short, monosyllabic words to +make up a line. + + +'347' + +With this line Pope passes unconsciously from speaking of bad critics to +denouncing some of the errors of bad poets, who keep on using hackneyed +phrases and worn-out metrical devices. + + +'356 Alexandrine:' + +a line of six iambic feet, such as l. 357, written especially to +illustrate this form. Why does Pope use the adjective "needless" here? + + +'361 Denham's strength ... Waller's sweetness:' + +Waller and Denham were poets of the century before Pope; they are almost +forgotten to-day, but were extravagantly admired in his time. Waller +began and Denham continued the fashion of writing in "closed" heroic +couplets, 'i.e.' in verses where the sense is for the most part +contained within one couplet and does not run over into the next as had +been the fashion in earlier verse. Dryden said that "the excellence and +dignity of rhyme were never fully known till Mr. Waller taught it," and +the same critic spoke of Denham's poetry as "majestic and correct." + + +'370 Ajax:' + +one of the heroes of the 'Iliad'. He is represented more than once as +hurling huge stones at his enemies. Note that Pope has endeavored in +this and the following line to convey the sense of effort and struggle. +What means does he employ? Do you think he succeeds? + + +'372 Camilla:' + +a heroine who appears in the latter part of the 'Ĉneid' fighting against +the Trojan invaders of Italy. Virgil says that she was so swift of foot +that she might have run over a field of wheat without breaking the +stalks, or across the sea without wetting her feet. Pope attempts in l. +373 to reproduce in the sound and movement of his verse the sense of +swift flight. + + +'374 Timotheus:' + +a Greek poet and singer who was said to have played and sung before +Alexander the Great. The reference in this passage is to Dryden's famous +poem, 'Alexander's Feast'. + + +'376 the son of Libyan Jove:' + +Alexander the Great, who boasted that he was the son of Jupiter. The +famous oracle of Jupiter Ammon situated in the Libyan desert was visited +by Alexander, who was said to have learned there the secret of his +parentage. + + +'383 Dryden:' + +this fine compliment is paid to a poet whom Pope was proud to +acknowledge as his master. "I learned versification wholly from Dryden's +works," he once said. Pope's admiration for Dryden dated from early +youth, and while still a boy he induced a friend to take him to see the +old poet in his favorite coffee-house. + + +'391' admire: + +not used in our modern sense, but in its original meaning, "to wonder +at." According to Pope, it is only fools who are lost in wonder at the +beauties of a poem; wise men "approve," 'i.e.' test and pronounce them +good. + + +'396-397' + +Pope acknowledged that in these lines he was alluding to the +uncharitable belief of his fellow-Catholics that all outside the fold of +the Catholic church were sure to be damned. + + +'400 sublimes:' + +purifies. + + +'404 each:' + +each age. + + +'415 joins with Quality:' + +takes sides with "the quality," 'i.e.' people of rank. + + +'429' + +Are so clever that they refuse to accept the common and true belief, and +so forfeit their salvation. + + +'441 Sentences:' + +the reference is to a mediaeval treatise on Theology, by Peter Lombard, +called the 'Book of Sentences'. It was long used as a university +text-book. + + +'444 Scotists and Thomists:' + +mediaeval scholars, followers respectively of Duns Scotus and Thomas +Aquinas. A long dispute raged between their disciples. In this couplet +Pope points out that the dispute is now forgotten, and the books of the +old disputants lie covered with cobwebs in Duck-lane, a street in London +where second-hand books were sold in Pope's day. He calls the cobwebs +"kindred," because the arguments of Thomists and Scotists were as fine +spun as a spider's web. + + +'449' + +"The latest fashionable folly is the test, or the proof, of a quick, +up-to-date wit." In other words, to be generally accepted an author must +accept the current fashion, foolish though it may be. + + +'457' + +This was especially true in Pope's day when literature was so closely +connected with politics that an author's work was praised or blamed not +upon its merits, but according to his, and the critic's, politics. + + +'459 Parsons, Critics, Beaus': + +Dryden, the head of English letters in the generation before Pope, had +been bitterly assailed on various charges by parsons, like Jeremy +Collier, critics like Milbourn, and fine gentlemen like the Duke of +Buckingham. But his works remained when the jests that were made against +them were forgotten. + + +'463' + +Sir Richard Blackmore, a famous doctor in Dryden's day, was also a very +dull and voluminous writer. He attacked Dryden in a poem called 'A +Satire against Wit'. Luke Milbourn was a clergyman of the same period, +who abused Dryden's translation of Virgil. + + +'465 Zoilus': + +a Greek critic who attacked Homer. + + +'481' + +The English language and the public taste had changed very rapidly +during the century preceding Pope. He imagined that these changes would +continue so that no poet's reputation would last longer than a man's +life, "bare threescore," and Dryden's poetry would come to be as hard to +understand and as little read as Chaucer's at that time. It is worth +noting that both Dryden and Pope rewrote parts of Chaucer in modern +English. + + +'506-507' + +Explain why "wit" is feared by wicked men and shunned by the virtuous, +hated by fools, and "undone" or ruined by knaves. + + +'521 sacred': + +accursed, like the Latin 'sacer'. + + +'527 spleen': + +bad temper. + + +'534 the fat age': + +the reign of Charles II, as ll. 536-537 show, when literature became +notoriously licentious. + + +'538 Jilts ... statesmen': + +loose women like Lady Castlemaine and the Duchess of Portsmouth had +great influence on the politics of Charles II's time, and statesmen of +that day like Buckingham and Etheredge wrote comedies. + + +'541 Mask': + +it was not uncommon in Restoration times for ladies to wear a mask in +public, especially at the theater. Here the word is used to denote the +woman who wore a mask. + + +'544 a Foreign reign': + +the reign of William III, a Dutchman. Pope, as a Tory and a Catholic, +hated the memory of William, and here asserts, rather unfairly, that his +age was marked by an increase of heresy and infidelity. + + +'545 Socinus': + +the name of two famous heretics, uncle and nephew, of the sixteenth +century, who denied the divinity of Christ. + + +'549' + +Pope insinuates here that the clergy under William III hated an absolute +monarch so much that they even encouraged their hearers to question the +absolute power of God. + + +'551 admir'd:' + +see note l. 391. + + +'552 Wit's Titans:' + +wits who defied heaven as the old Titans did the gods. The reference is +to a group of freethinkers who came into prominence in King William's +reign. + + +'556 scandalously nice:' + +so over-particular as to find cause for scandal where none exists. + + +'557 mistake an author into vice:' + +mistakenly read into an author vicious ideas which are not really to be +found in his work. + + +'575' + +Things that men really do not know must be brought forward modestly as +if they had only been forgotten for a time. + + +'577 That only:' + +good-breeding alone. + + +'585 Appius:' + +a nickname for John Dennis, taken from his tragedy, 'Appius and +Virginia', which appeared two years before the 'Essay on Criticism'. +Lines 585-587 hit off some of the personal characteristics of this +hot-tempered critic. "Tremendous" was a favorite word with Dennis. + + +'588 tax:' + +blame, find fault with. + + +'591' + +In Pope's time noblemen could take degrees at the English universities +without passing the regular examinations. + + +'617' + +Dryden's 'Fables' published in 1700 represented the very best narrative +poetry of the greatest poet of his day. D'Urfey's 'Tales', on the other +hand, published in 1704 and 1706, were collections of dull and obscene +doggerel by a wretched poet. + + +'618 With him:' + +according to "the bookful blockhead." + + +'619 Garth:' + +a well-known doctor of the day, who wrote a much admired mock-heroic +poem called 'The Dispensary'. His enemies asserted that he was not +really the author of the poem. + +'623' + +Such foolish critics are just as ready to pour out their opinions on a +man in St. Paul's cathedral as in the bookseller's shops in the square +around the church, which is called St. Paul's churchyard. + + +'632 proud to know:' + +proud of his knowledge. + + +'636 humanly:' + +an old form for "humanely." + + +'642 love to praise:' + +a love of praising men. + + +'648 Mĉonian Star:' + +Homer. Mĉonia, or Lydia, was a district in Asia which was said to have +been the birthplace of Homer. + + +'652 conquered Nature:' + +Aristotle was a master of all the knowledge of nature extant in his day. + + +'653 Horace:' + +the famous Latin poet whose 'Ars Poetica' was one of Pope's models for +the 'Essay on Criticism'. + + +'662 fle'me:' + +phlegm, according to old ideas of physiology, one of the four "humours" +or fluids which composed the body. Where it abounded it made men dull +and heavy, or as we still say "phlegmatic." + + +'663-664' + +A rather confused couplet. It means, "Horace suffers as much by the +misquotations critics make from his work as by the bad translations that +wits make of them." + + +'665 Dionysius:' + +Dionysius of Halicarnassus, a famous Greek critic. Pope's manner of +reference to him seems to show that he had never read his works. + + +'667 Petronius:' + +a courtier and man of letters of the time of Nero. Only a few lines of +his remaining work contain any criticism. + + +'669 Quintilian's work:' + +the 'Institutiones Oratoriĉ' of Quintilianus, a famous Latin critic of +the first century A.D. + + +'675 Longinus:' + +a Greek critic of the third century A.D., who composed a famous work +called 'A Treatise on the Sublime'. It is a work showing high +imagination as well as careful reasoning, and hence Pope speaks of the +author as inspired by the Nine, 'i.e.' the Muses. + + +'692' + +The willful hatred of the monks for the works of classical antiquity +tended to complete that destruction of old books which the Goths began +when they sacked the Roman cities. Many ancient writings were erased, +for example, in order to get parchment for monkish chronicles and +commentaries. + + +'693 Erasmus:' + +perhaps the greatest scholar of the Renaissance. Pope calls him the +"glory of the priesthood" on account of his being a monk of such +extraordinary learning, and "the shame" of his order, because he was so +abused by monks in his lifetime. Is this a good antithesis? + + +'697 Leo's golden days:' + +the pontificate of Leo X (1513-1521). Leo himself was a generous patron +of art and learning. He paid particular attention to sacred music (l. +703), and engaged Raphael to decorate the Vatican with frescoes. Vida +(l. 704) was an Italian poet of his time, who became famous by the +excellence of his Latin verse. One of his poems was on the art of +poetry, and it is to this that Pope refers in l. 706. + + +'707-708' + +Cremona was the birthplace of Vida; Mantua, of Virgil. + + +'709' + +The allusion is to the sack of Rome by the Constable Bourbon's army in +1527. This marked the end of the golden age of arts in Italy. + + +'714 Boileau:' + +a French poet and critic (1636-1711). His 'L'Art Poetique' is founded on +Horace's 'Ars Poetica'. + + +'723 the Muse:' + +'i.e.' the genius, of John Sheffield (1649-1720), Duke of Buckingham +(not to be confounded with Dryden's enemy). Line 724 is quoted from his +'Essay on Poetry'. + + +'725 Roscommon:' + +Wentworth Dillon (1633-1684), Earl of Roscommon, author of a translation +of the 'Ars Poetica' and of 'An Essay on Translated Verse'. + + +'729 Walsh:' + +a commonplace poet (1663-1708), but apparently a good critic. Dryden, in +fact, called him the best critic in the nation. He was an early friend +and judicious adviser of Pope himself, who showed him much of his early +work, including the first draft of this very poem. Pope was sincerely +attached to him, and this tribute to his dead friend is marked by deep +and genuine feeling. + + +'738 short excursions:' + +such as this 'Essay on Criticism' instead of longer and more ambitious +poems which Pope planned and in part executed in his boyhood. There is +no reason to believe with Mr. Elwin that this passage proves that Pope +formed the design of the poem after the death of Walsh. + + + + + + * * * * * + + + + + +AN ESSAY ON MAN + + +INTRODUCTION + +The 'Essay on Man' is the longest and in some ways the most important +work of the third period of Pope's career. It corresponds closely to his +early work, the 'Essay on Criticism'. Like the earlier work, the 'Essay +on Man' is a didactic poem, written primarily to diffuse and popularize +certain ideas of the poet. As in the earlier work these ideas are by no +means original with Pope, but were the common property of a school of +thinkers in his day. As in the 'Essay on Criticism', Pope here attempts +to show that these ideas have their origin in nature and are consistent +with the common sense of man. And finally the merit of the later work, +even more than of the earlier, is due to the force and brilliancy of +detached passages rather than to any coherent, consistent, and +well-balanced system which it presents. + +The close of the seventeenth century and beginning of the eighteenth was +marked by a change of ground in the sphere of religious controversy. The +old debates between the Catholic and Protestant churches gradually died +out as these two branches of Western Christianity settled down in quiet +possession of the territory they still occupy. In their place arose a +vigorous controversy on the first principles of religion in general, on +the nature of God, the origin of evil, the place of man in the universe, +and the respective merits of optimism and pessimism as philosophic +theories. The controversialists as a rule either rejected or neglected +the dogmas of revealed religion and based their arguments upon real or +supposed facts of history, physical nature, and the mental processes and +moral characteristics of man. In this controversy the two parties at +times were curiously mingled. Orthodox clergymen used arguments which +justified a strong suspicion of their orthodoxy; and avowed freethinkers +bitterly disclaimed the imputation of atheism and wrote in terms that +might be easily adopted by a devout believer. + +Into this controversy Pope was led by his deepening intimacy with +Bolingbroke, who had returned from France in 1725 and settled at his +country place within a few miles of Twickenham. During his long exile +Bolingbroke had amused himself with the study of moral philosophy and +natural religion, and in his frequent intercourse with Pope he poured +out his new-found opinions with all the fluency, vigor, and polish which +made him so famous among the orators and talkers of the day. +Bolingbroke's views were for that time distinctly heterodox, and, if +logically developed, led to complete agnosticism. But he seems to have +avoided a complete statement of his ideas to Pope, possibly for fear of +shocking or frightening the sensitive little poet who still remained a +professed Catholic. Pope, however, was very far from being a strict +Catholic, and indeed prided himself on the breadth and liberality of his +opinions. He was, therefore, at once fascinated and stimulated by the +eloquent conversation of Bolingbroke, and resolved to write a +philosophical poem in which to embody the ideas they held in common. +Bolingbroke approved of the idea, and went so far as to furnish the poet +with seven or eight sheets of notes "to direct the plan in general and +to supply matter for particular epistles." Lord Bathurst, who knew both +Pope and Bolingbroke, went so far as to say in later years that the +'Essay' was originally composed by Bolingbroke in prose and that Pope +only put it into verse. But this is undoubtedly an exaggeration of what +Pope himself frankly acknowledged, that the poem was composed under the +influence of Bolingbroke, that in the main it reflected his opinions, +and that Bolingbroke had assisted him in the general plan and in +numerous details. Very properly, therefore, the poem is addressed to +Bolingbroke and begins and closes with a direct address to the poet's +"guide, philosopher, and friend." + +In substance the 'Essay on Man' is a discussion of the moral order of +the world. Its purpose is "to vindicate the ways of God to man," and it +may therefore be regarded as an attempt to confute the skeptics who +argued from the existence of evil in the world and the wretchedness of +man's existence to the impossibility of belief in an all-good and +all-wise God. It attempts to do this, not by an appeal to revelation or +the doctrines of Christianity, but simply on the basis of a common-sense +interpretation of the facts of existence. + +A brief outline of the poem will show the general tenor of Pope's +argument. + +The first epistle deals with the nature and state of man with respect to +the universe. It insists on the limitations of man's knowledge, and the +consequent absurdity of his presuming to murmur against God. It teaches +that the universe was not made for man, but that man with all his +apparent imperfections is exactly fitted to the place which he occupies +in the universe. In the physical universe all things work together for +good, although certain aspects of nature seem evil to man, and likewise +in the moral universe all things, even man's passions and crimes conduce +to the general good of the whole. Finally it urges calm submission and +acquiescence in what is hard to understand, since "one truth is +clear,--whatever is, is right." + +The second epistle deals with the nature of man as an individual. It +begins by urging men to abandon vain questionings of God's providence +and to take up the consideration of their own natures, for "the proper +study of mankind is man." Pope points out that the two cardinal +principles of man's nature are self-love and reason, the first an +impelling, the second a regulating power. The aim of both these +principles is pleasure, by which Pope means happiness, which he takes +for the highest good. Each man is dominated by a master passion, and it +is the proper function of reason to control this passion for good and to +make it bear fruit in virtue. No man is wholly virtuous or vicious, and +Heaven uses the mingled qualities of men to bind them together in mutual +interdependence, and makes the various passions and imperfections of +mankind serve the general good. And the final conclusion is that "though +man's a fool, yet God is wise." + +The third epistle treats of the nature of man with respect to society. +All creatures, Pope asserts, are bound together and live not for +themselves alone, but man is preeminently a social being. The first +state of man was the state of nature when he lived in innocent ignorance +with his fellow-creatures. Obeying the voice of nature, man learned to +copy and improve upon the instincts of the animals, to build, to plow, +to spin, to unite in societies like those of ants and bees. The first +form of government was patriarchal; then monarchies arose in which +virtue, "in arms or arts," made one man ruler over many. In either case +the origin of true government as of true religion was love. Gradually +force crept in and uniting with superstition gave rise to tyranny and +false religions. Poets and patriots, however, restored the ancient faith +and taught power's due use by showing the necessity of harmony in the +state. Pope concludes by asserting the folly of contention for forms of +government or modes of faith. The common end of government as of +religion is the general good. It may be noticed in passing that Pope's +account of the evolution of society bears even less relation to +historical facts than does his account of the development of literature +in the 'Essay on Criticism.' + +The last epistle discusses the nature of happiness, "our being's end and +aim." Happiness is attainable by all men who think right and mean well. +It consists not in individual, but in mutual pleasure. It does not +consist in external things, mere gifts of fortune, but in health, peace, +and competence. Virtuous men are, indeed, subject to calamities of +nature; but God cannot be expected to suspend the operation of general +laws to spare the virtuous. Objectors who would construct a system in +which all virtuous men are blest, are challenged to define the virtuous +and to specify what is meant by blessings. Honors, nobility, fame, +superior talents, often merely serve to make their possessors unhappy. +Virtue alone is happiness, and virtue consists in a recognition of the +laws of Providence, and in love for one's fellow-man. + +Even this brief outline will show, I think, some of the inconsistencies +and omissions of Pope's train of thought. A careful examination of his +arguments in detail would be wholly out of place here. The reader who +wishes to pursue the subject further may consult Warburton's elaborate +vindication of Pope's argument, and Elwin's equally prosy refutation, or +better still the admirable summary by Leslie Stephen in the chapter on +this poem in his life of Pope ('English Men of Letters'). No one is now +likely to turn to the writer of the early eighteenth century for a +system of the universe, least of all to a writer so incapable of exact +or systematic thinking as Alexander Pope. If the 'Essay on Man' has any +claim to be read to-day, it must be as a piece of literature pure and +simple. For philosophy and poetry combined, Browning and Tennyson lie +nearer to our age and mode of thought than Pope. + +Even regarded as a piece of literature the 'Essay on Man' cannot, I +think, claim the highest place among Pope's works. It obtained, indeed, +a success at home and abroad such as was achieved by no other English +poem until the appearance of 'Childe Harold'. It was translated into +French, German, Italian, Portuguese, Polish, and Latin. It was imitated +by Wieland, praised by Voltaire, and quoted by Kant. But this success +was due in part to the accuracy with which it reflected ideas which were +the common property of its age, in part to the extraordinary vigor and +finish of its epigrams, which made it one of the most quotable of +English poems. But as a whole the Essay is not a great poem. The poet is +evidently struggling with a subject that is too weighty for him, and at +times he staggers and sinks beneath his burden. The second and third +books in particular are, it must be confessed, with the exception of one +or two fine outbursts, little better than dull, and dullness is not a +quality one is accustomed to associate with Pope. The 'Essay on Man' +lacks the bright humor and imaginative artistry of 'The Rape of the +Lock,' and the lively portraiture, vigorous satire, and strong personal +note of the 'Moral Epistles' and 'Imitations of Horace'. Pope is at his +best when he is dealing with a concrete world of men and women as they +lived and moved in the London of his day; he is at his worst when he is +attempting to seize and render abstract ideas. + +Yet the 'Essay on Man' is a very remarkable work. In the first place, it +shows Pope's wonderful power of expression. No one can read the poem for +the first time without meeting on page after page phrases and epigrams +which have become part of the common currency of our language. Pope's +"precision and firmness of touch," to quote the apt statement of Leslie +Stephen, "enables him to get the greatest possible meaning into a narrow +compass. He uses only one epithet, but it is the right one." Even when +the thought is commonplace enough, the felicity of the expression gives +it a new and effective force. And there are whole passages where Pope +rises high above the mere coining of epigrams. As I have tried to show +in my notes he composed by separate paragraphs, and when he chances upon +a topic that appeals to his imagination or touches his heart, we get an +outburst of poetry that shines in splendid contrast to the prosaic +plainness of its surroundings. Such, for example, are the noble verses +that tell of the immanence of God in his creation at the close of the +first epistle, or the magnificent invective against tyranny and +superstition in the third (ll. 241-268). + +Finally the 'Essay on Man' is of interest in what it tells us of Pope +himself. Mr. Elwin's idea that in the 'Essay on Man' Pope, "partly the +dupe, partly the accomplice of Bolingbroke," was attempting craftily to +undermine the foundations of religion, is a notion curiously compounded +of critical blindness and theological rancor. In spite of all its +incoherencies and futilities the 'Essay' is an honest attempt to express +Pope's opinions, borrowed in part, of course, from his admired friend, +but in part the current notions of his age, on some of the greatest +questions that have perplexed the mind of man. And Pope's attitude +toward the questions is that of the best minds of his day, at once +religious, independent, and sincere. He acknowledges the omnipotence and +benevolence of God, confesses the limitations and imperfections of human +knowledge, teaches humility in the presence of unanswerable problems, +urges submission to Divine Providence, extols virtue as the true source +of happiness, and love of man as an essential of virtue. If we study the +'Essay on Man' as the reasoned argument of a philosopher, we shall turn +from it with something like contempt; if we read it as the expression of +a poet's sentiments, we shall, I think, leave it with an admiration +warmer than before for a character that has been so much abused and so +little understood as that of Pope. + + + +THE DESIGN + +'2 Bacon's expression:' + +in the dedication of his 'Essays' (1625) to Buckingham, Bacon speaks of +them as the most popular of his writings, "for that, as it seems, they +come home to men's business and bosoms." + + +'11 anatomy:' dissection. + + +EPISTLE I + +'1 St. John:' + +Henry St. John, Lord Bolingbroke, Pope's "guide, philosopher, and +friend," under whose influence the 'Essay on Man' was composed. + + +'5 expatiate:' + +range, wander. + + +'6' + +Pope says that this line alludes to the subject of this first Epistle, +"the state of man here and hereafter, disposed by Providence, though to +him unknown." The next two lines allude to the main topics of the three +remaining epistles, "the constitution of the human mind ... the +temptations of misapplied self-love, and the wrong pursuits of power, +pleasure, and false happiness." + + +'9 beat ... field:' + +the metaphor is drawn from hunting. Note how it is elaborated in the +following lines. + + +'12 blindly creep ... sightless soar:' + +the first are the ignorant and indifferent; those who "sightless soar" +are the presumptuous who reason blindly about things too high for human +knowledge. + + +'15 candid:' + +lenient, free from harsh judgments. + + +'16' + +An adaptation of a well-known line of Milton's 'Paradise Lost', l, 26. + + +'17-23' + +Pope lays down as the basis of his system that all argument about man or +God must be based upon what we know of man's present life, and of God's +workings in this world of ours. + + +'29 this frame:' + +the universe. Compare 'Hamlet', II, ii, 310, "this goodly frame, the +earth." + + +'30 nice dependencies:' + +subtle inter-relations. + + +'31 Gradations just:' + +exact shades of difference. + + +'32 a part:' + +the mind of man, which is but a part of the whole universe. + + +'33 the great chain:' + +according to Homer, Jove, the supreme God, sustained the whole creation +by a golden chain. Milton also makes use of this idea of the visible +universe as linked to heaven in a golden chain, 'Paradise Lost', II, +1004-1006, and 1051-1052. + + +'41 yonder argent fields:' + +the sky spangled with silvery stars. The phrase is borrowed from Milton, +'Paradise Lost', III, 460. + + +'42 Jove:' + +the planet Jupiter. + +'satellites:' + +Pope preserves here the Latin pronunciation, four syllables, with the +accent on the antepenult. + + +'43-50.' + +Pope here takes it for granted that our universe, inasmuch as it is the +work of God's infinite wisdom, must be the best system possible. If this +be granted, he says, it is plain that man must have a place somewhere in +this system, and the only question is whether "God has placed him wrong." + + +'45' + +Every grade in creation must be complete, so as to join with that which +is beneath and with that which is above it or there would be a lack of +coherency, a break, somewhere in the system. + + +'47 reas'ning life:' + +conscious mental life. + + +'51-60' + +Pope argues here that since man is a part of the best possible system, +whatever seems wrong in him must be right when considered in relation to +the whole order of the universe. It is only our ignorance of this order +which keeps us from realizing this fact. + + +'55 one single:' + +the word "movement" is understood after "single." + + +'61-68' + +Pope here illustrates his preceding argument by analogy. We can know no +more of God's purpose in the ordering of our lives than the animals can +know of our ordering of theirs. + + +'64 Ĉgypt's God:' + +One of the gods of the Egyptians was the sacred bull, Apis. + + +'68 a deity:' + +worshiped as a god, like the Egyptian kings and Roman emperors. + + +'69-76' + +Pope now goes on to argue that on the basis of what has been proved we +ought not to regard man as an imperfect being, but rather as one who is +perfectly adapted to his place in the universe. His knowledge, for +example, is measured by the brief time he has to live and the brief +space he can survey. + + +'69 fault:' + +pronounced in Pope's day as rhyming with "ought." + + +'73-76' + +These lines are really out of place. They first appeared after l. 98; +then Pope struck them out altogether. Just before his death he put them +into their present place on the advice of Warburton, who probably +approved of them because of their reference to a future state of bliss. +It is plain that they interfere with the regular argument of the poem. + + +'79' + +This line is grammatically dependent upon "hides," l. 77. + + +'81 riot:' + +used here in the sense of "luxurious life." The lamb is slain to provide +for some feast. + + +'86 Heav'n:' + +'i.e.' God. Hence the relative "who" in the next line. + + +'92-98' + +Pope urges man to comfort himself with hope, seeing that he cannot know +the future. + + +'93 "What future bliss:" + +the words "shall be" are to be understood after this phrase. + + +'96' + +Point out the exact meaning of this familiar line. + + +'97 from home:' + +away from its true home, the life to come. This line represents one of +the alterations which Warburton induced Pope to make. The poet first +wrote "confined at home," thus representing this life as the home of the +soul. His friend led him to make the change in order to express more +clearly his belief in the soul's immortality. + + +'89' + +Show how "rests" and "expatiates" in this line contrast with "uneasy" +and "confined" in l. 97. + + +'99-112' + +In this famous passage Pope shows how the belief in immortality is found +even among the most ignorant tribes. This is to Pope an argument that +the soul must be immortal, since only Nature, or God working through +Nature, could have implanted this conception in the Indian's mind. + + +'102 the solar walk:' + +the sun's path in the heavens. + +'the milky way:' + +some old philosophers held that the souls of good men went thither after +death. + + +Pope means that the ignorant Indian had no conception of a heaven +reserved for the just such as Greek sages and Christian believers have. +All he believes in is "an humbler heaven," where he shall be free from +the evils of this life. Line 108 has special reference to the tortures +inflicted upon the natives of Mexico and Peru by the avaricious Spanish +conquerors. + + +'109-110' + +He is contented with a future existence, without asking for the glories +of the Christian's heaven. + + +'111 equal sky:' + +impartial heaven, for the heaven of the Indians was open to all men, +good or bad. + + +'113-130' + +In this passage Pope blames those civilized men who, though they should +be wiser than the Indian, murmur against the decrees of God. The +imperative verbs "weigh," "call," "say," etc., are used satirically. + + +'113 scale of sense:' + +the scale, or means of judgment, which our senses give us. + + +'117 gust:' + +the pleasure of taste. + + +'120' + +The murmurers are dissatisfied that man is not at once perfect in his +present state and destined to immortality, although such gifts have been +given to no other creature. + + +'123 reas'ning Pride:' + +the pride of the intellect which assumes to condemn God's providence. + + +'131-172' + +In this passage Pope imagines a dialogue between one of the proud +murmurers he has described and himself. His opponent insists that the +world was made primarily for man's enjoyment (ll. 132-140). Pope asks +whether nature does not seem to swerve from this end of promoting human +happiness in times of pestilence, earthquake, and tempest (ll. 141-144). +The other answers that these are only rare exceptions to the general +laws, due perhaps to some change in nature since the world began (ll. +145-148). Pope replies by asking why there should not be exceptions in +the moral as well as in the physical world; may not great villains be +compared to terrible catastrophes in nature (ll. 148-156)? He goes on to +say that no one but God can answer this question, that our human +reasoning springs from pride, and that the true course of reasoning is +simply to submit (ll. 156-164). He then suggests that "passions," by +which he means vices, are as necessary a part of the moral order as +storms of the physical world (ll. 165-172). + + +'142 livid deaths': + +pestilence. + + +'143-144' + +Pope was perhaps thinking of a terrible earthquake and flood that had +caused great loss of life in Chili the year before this poem appeared. + + +'150 Then Nature deviates': + +Nature departs from her regular order on such occasions as these +catastrophes. + + +'151' that end: + +human happiness, as in l. 149. + + +'156' + +Cĉsar Borgia, the wicked son of Pope Alexander VI, and Catiline are +mentioned here as portents in the moral world parallel to plagues and +earthquakes in the physical. + + +'160 young Ammon': + +Alexander the Great. See note on 'Essay on Criticism', l. 376. + + +'163' + +Why do we accuse God for permitting wickedness when we do not blame Him +for permitting evil in the natural world? + + +'166 there': + +in nature. + +'here': + +in man. + + +'173-206' + +In this section Pope reproves those who are dissatisfied with man's +faculties. He points out that all animals, man included, have powers +suited to their position in the world (ll. 179-188), and asserts that if +man had keener senses than he now has, he would be exposed to evils from +which he now is free (ll. 193-203). + + +'176 To want': + +to lack. + +'177' + +Paraphrase this line in prose. + + +'181 compensated': + +accented on the antepenult. + + +'183 the state': + +the place which the creature occupies in the natural world. + + +'195 finer optics': + +keener power of sight. + + +'197 touch': + +a noun, subject of "were given," understood from l. 195. + + +'199 quick effluvia': + +pungent odors. The construction is very condensed here; "effluvia" may +be regarded like "touch" as a subject of "were given" (l. 195); but one +would expect rather a phrase to denote a keener sense of smell than man +now possesses. + + +'202 music of the spheres': + +it was an old belief that the stars and planets uttered musical notes as +they moved along their courses. These notes made up the "harmony of the +spheres." Shakespeare ('Merchant of Venice', V, 64-5) says that our +senses are too dull to hear it. Pope, following a passage in Cicero's +'Somnium Scipionis', suggests that this music is too loud for human +senses. + + +'207-232' + +Pope now goes on to show how in the animal world there is an exact +gradation of the faculties of sense and of the powers of instinct. Man +alone is endowed with reason which is more than equivalent to all these +powers and makes him lord over all animals. + + +'212' + +The mole is almost blind; the lynx was supposed to be the most +keen-sighted of animals. + + +'213-214' + +The lion was supposed by Pope to hunt by sight alone as the dog by +scent. What does he mean by "the tainted green"? + + +'215-216' + +Fishes are almost deaf, while birds are very quick of hearing. + + +'219 nice:' + +keenly discriminating. + +'healing dew:' + +healthful honey. + + +'221-222' + +The power of instinct which is barely perceptible in the pig amounts +almost to the power of reason in the elephant. + + +'223 barrier:' + +pronounced like the French 'barrière', as a word of two syllables with +the accent on the last. + + +'226 Sense ... Thought:' + +sensation and reason. + + +'227 Middle natures:' + +intermediate natures, which long to unite with those above or below +them. The exact sense is not very clear. + + +'233-258' + +In this passage Pope insists that the chain of being stretches unbroken +from God through man to the lowest created forms. If any link in this +chain were broken, as would happen if men possessed higher faculties +than are now assigned them, the whole universe would be thrown into +confusion. This is another answer to those who complain of the +imperfections of man's nature. + + +'234 quick:' + +living. Pope does not discriminate between organic and inorganic matter. + + +'240 glass:' + +microscope. + + +'242-244' + +Inferior beings might then press upon us. If they did not, a fatal gap +would be left by our ascent in the scale. + + +'247 each system:' + +Pope imagines the universe to be composed of an infinite number of +systems like ours. Since each of these is essential to the orderly +arrangement of the universe, any disorder such as he has imagined would +have infinitely destructive consequences. These are described in ll. +251-257. + + +'267-280' + +In these lines Pope speaks of God as the soul of the world in an +outburst of really exalted enthusiasm that is rare enough in his work. + + +'269 That:' + +a relative pronoun referring to "soul," l. 268. + + +'270 th' ethereal frame:' the heavens. + + +'276 as perfect in a hair as heart:' + +this has been called "a vile antithesis," on the ground that there is no +reason why hair and heart should be contrasted. But Pope may have had in +mind the saying of Christ. "the very hairs of your head are all +numbered." The hairs are spoken of here as the least important part of +the body; the heart, on the other hand, has always been thought of as +the most important organ. There is, therefore, a real antithesis between +the two. + + +'278 Seraph ... burns:' + +the seraphim according to old commentators are on fire with the love of +God. + + +'280 equals all:' + +makes all things equal. This does not seem consistent with the idea of +the gradations of existence which Pope has been preaching throughout +this Epistle. Possibly it means that all things high and low are filled +alike with the divine spirit and in this sense all things are equal. But +one must not expect to find exact and consistent philosophy in the +'Essay on Man'. + + +'281-294' + +Here Pope sums up the argument of this Epistle, urging man to recognize +his ignorance, to be content with his seeming imperfections, and to +realize that "whatever is, is right." + + +'282 Our proper bliss:' + +our happiness as men. + + +'283 point:' + +appointed place in the universe. + + +'286 Secure:' + +sure. + + +'289' + +Hobbes, an English philosopher with whose work Pope was, no doubt, +acquainted, says, "Nature is the art whereby God governs the world." + + + + + + * * * * * + + + + + +AN EPISTLE TO DR ARBUTHNOT + + + + +INTRODUCTION + + +Next to 'The Rape of the Lock', I think, the 'Epistle to Arbuthnot' is +the most interesting and the most important of Pope's poems--the most +important since it shows the master poet of the age employing his +ripened powers in the field most suitable for their display, that of +personal satire, the most interesting, because, unlike his former +satiric poem the 'Dunciad', it is not mere invective, but gives us, as +no other poem of Pope's can be said to do, a portrait of the poet +himself. + +Like most of Pope's poems, the 'Epistle to Arbuthnot' owes its existence +to an objective cause. This was the poet's wish to justify himself +against a series of savage attacks, which had recently been directed +against him. If Pope had expected by the publication of the 'Dunciad' to +crush the herd of scribblers who had been for years abusing him, he must +have been woefully disappointed. On the contrary, the roar of insult and +calumny rose louder than ever, and new voices were added to the chorus. +In the year 1733 two enemies entered the field against Pope such as he +had never yet had to encounter--enemies of high social position, of +acknowledged wit, and of a certain, though as the sequel proved quite +inadequate, talent for satire. These were Lady Mary Wortley Montague and +Lord John Hervey. + +Lady Mary had been for years acknowledged as one of the wittiest, most +learned, and most beautiful women of her day. Pope seems to have met her +in 1715 and at once joined the train of her admirers. When she +accompanied her husband on his embassy to Constantinople in the +following year, the poet entered into a long correspondence with her, +protesting in the most elaborate fashion his undying devotion. On her +return he induced her to settle with her husband at Twickenham. Here he +continued his attentions, half real, half in the affected gallantry of +the day, until, to quote the lady's own words to her daughter many years +after, "at some ill-chosen time when she least expected what romancers +call a declaration, he made such passionate love to her, as, in spite of +her utmost endeavours to be angry and look grave, provoked an immoderate +fit of laughter," and, she added, from that moment Pope became her +implacable enemy. Certainly by the time Pope began to write the +'Dunciad' he was so far estranged from his old friend that he permitted +himself in that poem a scoffing allusion to a scandal in which she had +recently become involved. The lady answered, or the poet thought that +she did, with an anonymous pamphlet, 'A Pop upon Pope', describing a +castigation, wholly imaginary, said to have been inflicted upon the poet +as a proper reward for his satire. After this, of course, all hope of a +reconciliation was at an end, and in his satires and epistles Pope +repeatedly introduced Lady Mary under various titles in the most +offensive fashion. In his first 'Imitation of Horace', published in +February, 1733, he referred in the most unpardonable manner to a certain +Sappho, and the dangers attendant upon any acquaintance with her. Lady +Mary was foolish enough to apply the lines to herself and to send a +common friend to remonstrate with Pope. He coolly replied that he was +surprised that Lady Mary should feel hurt, since the lines could only +apply to certain women, naming four notorious scribblers, whose lives +were as immoral as their works. Such an answer was by no means +calculated to turn away the lady's wrath, and for an ally in the +campaign of anonymous abuse that she now planned she sought out her +friend Lord Hervey. John Hervey, called by courtesy Lord Hervey, the +second son of the Earl of Bristol, was one of the most prominent figures +at the court of George II. He had been made vice-chamberlain of the +royal household in 1730, and was the intimate friend and confidential +adviser of Queen Caroline. Clever, affable, unprincipled, and cynical, +he was a perfect type of the Georgian courtier to whom loyalty, +patriotism, honesty, and honor were so many synonyms for folly. He was +effeminate in habits and appearance, but notoriously licentious; he +affected to scoff at learning but made some pretense to literature, and +had written 'Four Epistles after the Manner of Ovid', and numerous +political pamphlets. Pope, who had some slight personal acquaintance +with him, disliked his political connections and probably despised his +verses, and in the 'Imitation' already mentioned had alluded to him +under the title of Lord Fanny as capable of turning out a thousand lines +of verse a day. This was sufficient cause, if cause were needed, to +induce Hervey to join Lady Mary in her warfare against Pope. + +The first blow was struck in an anonymous poem, probably the combined +work of the two allies, called 'Verses addressed to the Imitator of +Horace', which appeared in March, 1733, and it was followed up in August +by an 'Epistle from a Nobleman to a Doctor of Divinity', which also +appeared anonymously, but was well known to be the work of Lord Hervey. +In these poems Pope was abused in the most unmeasured terms. His work +was styled a mere collection of libels; he had no invention except in +defamation; he was a mere pretender to genius. His morals were not left +unimpeached; he was charged with selling other men's work printed in his +name,--a gross distortion of his employing assistants in the translation +of the 'Odyssey',--he was ungrateful, unjust, a foe to human kind, an +enemy like the devil to all that have being. The noble authors, probably +well aware how they could give the most pain, proceeded to attack his +family and his distorted person. His parents were obscure and vulgar +people; and he himself a wretched outcast: + + with the emblem of [his] crooked mind + Marked on [his] back like Cain by God's own hand. + +And to cap the climax, as soon as these shameful libels were in print, +Lord Hervey bustled off to show them to the Queen and to laugh with her +over the fine way in which he had put down the bitter little poet. + +In order to understand and appreciate Pope's reception of these attacks, +we must recall to ourselves the position in which he lived. He was a +Catholic, and I have already (Introduction, p. x) called attention to +the precarious, tenure by which the Catholics of his time held their +goods, their persons, their very lives, in security. He was the intimate +of Bolingbroke, of all men living the most detested by the court, and +his noble friends were almost without exception the avowed enemies of +the court party. Pope had good reason to fear that the malice of his +enemies might not be content to stop with abusive doggerel. But he was +not in the least intimidated. On the contrary, he broke out in a fine +flame of wrath against Lord Hervey, whom he evidently considered the +chief offender, challenged his enemy to disavow the 'Epistle', and on +his declining to do so, proceeded to make what he called "a proper +reply" in a prose 'Letter to a Noble Lord'. This masterly piece of +satire was passed about from hand to hand, but never printed. We are +told that Sir Robert Walpole, who found Hervey a convenient tool in +court intrigues, bribed Pope not to print it by securing a good position +in France for one of the priests who had watched over the poet's youth. +If this story be true, and we have Horace Walpole's authority for it, we +may well imagine that the entry of the bribe, like that of Uncle Toby's +oath, was blotted out by a tear from the books of the Recording Angel. + +But Pope was by no means disposed to let the attacks go without an +answer of some kind, and the particular form which his answer took seems +to have been suggested by a letter from Arbuthnot. "I make it my last +request," wrote his beloved physician, now sinking fast under the +diseases that brought him to the grave, "that you continue that noble +disdain and abhorrence of vice, which you seem so naturally endued with, +but still with a due regard to your own safety; and study more to reform +than to chastise, though the one often cannot be effected without the +other." "I took very kindly your advice," Pope replied, "... and it has +worked so much upon me considering the time and state you gave it in, +that I determined to address to you one of my epistles written by +piecemeal many years, and which I have now made haste to put together; +wherein the question is stated, what were, and are my motives of +writing, the objections to them, and my answers." In other words, the +'Epistle to Arbuthnot' which we see that Pope was working over at the +date of this letter, August 25, 1734, was, in the old-fashioned phrase, +his 'Apologia', his defense of his life and work. + +As usual, Pope's account of his work cannot be taken literally. A +comparison of dates shows that the 'Epistle' instead of having been +"written by piecemeal many years" is essentially the work of one +impulse, the desire to vindicate his character, his parents, and his +work from the aspersions cast upon them by Lord Hervey and Lady Mary. +The exceptions to this statement are two, or possibly three, passages +which we know to have been written earlier and worked into the poem with +infinite art. + +The first of these is the famous portrait of Addison as Atticus. I have +already spoken of the reasons that led to Pope's breach with Addison +(Introduction, p. xv); and there is good reason to believe that this +portrait sprang directly from Pope's bitter feeling toward the elder +writer for his preference of Tickell's translation. The lines were +certainly written in Addison's lifetime, though we may be permitted to +doubt whether Pope really did send them to him, as he once asserted. +They did not appear in print, however, till four years after Addison's +death, when they were printed apparently without Pope's consent in a +volume of miscellanies. It is interesting to note that in this form the +full name "Addison" appeared in the last line. Some time later Pope +acknowledged the verses and printed them with a few changes in his +'Miscellany' of 1727, substituting the more decorous "A---n" for the +"Addison" of the first text. Finally he worked over the passage again +and inserted it, for a purpose that will be shown later, in the 'Epistle +to Arbuthnot'. + +It is not worth while to discuss here the justice or injustice of this +famous portrait. In fact, the question hardly deserves to be raised. The +passage is admittedly a satire, and a satire makes no claim to be a just +and final sentence. Admitting, as we must, that Pope was in the wrong in +his quarrel with Addison, we may well admit that he has not done him +full justice. But we must equally admit that the picture is drawn with +wonderful skill, that praise and blame are deftly mingled, and that the +satire is all the more severe because of its frank admission of the +great man's merits. And it must also be said that Pope has hit off some +of the faults of Addison's character,--his coldness, his +self-complacency, his quiet sneer, his indulgence of flattering +fools--in a way that none of his biographers have done. That Pope was +not blind to Addison's chief merit as an author is fully shown by a +passage in a later poem, less well known than the portrait of Atticus, +but well worth quotation. After speaking of the licentiousness of +literature in Restoration days, he goes on to say: + + In our own (excuse some courtly stains) + No whiter page than Addison's remains, + He from the taste obscene reclaims our youth, + And sets the passions on the side of truth, + Forms the soft bosom with the gentlest art, + And pours each human virtue in the heart. + + 'Epistle to Augustus, II'. 215-220. + +If Pope was unjust to Addison the man, he at least made amends to +Addison the moralist. + +The second passage that may have had an independent existence before the +'Epistle' was conceived is the portrait of Bufo, ll. 229-247. There is +reason to believe that this attack was first aimed at Bubb Doddington, a +courtier of Hervey's class, though hardly of so finished a type, to whom +Pope alludes as Bubo in l. 278. When Pope was working on the 'Epistle', +however, he saw an opportunity to vindicate his own independence of +patronage by a satiric portrait of the great Maecenas of his younger +days, Lord Halifax, who had ventured some foolish criticisms on Pope's +translation of the 'Iliad', and seems to have expected that the poet +should dedicate the great work to him in return for an offer of a +pension which he made and Pope declined. There is no reason to believe +that Pope cherished any very bitter resentment toward Halifax. On the +contrary, in a poem published some years after the 'Epistle' he boasted +of his friendship with Halifax, naming him outright, and adding in a +note that the noble lord was no less distinguished by his love of +letters than his abilities in Parliament. + +The third passage, a tender reference to his mother's age and weakness, +was written at least as early as 1731,--Mrs. Pope died in 1733,--and was +incorporated in the 'Epistle' to round it off with a picture of the poet +absorbed in his filial duties at the very time that Hervey and Lady Mary +were heaping abuse upon him, as a monster devoid of all good qualities. +And now having discussed the various insertions in the 'Epistle', let us +look for a moment at the poem as a whole, and see what is the nature of +Pope's defense of himself and of his reply to his enemies. + +It is cast in the form of a dialogue between the poet himself and +Arbuthnot. Pope begins by complaining of the misfortunes which his +reputation as a successful man of letters has brought upon him. He is a +mark for all the starving scribblers of the town who besiege him for +advice, recommendations, and hard cash. Is it not enough to make a man +write 'Dunciads?' Arbuthnot warns him against the danger of making foes +(ll. 101- 104), but Pope replies that his flatterers are even more +intolerable than his open enemies. And with a little outburst of +impatience, such as we may well imagine him to have indulged in during +his later years, he cries: + + Why did I write? What sin to me unknown + Dipt me in ink, my parents' or my own? + +and begins with l. 125 his poetical autobiography. He tells of his first +childish efforts, of poetry taken up "to help me thro' this long disease +my life," and then goes on to speak of the noble and famous friends who +had praised his early work and urged him to try his fortune in the open +field of letters. He speaks of his first poems, the 'Pastorals' and +'Windsor Forest', harmless as Hervey's own verses, and tells how even +then critics like Dennis fell foul of him. Rival authors hated him, too, +especially such pilfering bards as Philips. This he could endure, but +the coldness and even jealousy of such a man as Addison--and here +appears the famous portrait of Atticus--was another matter, serious +enough to draw tears from all lovers of mankind. + +Passing on (l. 213) to the days of his great success when his 'Homer' +was the talk of the town, he asserts his ignorance of all the arts of +puffery and his independence of mutual admiration societies. He left +those who wished a patron to the tender mercies of Halifax, who fed fat +on flattery and repaid his flatterers merely with a good word or a seat +at his table. After all, the poet could afford to lose the society of +Bufo's toadies while such a friend as Gay was left him (l. 254). + +After an eloquent expression of his wish for independence (ll. 261-270), +he goes on to speak of the babbling friends who insist that he is always +meditating some new satire, and persist in recognizing some wretched +poetaster's lampoon as his. And so by a natural transition Pope comes to +speak of his own satiric poems and their aims. He says, and rightly, +that he has never attacked virtue or innocence. He reserves his lash for +those who trample on their neighbors and insult "fallen worth," for cold +or treacherous friends, liars, and babbling blockheads. Let Sporus +(Hervey) tremble (l. 303). Arbuthnot interposes herewith an ejaculation +of contemptuous pity; is it really worth the poet's while to castigate +such a slight thing as Hervey, that "mere white curd"? But Pope has +suffered too much from Hervey's insolence to stay his hand, and he now +proceeds to lay on the lash with equal fury and precision, drawing blood +at every stroke, until we seem to see the wretched fop writhing and +shrieking beneath the whip. And then with a magnificent transition he +goes on (ll. 332-337) to draw a portrait of himself. Here, he says in +effect, is the real man that Sporus has so maligned. The portrait is +idealized, of course; one could hardly expect a poet speaking in his own +defense in reply to venomous attacks to dissect his own character with +the stern impartiality of the critics of the succeeding century, but it +is in all essentials a portrait at once impressive and true. + +Arbuthnot again interrupts (l. 358) to ask why he spares neither the +poor nor the great in his satire, and Pope replies that he hates knaves +in every rank of life. Yet by nature, he insists, he is of an easy +temper, more readily deceived than angered, and in a long catalogue of +instances he illustrates his own patience and good nature (ll. 366-385). +It must be frankly confessed that these lines do not ring true. Pope +might in the heat of argument convince himself that he was humble and +slow to wrath, but he has never succeeded in convincing his readers. + +With l. 382 Pope turns to the defense of his family, which, as we have +seen, his enemies had abused as base and obscure. He draws a noble +picture of his dead father, "by nature honest, by experience wise" +simple, modest, and temperate, and passes to the description of himself +watching over the last years of his old mother, his sole care to + + Explore the thought, explain the asking eye + And keep a while one parent from the sky. + +If the length of days which Heaven has promised those who honor father +and mother fall to his lot, may Heaven preserve him such a friend as +Arbuthnot to bless those days. And Arbuthnot closes the dialogue with a +word which is meant, I think, to sum up the whole discussion and to +pronounce the verdict that Pope's life had been good and honorable. + + Whether that blessing [1] be deny'd or giv'n, + Thus far was right, the rest belongs to Heav'n. + +It seems hardly necessary to point out the merits of so patent a +masterpiece as the 'Epistle to Arbuthnot'. In order to enjoy it to the +full, indeed, one must know something of the life of the author, of the +circumstances under which it was written, and, in general, of the social +and political life of the time. But even without this special knowledge +no reader can fail to appreciate the marvelous ease, fluency, and +poignancy of this admirable satire. There is nothing like it in our +language except Pope's other satires, and of all his satires it is, by +common consent, easily the first. It surpasses the satiric poetry of +Dryden in pungency and depth of feeling as easily as it does that of +Byron in polish and artistic restraint. Its range of tone is remarkable. +At times it reads like glorified conversation, as in the opening lines; +at times it flames and quivers with emotion, as in the assault on +Hervey, or in the defense of his parents. Even in the limited field of +satiric portraiture there is a wide difference between the manner in +which Pope has drawn the portrait of Atticus and that of Sporus. The +latter is a masterpiece of pure invective; no allowances are made, no +lights relieve the darkness of the shadows, the portrait is frankly +inhuman. It is the product of an unrestrained outburst of bitter +passion. The portrait of Atticus, on the other hand, was, as we know, +the work of years. It is the product not of an outburst of fury, but of +a slowly growing and intense dislike, which, while recognizing the +merits of its object, fastened with peculiar power upon his faults and +weaknesses. The studious restraint which controls the satirist's hand +makes it only the more effective. We know well enough that the portrait +is not a fair one, but we are forced to remind ourselves of this at +every step to avoid the spell which Pope's apparent impartiality casts +over our judgments. The whole passage reads not so much like the heated +plea of an advocate as the measured summing-up of a judge, and the last +couplet falls on our ears with the inevitability of a final sentence. +But the peculiar merit of the 'Epistle to Arbuthnot' consists neither in +the ease and polish of its style, nor in the vigor and effectiveness of +its satire, but in the insight it gives us into the heart and mind of +the poet himself. It presents an ideal picture of Pope, the man and the +author, of his life, his friendships, his love of his parents, his +literary relationships and aims. And it is quite futile to object, as +some critics have done, that this picture is not exactly in accordance +with the known facts of Pope's life. No great man can be tried and +judged on the mere record of his acts. We must know the circumstances +that shaped these, and the motives that inspired them. A man's ideals, +if genuinely held and honestly followed, are perhaps even more valuable +contributions to our final estimate of the man himself than all he did +or left undone. + + All I could never be, + All, men ignored in me, + This, I was worth to God, whose wheel the pitcher shaped. + +And in the 'Epistle to Arbuthnot' we recognize in Pope ideals of +independence, of devotion to his art, of simple living, of loyal +friendship, and of filial piety which shine in splendid contrast with +the gross, servile, and cynically immoral tone of the age and society in +which he lived. + + + +[Footnote 1: i. e. the blessing of Arbuthnot's future companionship, +for which Pope (l. 413) had just prayed.] + + + + + +ADVERTISEMENT + +Dr. John Arbuthnot, one of Pope's most intimate friends, had been +physician to Queen Anne, and was a man of letters as well as a doctor. +Arbuthnot, Pope, and Swift had combined to get out a volume of +Miscellanies in 1737. His health was failing rapidly at this time, and +he died a month or so after the appearance of this 'Epistle'. + + +EPISTLE + +'1 John:' + +John Searle, Pope's faithful servant. + + +'4 Bedlam:' + +a lunatic asylum in London in Pope's day. Notice how Pope mentions, in +the same breath, Bedlam and Parnassus, the hill of the Muses which poets +might well be supposed to haunt. + + +'8 thickets:' + +the groves surrounding Pope's villa. + +'Grot:' + +see Introduction [grotto]. + + +'10 the chariot:' + +the coach in which Pope drove. + +'the barge:' + +the boat in which Pope was rowed upon the Thames. + + +'13 the Mint:' + +a district in London where debtors were free from arrest. As they could +not be arrested anywhere on Sunday, Pope represents them as taking that +day to inflict their visits on him. + + +'15 Parson:' + +probably a certain Eusden, who had some pretensions to letters, but who +ruined himself by drink. + + +'17 Clerk:' + +a law clerk. + + +'18 engross:' + +write legal papers. + + +'19-20' + +An imaginary portrait of a mad poet who keeps on writing verses even in +his cell in Bedlam. Pope may have been thinking of Lee, a dramatist of +Dryden's day who was confined for a time in this asylum. + + +'23 Arthur:' + +Arthur Moore, a member of Parliament for some years and well known in +London society. His "giddy son," James Moore, who took the name of Moore +Smythe, dabbled in letters and was a bitter enemy of Pope. + + +'25 Cornus:' + +Robert Lord Walpole, whose wife deserted him in 1734. Horace Walpole +speaks of her as half mad. + + +'31 sped:' + +done for. + + +'40' + +Pope's counsel to delay the publication of the works read to him is +borrowed from Horace: "nonumque prematur in annum" '(Ars Poetica, 388).' + + +'41 Drury-lane,' + +like Grub Street, a haunt of poor authors at this time. + + +'43 before Term ends:' + +before the season is over; that is, as soon as the poem is written. + + +'48 a Prologue:' + +for a play. Of course a prologue by the famous Mr. Pope would be of +great value to a poor and unknown dramatist. + + +'49 Pitholeon:' + +the name of a foolish poet mentioned by Horace. Pope uses it here for +his enemy Welsted, mentioned in l. 373.--'his Grace:' the title given a +Duke in Great Britain. The Duke here referred to is said to be the Duke +of Argyle, one of the most influential of the great Whig lords. + + +'53 Curll': + +a notorious publisher of the day, and an enemy of Pope. The implication +is that if Pope will not grant Pitholeon's request, the latter will +accept Curll's invitation and concoct a new libel against the poet. + + +'60' + +Pope was one of the few men of letters of his day who had not written a +play, and he was at this time on bad terms with certain actors. + + +'62' + +Bernard Lintot, the publisher of Pope's translation of Homer. + + +'66 go snacks': + +share the profits. Pope represents the unknown dramatist as trying to +bribe him to give a favorable report of the play. + + +'69 Midas': + +an old legend tells us that Midas was presented with a pair of ass's +ears by an angry god whose music he had slighted. His barber, or, +Chaucer says, his queen, discovered the change which Midas had tried to +conceal, and unable to keep the secret whispered it to the reeds in the +river, who straightway spread the news abroad. + + +'75' + +With this line Arbuthnot is supposed to take up the conversation. This +is indicated here and elsewhere by the letter A. + + +'79 Dunciad': + +see Introduction, p. xviii. + + +'85 Codrus': + +a name borrowed from Juvenal to denote a foolish poet. Pope uses it here +for some conceited dramatist who thinks none the less of himself because +his tragedy is rejected with shouts of laughter. + + +'96' + +Explain the exact meaning of this line. + + +'97 Bavius': + +a stock name for a bad poet. See note on 'Essay on Criticism', l. 34. + + +'98 Philips': + +Ambrose Philips, author among other things of a set of 'Pastorals' that +appeared in the same volume with Pope, 1709. Pope and he soon became +bitter enemies. He was patronized by a Bishop Boulter. + + +'99 Sappho': + +Here as elsewhere Pope uses the name of the Greek poetess for his enemy, +Lady Mary Wortley Montague. + + +'109 Grubstreet': + +a wretched street in London, inhabited in Pope's day by hack writers, +most of whom were his enemies. + + +'111 Curll' + +(see note to l. 53) had printed a number of Pope's letters without the +poet's consent some years before this poem was written. + + +'113-132' + +Pope here describes the flatterers who were foolish enough to pay him +personal compliments. They compare him to Horace who was short like +Pope, though fat, and who seems to have suffered from colds; also to +Alexander, one of whose shoulders was higher than the other, and to +Ovid, whose other name, Naso, might indicate that long noses were a +characteristic feature of his family. Pope really had large and +beautiful eyes. Maro, l. 122, is Virgil. + + +'123' + +With this line Pope begins an account of his life as a poet. For his +precocity, see Introduction, p. xii. + + +'129 ease:' + +amuse, entertain. + + +'friend, not Wife:' + +the reference is, perhaps, to Martha Blount, Pope's friend, and may have +been meant as a contradiction of his reported secret marriage to her. + + +'132 to bear:' + +to endure the pains and troubles of an invalid's life. + + +'133 Granville:' + +George Granville, Lord Lansdowne, a poet and patron of letters to whom +Pope had dedicated his 'Windsor Forest.' + + +'134 Walsh:' + +see note on 'Essay on Criticism,' l. 729. + + +'135 Garth:' + +Sir Samuel Garth, like Arbuthnot, a doctor, a man of letters, and an +early friend of Pope. + + +'137' + +Charles Talbot, Duke of Shrewsbury; John, Lord Somers; and John +Sheffield, Duke of Buckingham; all leading statesmen and patrons of +literature in Queen Anne's day. + + +'138 Rochester:' + +Francis Atterbury, Bishop of Rochester, an intimate friend of Pope. + + +'139 St. John:' + +Bolingbroke. For Pope's relations with him, see introduction to the +'Essay on Man,' p. 116. + + +'143' + +Gilbert Burnet and John Oldmixon had written historical works from the +Whig point of view. Roger Cooke, a now forgotten writer, had published a +'Detection of the Court and State of England.' Pope in a note on this +line calls them all three authors of secret and scandalous history. + + +'146' + +The reference is to Pope's early descriptive poems, the 'Pastorals' and +'Windsor Forest.' + + +'147 gentle Fanny's:' + +a sneer at Lord Hervey's verses. See the introduction to this poem, p. +126. + + +'149 Gildon:' + +a critic of the time who had repeatedly attacked Pope. The poet told +Spence that he had heard Addison gave Gildon ten pounds to slander him. + + +'151 Dennis:' + +see note on 'Essay on Criticism.' l. 270. + + +'156 kiss'd the rod:' + +Pope was sensible enough to profit by the criticisms even of his +enemies. He corrected several passages in the 'Essay on Criticism' which +Dennis had properly found fault with. + + +'162 Bentley:' + +the most famous scholar of Pope's day. Pope disliked him because of his +criticism of the poet's translation of the 'Iliad', "good verses, but +not Homer." The epithet "slashing" refers to Bentley's edition of +'Paradise Lost' in which he altered and corrected the poet's text to +suit his own ideas. + +'Tibbalds': + +Lewis Theobald (pronounced Tibbald), a scholar who had attacked Pope's +edition of Shakespeare. Pope calls him "piddling" because of his +scrupulous attention to details. + + +'177 The Bard': + +Philips, see note on l. 98. Pope claimed that Philips's 'Pastorals' were +plagiarized from Spenser, and other poets. Philips, also, translated +some 'Persian Tales' for the low figure of half a crown apiece. + + +'187 bade translate': + +suggested that they translate other men's work, since they could write +nothing valuable of their own. + + +'188 Tate': + +a poetaster of the generation before Pope. He is remembered as the part +author of a doggerel version of the Psalms. + + +'191-212' + +For a discussion of this famous passage, see introduction to the +'Epistle' p. 130. + + +'196 the Turk': + +it was formerly the practice for a Turkish monarch when succeeding to +the throne to have all his brothers murdered so as to do away with +possible rivals. + + +'199 faint praise': + +Addison was hearty enough when he cared to praise his friends. Pope is +thinking of the coldness with which Addison treated his 'Pastorals' as +compared to those of Philips. + + +'206 oblig'd': + +note the old-fashioned pronunciation to rhyme with "besieged." + + +'207 Cato': + +an unmistakable allusion to Addison's tragedy in which the famous Roman +appears laying down the law to the remnants of the Senate. + + +'209 Templars': + +students of law at the "Temple" in London who prided themselves on their +good taste in literature. A body of them came on purpose to applaud +'Cato' on the first night. + +'raise': + +exalt, praise. + + +'211-212 laugh ... weep': + +explain the reason for these actions. + +'Atticus': + +Addison's name was given in the first version of this passage. Then it +was changed to "A---n." Addison had been mentioned in the 'Spectator' +(No. 150) under the name of Atticus as "in every way one of the greatest +geniuses the age has produced." + + +'213 rubric on the walls': + +Lintot, Pope's old publisher, used to stick up the titles of new books +in red letters on the walls of his shop. + + +'214 with claps': + +with clap-bills, posters. + + +'215 smoking:' + +hot from the press. + + +'220 George:' + +George II, king of England at this time. His indifference to literature +was notorious. + + +'228 Bufo:' + +the picture of a proud but grudging patron of letters which follows was +first meant for Bubb Doddington, a courtier and patron of letters at the +time the poem was written. In order to connect it more closely with the +time of which he was writing, Pope added ll. 243-246, which pointed to +Charles Montague, Earl of Halifax. Halifax was himself a poet and +affected to be a great patron of poetry, but his enemies accused him of +only giving his clients "good words and good dinners." Pope tells an +amusing story of Montague's comments on his translation of the 'Iliad' +(Spence, 'Anecdotes', p. 134). But Halifax subscribed for ten copies of +the translation, so that Pope, at least, could not complain of his lack +of generosity. + +'Castalian state:' + +the kingdom of poets. + + +'232' + +His name was coupled with that of Horace as a poet and critic. + + +'234 Pindar without a head:' + +some headless statue which Bufo insisted was a genuine classic figure of +Pindar, the famous Greek lyric poet. + + +'237 his seat:' + +his country seat. + + +'242 paid in kind:' + +What does this phrase mean? + + +'243' + +Dryden died in 1700. He had been poor and obliged to work hard for a +living in his last years, but hardly had to starve. Halifax offered to +pay the expenses of his funeral and contribute five hundred pounds for a +monument, and Pope not unreasonably suggests that some of this bounty +might have been bestowed on Dryden in his lifetime. + + +'249' + +When a politician wants a writer to put in a day's work in defending +him. Walpole, for example, who cared nothing for poetry, spent large +sums in retaining writers to defend him in the journals and pamphlets of +the day. + + +'254' + +John Gay, the author of some very entertaining verses, was an intimate +friend of Pope. On account of some supposed satirical allusions his +opera 'Polly' was refused a license, and when his friends, the Duke and +Duchess of Queensberry (see l. 260) solicited subscriptions for it in +the palace, they were driven from the court. Gay died in 1732, and Pope +wrote an epitaph for his tomb in Westminster Abbey. It is to this that +he alludes in l. 258. + + +'274' + +Balbus is said to mean the Earl of Kinnoul, at one time an acquaintance +of Pope and Swift. + + +'278' + +Sir William Yonge, a Whig politician whom Pope disliked. He seems to +have written occasional verses. Bubo is Bubo Doddington (see note on l +230). + + +'297-298' + +In the Fourth Moral Essay, published in 1731 as an 'Epistle to the Earl +of Burlington', Pope had given a satirical description of a nobleman's +house and grounds, adorned and laid out at vast expense, but in bad +taste. Certain features of this description were taken from Canons, the +splendid country place of the Duke of Chandos, and the duke was at once +identified by a scandal-loving public with the Timon of the poem. In the +description Pope speaks of the silver bell which calls worshipers to +Timon's chapel, and of the soft Dean preaching there "who never mentions +Hell to ears polite." In this passage of the 'Epistle to Arbuthnot' he +is protesting against the people who swore that they could identify the +bell and the Dean as belonging to the chapel at Canons. + + +'303 Sporus': + +a favorite of Nero, used here for Lord Hervey. See introduction to this +poem, p. 128. + + +'304 ass's milk': + +Hervey was obliged by bad health to keep a strict diet, and a cup of +ass's milk was his daily drink. + + +'308 painted child': + +Hervey was accustomed to paint his face like a woman. + + +'317-319' + +Pope is thinking of Milton's striking description of Satan "squat like a +toad" by the ear of the sleeping Eve ('Paradise Lost', IV, 800). In this +passage "Eve" refers to Queen Caroline with whom Hervey was on intimate +terms. It is said that he used to have a seat in the queen's hunting +chaise "where he sat close behind her perched at her ear." + + +'322 now master up, now miss': + +Pope borrowed this telling phrase from a pamphlet against Hervey written +by Pulteney, a political opponent, in which the former is called "a +pretty little master-miss." + + +'326 the board': + +the Council board where Hervey sat as member of the Privy Council. + + +'328-329' + +An allusion to the old pictures of the serpent in Eden with a snake's +body and a woman's, or angel's, face. + + +'330 parts': + +talents, natural gifts. + + +'338-339' + +An allusion to Pope's abandoning the imaginative topics to his early +poems, as the 'Pastorals' and 'The Rape of the Lock', and turning to +didactic verse as in the 'Essay on Man', and the 'Moral Epistles'. + + +'347' + +An allusion to a story circulated, in an abusive pamphlet called 'A Pop +upon Pope', that the poet had been whipped for his satire and that he +had cried like a child. + + +'349' + +Dull and scandalous poems printed under Pope's name, or attributed to +him by his enemies. + + +'351 the pictur'd shape': + +Pope was especially hurt by the caricatures which exaggerated his +personal deformity. + + +'353 A friend in exile': + +probably Bishop Atterbury, then in exile for his Jacobite opinions. + + +'354-355' + +Another reference to Hervey who was suspected of poisoning the mind of +the King against Pope. + + +'361 Japhet': + +Japhet Crooke, a notorious forger of the time. He died in prison in +1734, after having had his nose slit and ears cropped for his crimes; +see below, l. 365. + + +'363 Knight of the post': + +a slang term for a professional witness ready to, swear to anything for +money. A knight of the shire, on the other hand, is the representative +of a county in the House of Commons. + + +'367 bit': + +tricked, taken in, a piece of Queen Anne slang. The allusion is probably +to the way in which Lady Mary Wortley Montague allowed Pope to make love +to her and then laughed at him. + + +'369 friend to his distress': + +in 1733, when old Dennis was in great poverty, a play was performed for +his benefit, for which Pope obligingly wrote a prologue. + + +'371' + +Colley Gibber, actor and poet laureate. Pope speaks as if it were an act +of condescension for him to have drunk with Gibber.--'Moore': James +Moore Smythe (see note on l. 23), whom Pope used to meet at the house of +the Blounts. He wrote a comedy, 'The Rival Modes', in which he +introduced six lines that Pope had written. Pope apparently had given +him leave to do so, and then retracted his permission. But Moore used +them without the permission and an undignified quarrel arose as to the +true authorship of the passage. + + +'373 Welsted', + +a hack writer of the day, had falsely charged Pope with being +responsible for the death of the lady who is celebrated in Pope's 'Elegy +to the Memory of an Unfortunate Lady'. + + +'374-375' + +There is an allusion here that has never been fully explained. Possibly +the passage refers to Teresa Blount whom Pope suspected of having +circulated slanderous reports concerning his relations with her sister. + + +'376-377' + +Suffered Budgell to attribute to his (Pope's) pen the slanderous gossip +of the 'Grub Street Journal',--a paper to which Pope did, as a matter of +fact, contribute--and let him (Budgell) write anything he pleased except +his (Pope's) will. Budgell, a distant cousin of Addison's, fell into bad +habits after his friend's death. He was strongly suspected of having +forged a will by which Dr. Tindal of Oxford left him a considerable sum +of money. He finally drowned himself in the Thames. + + +'378 the two Curlls': + +Curll, the bookseller, and Lord Hervey whom Pope here couples with him +because of Hervey's vulgar abuse of Pope's personal deformities and +obscure parentage. + + +'380 Yet why': + +Why should they abuse Pope's inoffensive parents? Compare the following +lines. + + +'383' + +Moore's own mother was suspected of loose conduct. + + +'386-388 Of gentle blood ... each parent': + +Pope asserted, perhaps incorrectly, that his father belonged to a +gentleman's family, the head of which was the Earl of Downe. His mother +was the daughter of a Yorkshire gentleman, who lost two sons in the +service of Charles I (cf. l. 386). + + +'389 Bestia': + +probably the elder Horace Walpole, who was in receipt of a handsome +pension. + + +'391' + +An allusion to Addison's unhappy marriage with the Countess of Warwick. + + +'393 The good man': + +Pope's father, who as a devout Roman Catholic refused to take the oath +of allegiance (cf. l. 395), or risk the equivocations sanctioned by the +"schoolmen," 'i.e'. the Catholic casuists of the day (l. 398). + + +'404 Friend': + +Arbuthnot, to whom the epistle is addressed. + + +'405-411' + +The first draft of these appeared in a letter to Aaron Hill, September +3, 1731, where Pope speaks of having sent them "the other day to a +particular friend," perhaps the poet Thomson. Mrs. Pope, who was very +old and feeble, was of course alive when they were first written, but +died more than a year before the passage appeared in its revised form in +this 'Epistle'. + + +'412' + +An allusion to the promise contained in the fifth commandment. + + +'415 served a Queen': + +Arbuthnot had been Queen Anne's doctor, but was driven out of his rooms +in the palace after her death. + + +'416 that blessing': + +long life for Arbuthnot. It was, in fact, denied, for he died a month or +so after the appearance of the 'Epistle'. + + + + + + * * * * * + + +NOTES ON + + +ODE ON SOLITUDE + +Pope says that this delightful little poem was written at the early age +of twelve. It first appeared in a letter to his friend, Henry Cromwell, +dated July 17, 1709. There are several variations between this first +form and that in which it was finally published, and it is probable that +Pope thought enough of his boyish production to subject it to repeated +revision. Its spirit is characteristic of a side of Pope's nature that +is often forgotten. He was, indeed, the poet of the society of his day, +urban, cultured, and pleasure-loving; but to the end of his days he +retained a love for the quiet charm of country life which he had come to +feel in his boyhood at Binfield, and for which he early withdrew from +the whirl and dissipations of London to the groves and the grotto of his +villa at Twickenham. + + + + + + * * * * * + + +NOTES ON + + +THE DESCENT OF DULLNESS + +In the fourth book of the 'Dunciad', Pope abandons the satire on the +pretenders to literary fame which had run through the earlier books, and +flies at higher game. He represents the Goddess Dullness as "coming in +her majesty to destroy Order and Science, and to substitute the Kingdom +of the Dull upon earth." He attacks the pedantry and formalism of +university education in his day, the dissipation and false taste of the +traveled gentry, the foolish pretensions to learning of collectors and +virtuosi, and the daringly irreverent speculations of freethinkers and +infidels. At the close of the book he represents the Goddess as +dismissing her worshipers with a speech which she concludes with "a yawn +of extraordinary virtue." Under its influence "all nature nods," and +pulpits, colleges, and Parliament succumb. The poem closes with the +magnificent description of the descent of Dullness and her final +conquest of art, philosophy, and religion. It is said that Pope himself +admired these lines so much that he could not repeat them without his +voice faltering with emotion. "And well it might, sir," said Dr. Johnson +when this anecdote was repeated to him, "for they are noble lines." And +Thackeray in his lecture on Pope in 'The English Humorists' says: + + "In these astonishing lines Pope reaches, I think, to the very + greatest height which his sublime art has attained, and shows himself + the equal of all poets of all times. It is the brightest ardor, the + loftiest assertion of truth, the most generous wisdom, illustrated by + the noblest poetic figure, and spoken in words the aptest, grandest, + and most harmonious." + + + + + + * * * * * + + + + + +EPITAPH ON GAY + +John Gay, the idlest, best-natured, and best-loved man of letters of his +day, was the special friend of Pope. His early work, 'The Shepherd's +Week', was planned as a parody on the 'Pastorals' of Pope's rival, +Ambrose Philips, and Pope assisted him in the composition of his +luckless farce, 'Three Hours after Marriage'. When Gay's opera 'Polly' +was forbidden by the licenser, and Gay's patrons, the Duke and Duchess +of Queensberry, were driven from court for soliciting subscriptions for +him, Pope warmly espoused his cause. Gay died in 1732 and was buried in +Westminster Abbey. Pope's epitaph for his tomb was first published in +the quarto edition of Pope's works in 1735--Johnson, in his discussion +of Pope's epitaphs ('Lives of the Poets'), devotes a couple of pages of +somewhat captious criticism to these lines; but they have at least the +virtue of simplicity and sincerity, and are at once an admirable +portrait of the man and a lasting tribute to the poet Gay. + + + + + + * * * * * + + + + + +APPENDIX + + +THE RAPE OF THE LOCK + + + Nolueram, Belinda, tuos violare capillos + Sed juvat, hoc precibus me tribuisse tuis. + + MART. + + + +FIRST EDITION + + + + +CANTO I + + + What dire offence from am'rous causes springs, + What mighty quarrels rise from trivial things, + I sing--This verse to C--l, Muse! is due: + This, ev'n Belinda may vouchsafe to view: + Slight is the subject, but not so the praise, 5 + If she inspire, and he approve my lays. + + Say what strange motive, goddess! could compel + A well-bred lord t' assault a gentle belle? + O say what stranger cause, yet unexplored, + Could make a gentle belle reject a lord? 10 + And dwells such rage in softest bosoms then, + And lodge such daring souls in little men? + + Sol through white curtains did his beams display, + And ope'd those eyes which brighter shine than they, + Shock just had giv'n himself the rousing shake, 15 + And nymphs prepared their chocolate to take; + Thrice the wrought slipper knocked against the ground, + And striking watches the tenth hour resound. + Belinda rose, and midst attending dames, + Launched on the bosom of the silver Thames: 20 + A train of well-dressed youths around her shone, + And ev'ry eye was fixed on her alone: + On her white breast a sparkling cross she wore + Which Jews might kiss and infidels adore. + Her lively looks a sprightly mind disclose, 25 + Quick as her eyes, and as unfixed as those: + Favours to none, to all she smiles extends; + Oft she rejects, but never once offends. + Bright as the sun, her eyes the gazers strike, + And, like the sun, they shine on all alike. 30 + Yet graceful ease, and sweetness void of pride, + Might hide her faults, if belles had faults to hide: + If to her share some female errors fall, + Look on her face, and you'll forgive 'em all. + + This nymph, to the destruction of mankind, 35 + Nourished two locks, which graceful hung behind + In equal curls, and well conspired to deck + With shining ringlets her smooth iv'ry neck. + Love in these labyrinths his slaves detains, + And mighty hearts are held in slender chains. 40 + With hairy springes we the birds betray, + Slight lines of hair surprise the finny prey, + Fair tresses man's imperial race insnare, + And beauty draws us with a single hair. + + Th' adventurous baron the bright locks admired; 45 + He saw, he wished, and to the prize aspired. + Resolved to win, he meditates the way, + By force to ravish, or by fraud betray; + For when success a lover's toil attends, + Few ask if fraud or force attained his ends. 50 + + For this, ere Phoebus rose, he had implored + Propitious heav'n, and every pow'r adored, + But chiefly Love--to Love an altar built, + Of twelve vast French romances, neatly gilt. + There lay the sword-knot Sylvia's hands had sewn 55 + With Flavia's busk that oft had wrapped his own: + A fan, a garter, half a pair of gloves, + And all the trophies of his former loves. + With tender billets-doux he lights the pire, + And breathes three am'rous sighs to raise the fire. 60 + Then prostrate falls, and begs with ardent eyes + Soon to obtain, and long possess the prize: + The pow'rs gave ear, and granted half his pray'r, + The rest the winds dispersed in empty air. + + Close by those meads, for ever crowned with flow'rs, 65 + Where Thames with pride surveys his rising tow'rs, + There stands a structure of majestic frame, + Which from the neighb'ring Hampton takes its name. + Here Britain's statesmen oft the fall foredoom + Of foreign tyrants, and of nymphs at home; 70 + Here thou, great Anna! whom three realms obey, + Dost sometimes counsel take--and sometimes tea. + + Hither our nymphs and heroes did resort, + To taste awhile the pleasures of a court; + In various talk the cheerful hours they passed, 75 + Of who was bit, or who capotted last; + This speaks the glory of the British queen, + And that describes a charming Indian screen; + A third interprets motions, looks, and eyes; + At ev'ry word a reputation dies. 80 + Snuff, or the fan, supply each pause of chat, + With singing, laughing, ogling, and all that. + + Now when, declining from the noon of day, + The sun obliquely shoots his burning ray; + When hungry judges soon the sentence sign, 85 + And wretches hang that jurymen may dine; + When merchants from th' Exchange return in peace, + And the long labours of the toilet cease, + The board's with cups and spoons, alternate, crowned, + The berries crackle, and the mill turns round; 90 + On shining altars of Japan they raise + The silver lamp, and fiery spirits blaze: + From silver spouts the grateful liquors glide, + While China's earth receives the smoking tide. + At once they gratify their smell and taste, 95 + While frequent cups prolong the rich repast. + Coffee (which makes the politician wise, + And see through all things with his half-shut eyes) + Sent up in vapours to the baron's brain + New stratagems, the radiant lock to gain. 100 + Ah cease, rash youth! desist ere't is too late, + Fear the just gods, and think of Scylla's fate! + Changed to a bird, and sent to flit in air, + She dearly pays for Nisus' injured hair! + + But when to mischief mortals bend their mind, 105 + How soon fit instruments of ill they find! + Just then, Clarissa drew with tempting grace + A two-edged weapon from her shining case: + So ladies, in romance, assist their knight, + Present the spear, and arm him for the fight; 110 + He takes the gift with rev'rence, and extends + The little engine on his fingers' ends; + This just behind Belinda's neck he spread, + As o'er the fragrant steams she bends her head. + He first expands the glitt'ring forfex wide 115 + T' enclose the lock; then joins it, to divide; + One fatal stroke the sacred hair does sever + From the fair head, for ever, and for ever! + + The living fires come flashing from her eyes, + And screams of horror rend th' affrighted skies. 120 + Not louder shrieks by dames to heav'n are cast, + When husbands die, or lapdogs breathe their last; + Or when rich china vessels, fall'n from high, + In glitt'ring dust and painted fragments lie! + + "Let wreaths of triumph now my temples twine," 125 + The victor cried, "the glorious prize is mine! + While fish in streams, or birds delight in air, + Or in a coach and six the British fair, + As long as Atalantis shall be read, + Or the small pillow grace a lady's bed, 130 + While visits shall be paid on solemn days, + When num'rous wax-lights in bright order blaze, + While nymphs take treats, or assignations give, + So long my honour, name, and praise shall live!" + + What time would spare, from steel receives its date, 135 + And monuments, like men, submit to fate! + Steel did the labour of the gods destroy, + And strike to dust th' aspiring tow'rs of Troy; + Steel could the works of mortal pride confound, + And hew triumphal arches to the ground. 140 + What wonder then, fair nymph! thy hairs should feel + The conqu'ring force of unresisted steel? + + + + + +CANTO II + + + But anxious cares the pensive nymph oppressed, + And secret passions laboured in her breast. + Not youthful kings in battle seized alive, + Not scornful virgins who their charms survive, + Not ardent lover robbed of all his bliss, 5 + Not ancient lady when refused a kiss, + Not tyrants fierce that unrepenting die, + Not Cynthia when her manteau's pinned awry, + E'er felt such rage, resentment, and despair, + As thou, sad virgin! for thy ravished hair. 10 + + While her racked soul repose and peace requires, + The fierce Thalestris fans the rising fires. + "O wretched maid!" she spread her hands, and cried, + (And Hampton's echoes, "Wretched maid!" replied) + "Was it for this you took such constant care 15 + Combs, bodkins, leads, pomatums to prepare? + For this your locks in paper durance bound? + For this with tort'ring irons wreathed around? + Oh had the youth been but content to seize + Hairs less in sight, or any hairs but these! 20 + Gods! shall the ravisher display this hair, + While the fops envy, and the ladies stare! + Honour forbid! at whose unrivalled shrine + Ease, pleasure, virtue, all, our sex resign. + Methinks already I your tears survey, 25 + Already hear the horrid things they say, + Already see you a degraded toast, + And all your honour in a whisper lost! + How shall I, then, your helpless fame defend? + 'T will then be infamy to seem your friend! 30 + And shall this prize, th' inestimable prize, + Exposed through crystal to the gazing eyes, + And heightened by the diamond's circling rays, + On that rapacious hand for ever blaze? + Sooner shall grass in Hyde Park Circus grow, 35 + And wits take lodgings in the sound of Bow; + Sooner let earth, air, sea, to chaos fall, + Men, monkeys, lapdogs, parrots, perish all!" + + She said; then raging to Sir Plume repairs, + And bids her beau demand the precious hairs: 40 + Sir Plume, of amber snuff-box justly vain, + And the nice conduct of a clouded cane, + With earnest eyes, and round unthinking face, + He first the snuff-box opened, then the case, + And thus broke out--"My lord, why, what the devil! 45 + Zounds! damn the lock! 'fore Gad, you must be civil! + Plague on't! 't is past a jest--nay, prithee, pox! + Give her the hair."--He spoke, and rapped his box. + + "It grieves me much," replied the peer again, + "Who speaks so well should ever speak in vain: 50 + But by this lock, this sacred lock, I swear, + (Which never more shall join its parted hair; + Which never more its honours shall renew, + Clipped from the lovely head where once it grew) + That, while my nostrils draw the vital air, 55 + This hand, which won it, shall for ever wear." + He spoke, and speaking, in proud triumph spread + The long-contended honours of her head. + + But see! the nymph in sorrow's pomp appears, + Her eyes half-languishing, half drowned in tears; 60 + Now livid pale her cheeks, now glowing red + On her heaved bosom hung her drooping head, + Which with a sigh she raised, and thus she said: + "For ever cursed be this detested day, + Which snatched my best, my fav'rite curl away; 65 + Happy! ah ten times happy had I been, + If Hampton Court these eyes had never seen! + Yet am not I the first mistaken maid, + By love of courts to num'rous ills betrayed. + O had I rather unadmired remained 70 + In some lone isle, or distant northern land, + Where the gilt chariot never marked the way, + Where none learn ombre, none e'er taste bohea! + There kept my charms concealed from mortal eye, + Like roses, that in deserts bloom and die. 75 + What moved my mind with youthful lords to roam? + O had I stayed, and said my pray'rs at home! + 'Twas this the morning omens did foretell, + Thrice from my trembling hand the patchbox fell; + The tott'ring china shook without a wind, 80 + Nay, Poll sat mute, and Shock was most unkind! + See the poor remnants of this slighted hair! + My hands shall rend what ev'n thy own did spare: + This in two sable ringlets taught to break, + Once gave new beauties to the snowy neck; 85 + The sister-lock now sits uncouth, alone, + And in its fellow's fate foresees its own; + Uncurled it hangs, the fatal shears demands, + And tempts once more thy sacrilegious hands." + + She said: the pitying audience melt in tears; 90 + But fate and Jove had stopped the baron's ears. + In vain Thalestris with reproach assails, + For who can move when fair Belinda fails? + Not half so fixed the Trojan could remain, + While Anna begged and Dido raged in vain. 95 + "To arms, to arms!" the bold Thalestris cries, + And swift as lightning to the combat flies. + All side in parties, and begin th' attack; + Fans clap, silks rustle, and tough whalebones crack; + Heroes' and heroines' shouts confus'dly rise, 100 + And bass and treble voices strike the skies; + No common weapons in their hands are found, + Like gods they fight, nor dread a mortal wound. + + So when bold Homer makes the gods engage, + And heav'nly breasts with human passions rage, 105 + 'Gainst Pallas, Mars; Latona, Hermes arms, + And all Olympus rings with loud alarms; + Jove's thunder roars, heav'n trembles all around, + Blue Neptune storms, the bellowing deeps resound: + Earth shakes her nodding tow'rs, the ground gives way, 110 + And the pale ghosts start at the flash of day! + + While through the press enraged Thalestris flies, + And scatters death around from both her eyes, + A beau and witling perished in the throng, + One died in metaphor, and one in song. 115 + "O cruel nymph; a living death I bear," + Cried Dapperwit, and sunk beside his chair. + A mournful glance Sir Fopling upwards cast, + "Those eyes are made so killing"--was his last. + Thus on Mĉander's flow'ry margin lies 120 + Th' expiring swan, and as he sings he dies. + + As bold Sir Plume had drawn Clarissa down, + Chloe stepped in, and killed him with a frown; + She smiled to see the doughty hero slain, + But at her smile the beau revived again. 125 + + Now Jove suspends his golden scales in air, + Weighs the men's wits against the lady's hair; + The doubtful beam long nods from side to side; + At length the wits mount up, the hairs subside. + + See fierce Belinda on the baron flies, 130 + With more than usual lightning in her eyes: + Nor feared the chief th' unequal fight to try, + Who sought no more than on his foe to die. + But this bold lord, with manly strength endued, + She with one finger and a thumb subdued: 135 + Just where the breath of life his nostrils drew, + A charge of snuff the wily virgin threw; + Sudden, with starting tears each eye o'erflows, + And the high dome re-echoes to his nose. + + "Now meet thy fate," th' incensed virago cried, 140 + And drew a deadly bodkin from her side. + + "Boast not my fall," he said, "insulting foe! + Thou by some other shalt be laid as low; + Nor think to die dejects my lofty mind; + All that I dread is leaving you behind! 145 + Rather than so, ah let me still survive, + And still burn on, in Cupid's flames, alive." + + "Restore the lock!" she cries; and all around + "Restore the lock!" the vaulted roofs rebound. + Not fierce Othello in so loud a strain 150 + Roared for the handkerchief that caused his pain. + But see how oft ambitious aims are crossed, + And chiefs contend till all the prize is lost! + The lock, obtained with guilt, and kept with pain, + In ev'ry place is sought, but sought in vain: 155 + With such a prize no mortal must be blessed, + So heav'n decrees! with heav'n who can contest? + Some thought it mounted to the lunar sphere, + Since all that man e'er lost is treasured there. + There heroes' wits are kept in pond'rous vases, 160 + And beaux' in snuff-boxes and tweezer-cases. + There broken vows, and death-bed alms are found, + And lovers' hearts with ends of ribbon bound, + The courtier's promises, and sick man's pray'rs, + The smiles of harlots, and the tears of heirs, 165 + Cages for gnats, and chains to yoke a flea, + Dried butterflies, and tomes of casuistry. + + But trust the muse--she saw it upward rise, + Though marked by none but quick poetic eyes: + (Thus Rome's great founder to the heav'ns withdrew, 170 + To Proculus alone confessed in view) + A sudden star, it shot through liquid air, + And drew behind a radiant trail of hair. + Not Berenice's locks first rose so bright, + The skies bespangling with dishevelled light. 175 + This the beau monde shall from the Mall survey, } + As through the moonlight shade they nightly stray, } + And hail with music its propitious ray; } + This Partridge soon shall view in cloudless skies, + When next he looks through Galileo's eyes; 180 + And hence th' egregious wizard shall foredoom + The fate of Louis, and the fall of Rome. + + Then cease, bright nymph! to mourn thy ravished hair, + Which adds new glory to the shining sphere! + Not all the tresses that fair head can boast, 185 + Shall draw such envy as the lock you lost. + For after all the murders of your eye, + When, after millions slain, yourself shall die; + When those fair suns shall set, as set they must, + And all those tresses shall be laid in dust, 190 + This lock the muse shall consecrate to fame, + And 'midst the stars inscribe Belinda's name. + + + + + + + + + + +End of the Project Gutenberg EBook of The Rape of the Lock and Other Poems, by +Alexander Pope + +*** END OF THIS PROJECT GUTENBERG EBOOK RAPE OF LOCK AND OTHER POEMS *** + +***** This file should be named 9800-8.txt or 9800-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/9/8/0/9800/ + +Produced by Clytie Siddall, Charles Aldarondo, Tiffany +Vergon and the Online Distributed Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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