Essay on Man Moral Essays and Satires

- By Alexander Pope
Font Size
English poet (1688–1744) Not to be confused with Pope Alexander. For other uses, see Alexander Pope (disambiguation). Alexander PopePortrait by Michael Dahl, c. 1727Born(1688-05-21)21 May 1688 O.S.London, EnglandDied30 May 1744(1744-05-30) (aged 56)Twickenham, Middlesex, EnglandResting placeSt Mary's Church, Twickenham, Middlesex, EnglandOccupationPoet, writer, translatorGenrePoetry, satire, translationLiterary movementClassicism, Augustan literatureNotable worksThe Dunciad, The Rape of the Lock, An Essay on Criticism, his translation of HomerSignature Alexander Pope (21 May 1688 O.S.[1] – 30 May 1744) was an English poet, translator, and satirist of the Enlightenment era who is considered one of the most prominent English poets of the early 18th century. An exponent of Augustan literature,[2] Pope is best known for his satirical and discursive poetry including The Rape of the Lock, The Dunciad, and An Essay on Criticism, and for his translations of Homer. Pope is often quoted in The Oxford Dictionary of Quotations, some of his verses having entered common parlance (e.g. "damning with faint praise" or "to err is human; to forgive, divine"). Life[edit] Alexander Pope was born in London on 21 May 1688 during the year of the Glorious Revolution. His father (Alexander Pope, 1646–1717) was a successful linen merchant in the Strand, London. His mother, Edith (née Turner, 1643–1733), was the daughter of William Turner, Esquire, of York. Both parents were Catholics.[3] His mother's sister, Christiana, was the wife of famous miniature painter Samuel Cooper. Pope's education was affected by the recently enacted Test Acts, a series of English penal laws that upheld the status of the established Church of England, banning Catholics from teaching, attending a university, voting, and holding public office on penalty of perpetual imprisonment. Pope was taught to read by his aunt and attended Twyford School circa 1698.[3] He also attended two Roman Catholic schools in London.[3] Such schools, though still illegal, were tolerated in some areas.[4] In 1700, his family moved to a small estate at Popeswood, in Binfield, Berkshire, close to the royal Windsor Forest.[3] This was due to strong anti-Catholic sentiment and a statute preventing "Papists" from living within 10 miles (16 km) of London or Westminster.[5] Pope would later describe the countryside around the house in his poem Windsor Forest.[6] Pope's formal education ended at this time, and from then on, he mostly educated himself by reading the works of classical writers such as the satirists Horace and Juvenal, the epic poets Homer and Virgil, as well as English authors such as Geoffrey Chaucer, William Shakespeare and John Dryden.[3] He studied many languages, reading works by French, Italian, Latin, and Greek poets. After five years of study, Pope came into contact with figures from London literary society such as William Congreve, Samuel Garth and William Trumbull.[3][4] At Binfield he made many important friends. One of them, John Caryll (the future dedicatee of The Rape of the Lock), was twenty years older than the poet and had made many acquaintances in the London literary world. He introduced the young Pope to the ageing playwright William Wycherley and to William Walsh, a minor poet, who helped Pope revise his first major work, The Pastorals. There, he met the Blount sisters, Teresa and Martha (Patty), in 1707. He remained close friends with Patty until his death, but his friendship with Teresa ended in 1722.[7] Pope's villa at Twickenham, showing the grotto; from a watercolour produced soon after his death From the age of 12 he suffered numerous health problems, including Pott disease, a form of tuberculosis that affects the spine, which deformed his body and stunted his growth, leaving him with a severe hunchback. His tuberculosis infection caused other health problems including respiratory difficulties, high fevers, inflamed eyes and abdominal pain.[3] He grew to a height of only 4 feet 6 inches (1.37 metres). Pope was already removed from society as a Catholic, and his poor health alienated him further. Although he never married, he had many female friends to whom he wrote witty letters, including Lady Mary Wortley Montagu. It has been alleged that his lifelong friend Martha Blount was his lover.[4][8][9][10] His friend William Cheselden said, according to Joseph Spence, "I could give a more particular account of Mr. Pope's health than perhaps any man. Cibber's slander (of carnosity) is false. He had been gay [happy], but left that way of life upon his acquaintance with Mrs. B."[11] In May 1709, Pope's Pastorals was published in the sixth part of bookseller Jacob Tonson's Poetical Miscellanies. This earned Pope instant fame and was followed by An Essay on Criticism, published in May 1711, which was equally well received. Around 1711, Pope made friends with Tory writers Jonathan Swift, Thomas Parnell and John Arbuthnot, who together formed the satirical Scriblerus Club. Its aim was to satirise ignorance and pedantry through the fictional scholar Martinus Scriblerus. He also made friends with Whig writers Joseph Addison and Richard Steele. In March 1713, Windsor Forest[6] was published to great acclaim.[4] During Pope's friendship with Joseph Addison, he contributed to Addison's play Cato, as well as writing for The Guardian and The Spectator. Around this time, he began the work of translating the Iliad, which was a painstaking process – publication began in 1715 and did not end until 1720.[4] In 1714 the political situation worsened with the death of Queen Anne and the disputed succession between the Hanoverians and the Jacobites, leading to the Jacobite rising of 1715. Though Pope, as a Catholic, might have been expected to have supported the Jacobites because of his religious and political affiliations, according to Maynard Mack, "where Pope himself stood on these matters can probably never be confidently known". These events led to an immediate downturn in the fortunes of the Tories, and Pope's friend Henry St John, 1st Viscount Bolingbroke, fled to France. This was added to by the Impeachment of the former Tory Chief Minister Lord Oxford. Pope lived in his parents' house in Mawson Row, Chiswick, between 1716 and 1719; the red-brick building is now the Mawson Arms, commemorating him with a blue plaque.[12] The money made from his translation of Homer allowed Pope to move in 1719 to a villa at Twickenham, where he created his now-famous grotto and gardens. The serendipitous discovery of a spring during the excavation of the subterranean retreat enabled it to be filled with the relaxing sound of trickling water, which would quietly echo around the chambers. Pope was said to have remarked, "Were it to have nymphs as well – it would be complete in everything." Although the house and gardens have long since been demolished, much of the grotto survives beneath Radnor House Independent Co-educational School.[8][13] The grotto has been restored and will open to the public for 30 weekends a year from 2023 under the auspices of Pope's Grotto Preservation Trust.[14] Poetry[edit] Mawson Arms, Chiswick Lane, with blue plaque to Pope Essay on Criticism[edit] Main article: An Essay on Criticism An Essay on Criticism was first published anonymously on 15 May 1711. Pope began writing the poem early in his career and took about three years to finish it. At the time the poem was published, its heroic couplet style was quite a new poetic form and Pope's work an ambitious attempt to identify and refine his own positions as a poet and critic. It was said to be a response to an ongoing debate on the question of whether poetry should be natural, or written according to predetermined artificial rules inherited from the classical past.[15] The "essay" begins with a discussion of the standard rules that govern poetry, by which a critic passes judgement. Pope comments on the classical authors who dealt with such standards and the authority he believed should be accredited to them. He discusses the laws to which a critic should adhere while analysing poetry, pointing out the important function critics perform in aiding poets with their works, as opposed to simply attacking them.[16] The final section of An Essay on Criticism discusses the moral qualities and virtues inherent in an ideal critic, whom Pope claims is also the ideal man. The Rape of the Lock[edit] Pope's most famous poem is The Rape of the Lock, first published in 1712, with a revised version in 1714. A mock-epic, it satirises a high-society quarrel between Arabella Fermor (the "Belinda" of the poem) and Lord Petre, who had snipped a lock of hair from her head without permission. The satirical style is tempered, however, by a genuine, almost voyeuristic interest in the "beau-monde" (fashionable world) of 18th-century society.[17] The revised, extended version of the poem focuses more clearly on its true subject: the onset of acquisitive individualism and a society of conspicuous consumers. In the poem, purchased artefacts displace human agency and "trivial things" come to dominate.[18] The Dunciad and Moral Essays[edit] Alexander Pope, painting attributed to English painter Jonathan Richardson, c. 1736, Museum of Fine Arts, Boston Though The Dunciad first appeared anonymously in Dublin, its authorship was not in doubt. Pope pilloried a host of other "hacks", "scribblers" and "dunces" in addition to Theobald, and Maynard Mack has accordingly called its publication "in many ways the greatest act of folly in Pope's life". Though a masterpiece due to having become "one of the most challenging and distinctive works in the history of English poetry", writes Mack, "it bore bitter fruit. It brought the poet in his own time the hostility of its victims and their sympathizers, who pursued him implacably from then on with a few damaging truths and a host of slanders and lies."[19] According to his half-sister Magdalen Rackett, some of Pope's targets were so enraged by The Dunciad that they threatened him physically. "My brother does not seem to know what fear is," she told Joseph Spence, explaining that Pope loved to walk alone, so went accompanied by his Great Dane Bounce, and for some time carried pistols in his pocket.[20] This first Dunciad, along with John Gay's The Beggar's Opera and Jonathan Swift's Gulliver's Travels, joined in a concerted propaganda assault against Robert Walpole's Whig ministry and the financial revolution it stabilised. Although Pope was a keen participant in the stock and money markets, he never missed a chance to satirise the personal, social and political effects of the new scheme of things. From The Rape of the Lock onwards, these satirical themes appear constantly in his work. In 1731, Pope published his "Epistle to Burlington", on the subject of architecture, the first of four poems later grouped as the Moral Essays (1731–1735).[21] The epistle ridicules the bad taste of the aristocrat "Timon".[22] For example, the following are verses 99 and 100 of the Epistle: At Timon's Villa let us paſs a day,Where all cry out, "What ſums are thrown away!"[22] Pope's foes claimed he was attacking the Duke of Chandos and his estate, Cannons. Though the charge was untrue, it did much damage to Pope.[citation needed] There has been some speculation on a feud between Pope and Thomas Hearne, due in part to the character of Wormius in The Dunciad, who is seemingly based on Hearne.[23] An Essay on Man[edit] Main article: An Essay on Man An Essay on Man is a philosophical poem in heroic couplets published between 1732 and 1734. Pope meant it as the centrepiece of a proposed system of ethics to be put forth in poetic form. It was a piece that he sought to make into a larger work, but he did not live to complete it.[24] It attempts to "vindicate the ways of God to Man", a variation on Milton's attempt in Paradise Lost to "justify the ways of God to Man" (1.26). It challenges as prideful an anthropocentric worldview. The poem is not solely Christian, however. It assumes that man has fallen and must seek his own salvation.[24] Consisting of four epistles addressed to Lord Bolingbroke, it presents an idea of Pope's view of the Universe: no matter how imperfect, complex, inscrutable and disturbing the Universe may be, it functions in a rational fashion according to natural laws, so that the Universe as a whole is a perfect work of God, though to humans it appears to be evil and imperfect in many ways. Pope ascribes this to our limited mindset and intellectual capacity. He argues that humans must accept their position in the "Great Chain of Being", at a middle stage between the angels and the beasts of the world. Accomplish this and we potentially could lead happy and virtuous lives.[24] The poem is an affirmative statement of faith: life seems chaotic and confusing to man in the centre of it, but according to Pope it is truly divinely ordered. In Pope's world, God exists and is what he centres the Universe around as an ordered structure. The limited intelligence of man can only take in tiny portions of this order and experience only partial truths, hence man must rely on hope, which then leads to faith. Man must be aware of his existence in the Universe and what he brings to it in terms of riches, power and fame. Pope proclaims that man's duty is to strive to be good, regardless of other situations.[25][failed verification] Later life and works[edit] The death of Alexander Pope from Museus, a threnody by William Mason. Diana holds the dying Pope, and John Milton, Edmund Spenser, and Geoffrey Chaucer prepare to welcome him to heaven. The Imitations of Horace that followed (1733–1738) were written in the popular Augustan form of an "imitation" of a classical poet, not so much a translation of his works as an updating with contemporary references. Pope used the model of Horace to satirise life under George II, especially what he saw as the widespread corruption tainting the country under Walpole's influence and the poor quality of the court's artistic taste. Pope added as an introduction to Imitations a wholly original poem that reviews his own literary career and includes famous portraits of Lord Hervey ("Sporus"), Thomas Hay, 9th Earl of Kinnoull ("Balbus") and Addison ("Atticus"). In 1738 came the Universal Prayer.[26] Among the younger poets whose work Pope admired was Joseph Thurston.[27] After 1738, Pope himself wrote little. He toyed with the idea of composing a patriotic epic in blank verse called Brutus, but only the opening lines survive. His major work in those years was to revise and expand his masterpiece, The Dunciad. Book Four appeared in 1742 and a full revision of the whole poem the following year. Here Pope replaced the "hero" Lewis Theobald with the Poet Laureate, Colley Cibber as "king of dunces". However, the real focus of the revised poem is Walpole and his works. By now Pope's health, which had never been good, was failing. When told by his physician, on the morning of his death, that he was better, Pope replied: "Here am I, dying of a hundred good symptoms."[28][29] He died at his villa surrounded by friends on 30 May 1744, about eleven o'clock at night. On the previous day, 29 May 1744, Pope had called for a priest and received the Last Rites of the Catholic Church. He was buried in the nave of St Mary's Church, Twickenham. Translations and editions[edit] The Iliad[edit] Pope had been fascinated by Homer since childhood. In 1713, he announced plans to publish a translation of the Iliad. The work would be available by subscription, with one volume appearing every year over six years. Pope secured a revolutionary deal with the publisher Bernard Lintot, which earned him 200 guineas (£210) a volume, a vast sum at the time. His Iliad translation appeared between 1715 and 1720. It was acclaimed by Samuel Johnson as "a performance which no age or nation could hope to equal". Conversely, the classical scholar Richard Bentley wrote: "It is a pretty poem, Mr. Pope, but you must not call it Homer."[30] The Odyssey[edit] Frontispiece and title page of a 1752 edition of Pope's Odyssey Encouraged by the success of the Iliad, Bernard Lintot published Pope's five-volume translation of Homer's Odyssey in 1725–1726.[31] For this Pope collaborated with William Broome and Elijah Fenton: Broome translated eight books (2, 6, 8, 11, 12, 16, 18, 23), Fenton four (1, 4, 19, 20) and Pope the remaining 12. Broome provided the annotations.[32] Pope tried to conceal the extent of the collaboration, but the secret leaked out.[33] It did some damage to Pope's reputation for a time, but not to his profits.[34] Leslie Stephen considered Pope's portion of the Odyssey inferior to his version of the Iliad, given that Pope had put more effort into the earlier work – to which, in any case, his style was better suited.[35] Shakespeare's works[edit] In this period, Pope was employed by the publisher Jacob Tonson to produce an opulent new edition of Shakespeare.[36] When it appeared in 1725, it silently regularised Shakespeare's metre and rewrote his verse in several places. Pope also removed about 1,560 lines of Shakespeare's material, arguing that some appealed to him more than others.[36] In 1726, the lawyer, poet and pantomime-deviser Lewis Theobald published a scathing pamphlet called Shakespeare Restored, which catalogued the errors in Pope's work and suggested several revisions to the text. This enraged Pope, wherefore Theobald became the main target of Pope's Dunciad.[37] The second edition of Pope's Shakespeare appeared in 1728.[36] Apart from some minor revisions to the preface, it seems that Pope had little to do with it. Most later 18th-century editors of Shakespeare dismissed Pope's creatively motivated approach to textual criticism. Pope's preface continued to be highly rated. It was suggested that Shakespeare's texts were thoroughly contaminated by actors' interpolations and they would influence editors for most of the 18th century. Spirit, skill and satire[edit] Pope's poetic career testifies to an indomitable spirit despite disadvantages of health and circumstance. The poet and his family were Catholics and so fell subject to the prohibitive Test Acts, which hampered their co-religionists after the abdication of James II. One of these banned them from living within ten miles of London, another from attending public school or university. So except for a few spurious Catholic schools, Pope was largely self-educated. He was taught to read by his aunt and became a book lover, reading in French, Italian, Latin and Greek and discovering Homer at the age of six. In 1700, when only twelve years of age, he wrote his poem Ode on Solitude.[38][39] As a child Pope survived once being trampled by a cow, but when he was 12 he began struggling with tuberculosis of the spine (Pott disease), which restricted his growth, so that he was only 4 feet 6 inches (1.37 metres) tall as an adult. He also suffered from crippling headaches. In the year 1709, Pope showcased his precocious metrical skill with the publication of Pastorals, his first major poems. They earned him instant fame. By the age of 23, he had written An Essay on Criticism, released in 1711. A kind of poetic manifesto in the vein of Horace's Ars Poetica, it met with enthusiastic attention and won Pope a wider circle of prominent friends, notably Joseph Addison and Richard Steele, who had recently begun to collaborate on the influential The Spectator. The critic John Dennis, having found an ironic and veiled portrait of himself, was outraged by what he saw as the impudence of a younger author. Dennis hated Pope for the rest of his life, and save for a temporary reconciliation, dedicated his efforts to insulting him in print, to which Pope retaliated in kind, making Dennis the butt of much satire. A folio containing a collection of his poems appeared in 1717, along with two new ones about the passion of love: Verses to the Memory of an Unfortunate Lady and the famous proto-romantic poem Eloisa to Abelard. Though Pope never married, about this time he became strongly attached to Lady M. Montagu, whom he indirectly referenced in his popular Eloisa to Abelard, and to Martha Blount, with whom his friendship continued through his life. As a satirist, Pope made his share of enemies as critics, politicians and certain other prominent figures felt the sting of his sharp-witted satires. Some were so virulent that Pope even carried pistols while walking his dog. In 1738 and thenceforth, Pope composed relatively little. He began having ideas for a patriotic epic in blank verse titled Brutus, but mainly revised and expanded his Dunciad. Book Four appeared in 1742; and a complete revision of the whole in the year that followed. At this time Lewis Theobald was replaced with the Poet Laureate Colley Cibber as "king of dunces", but his real target remained the Whig politician Robert Walpole. Reception[edit] By the mid-18th century, new fashions in poetry emerged. A decade after Pope's death, Joseph Warton claimed that Pope's style was not the most excellent form of the art. The Romantic movement that rose to prominence in early 19th-century England was more ambivalent about his work. Though Lord Byron identified Pope as one of his chief influences – believing his own scathing satire of contemporary English literature English Bards and Scotch Reviewers to be a continuance of Pope's tradition – William Wordsworth found Pope's style too decadent to represent the human condition.[4] George Gilfillan in an 1856 study called Pope's talent "a rose peering into the summer air, fine, rather than powerful".[40] Pope's reputation revived in the 20th century. His work was full of references to the people and places of his time, which aided people's understanding of the past. The post-war period stressed the power of Pope's poetry, recognising that Pope's immersion in Christian and Biblical culture lent depth to his poetry. For example, Maynard Mack, in the late 20th-century, argued that Pope's moral vision demanded as much respect as his technical excellence. Between 1953 and 1967 the definitive Twickenham edition of Pope's poems appeared in ten volumes, including an index volume.[4] Works[edit] Major works[edit] 1709: Pastorals 1711: An Essay on Criticism[41] 1712: Messiah (from the Book of Isaiah, and later translated into Latin by Samuel Johnson) 1712: The Rape of the Lock (enlarged in 1714)[41] 1713: Windsor Forest[6][41] 1715: The Temple of Fame: A Vision[42] 1717: Eloisa to Abelard[41] 1717: Three Hours After Marriage, with others 1717: Elegy to the Memory of an Unfortunate Lady[41] 1728: Peri Bathous, Or the Art of Sinking in Poetry 1728: The Dunciad[41] 1731–1735: Moral Essays 1733–1734: Essay on Man[41] 1735: Epistle to Dr Arbuthnot Translations and editions[edit] 1715–1720: Translation of the Iliad[41] 1723–1725: The Works of Shakespear, in Six Volumes 1725–1726: Translation of the Odyssey[41] Other works[edit] 1700: Ode on Solitude 1713: Ode for Musick[43] 1715: A Key to the Lock 1717: The Court Ballad[44] 1717: Ode for Music on St. Cecilia's Day 1731: An Epistle to the Right Honourable Richard Earl of Burlington[45] 1733: The Impertinent, or A Visit to the Court[46] 1736: Bounce to Fop[47] 1737: The First Ode of the Fourth Book of Horace[48] 1738: The First Epistle of the First Book of Horace[49] Editions[edit] The Works of Alexander Pope vol 3 vol 3 v 9 of 10 v 6 of 8 See also[edit] Alexander Pope - Wikiquote Characters and Observations List of abolitionist forerunners Pope's Urn References[edit] ^ "Alexander Pope: The Evolution of a Poet" by Netta Murray Goldsmith (2002), p. 17: "Alexander Pope was born on Monday 21 May 1688 at 6.45 pm when England was on the brink of a revolution." ^ Foundation, Poetry (29 April 2021). "Alexander Pope". Poetry Foundation. Archived from the original on 27 April 2021. Retrieved 30 April 2021. ^ a b c d e f g Erskine-Hill, Howard (2004). "Pope, Alexander (1688–1744)", Oxford Dictionary of National Biography. Oxford University Press. doi:10.1093/ref:odnb/22526 (subscription required) ^ a b c d e f g "Alexander Pope", Literature Online biography (Chadwyck-Healey: Cambridge, 2000). (subscription required) ^ "An Act to prevent and avoid dangers which may grow by Popish Recusants" (3 Jas. 1. c. 4). For details, see Catholic Encyclopedia, "Penal Laws Archived 6 August 2020 at the Wayback Machine". ^ a b c Pope, Alexander. Windsor-Forest Archived 17 June 2016 at the Wayback Machine. Eighteenth-Century Poetry Archive (ECPA). ^ Rumbold, Valerie (1989). Women's Place in Pope's World. Cambridge: Cambridge University Press. pp. 33, 48, 128. ^ a b Gordon, Ian (24 January 2002). "An Epistle to a Lady (Moral Essay II)". The Literary Encyclopedia. Archived from the original on 7 October 2007. Retrieved 17 April 2009. ^ "Martha Blount". Encyclopædia Britannica. 2009. Archived from the original on 30 January 2012. Retrieved 17 April 2009. ^ The Life of Alexander Pope, by Robert Carruthers, 1857, with a corrupted and badly scanned version available from Internet Archive, or as an even worse 23MB PDF. For reference to his relationship with Martha Blount and her sister, see pp. 64–68 (p. 89 ff. of the PDF). In particular, discussion of the controversy over whether the relationship was sexual is described in some detail on pp. 76–78. ^ Zachary Cope (1953) William Cheselden, 1688–1752. Edinburgh: E. & S. Livingstone, p. 89. ^ Clegg, Gillian. "Chiswick History". People: Alexander Pope. chiswickhistory.org.uk. Archived from the original on 20 September 2011. Retrieved 16 March 2012. ^ London Evening Standard, 2 November 2010. ^ Fox, Robin Lane (23 July 2021). "The secrets and lights of Alexander Pope's Twickenham grotto". Financial Times. Archived from the original on 10 December 2022. Retrieved 24 July 2021. ^ Rogers, Pat (2006). The Major Works. Oxford University Press. pp. 17–39. ISBN 019920361X. ^ Baines, Paul (2001). The Complete Critical Guide to Alexander Pope. Routledge Publishing. pp. 67–90. ^ "from the London School of Journalism". Archived from the original on 31 May 2008. ^ Colin Nicholson (1994). Writing and the Rise of Finance: Capital Satires of the Early Eighteenth Century, Cambridge. ^ Maynard Mack (1985). Alexander Pope: A Life. W. W. Norton & Company, and Yale University Press, pp. 472–473. ISBN 0393305295 ^ Joseph Spence. Observations, Anecdotes, and Characters of Books and Men, Collected from the Conversation of Mr. Pope (1820), p. 38 Archived 2 April 2023 at the Wayback Machine. ^ "Moral Essays". Archived from the original on 9 August 2021. Retrieved 9 August 2021. ^ a b Alexander Pope. Moral Essays Archived 21 April 2023 at the Wayback Machine, p. 82 ^ Rogers, Pat (2004). The Alexander Pope encyclopedia. Westport, Conn.: Greenwood Press. ISBN 0-313-06153-X. OCLC 607099760. ^ a b c Nuttal, Anthony (1984). Pope's Essay on Man. Allen & Unwin. pp. 3–15, 167–188. ISBN 9780048000170. ^ Cassirer, Ernst (1944). An Essay on Man; an introduction to a philosophy of human culture. Yale University Press. ISBN 9780300000344. ^ McKeown, Trevor W. "Alexander Pope 'Universal Prayer'". bcy.ca. Archived from the original on 28 January 2017. Retrieved 12 April 2007. Full-text Archived 17 June 2016 at the Wayback Machine. Also at the Eighteenth-Century Poetry Archive (ECPA). ^ James Sambrook (2004) "Thurston, Josephlocked (1704–1732)", Oxford Dictionary of National Biography. Oxford University Press. doi:10.1093/ref:odnb/70938 ^ Ruffhead, Owen (1769). The Life of Alexander Pope; With a Critical Essay on His Writings and Genius. p. 475. ^ Dyce, Alexander (1863). The Poetical Works of Alexander Pope, with a Life, by A. Dyce. p. cxxxi. ^ Johnson, Samuel (1791). The Lives of the Most Eminent Poets with Critical Observations on their Works. Vol. IV. London: Printed for J. Rivington & Sons, and 39 others. p. 193. Archived from the original on 7 April 2023. Retrieved 20 March 2023. ^ Homer (1725–1726). The Odyssey of Homer. Translated by Alexander Pope; William Broome & Elijah Fenton (1st ed.). London: Bernard Lintot. ^ Fenton, Elijah (1796). The poetical works of Elijah Fenton with the life of the author. Printed for, and under the direction of, G. Cawthorn, British Library, Strand. p. 7. Archived from the original on 21 April 2023. Retrieved 27 May 2018. ^ Fraser, George (1978). Alexander Pope. Routledge. p. 52. ISBN 9780710089908. ^ Damrosch, Leopold (1987). The Imaginative World of Alexander Pope. University of California Press. p. 59. ISBN 9780520059757. ^ Stephen, Sir Leslie (1880). Alexander Pope. Harper & Brothers. pp. 80. ^ a b c "Preface to Shakespeare, 1725, Alexander Pope". ShakespeareBrasileiro. Archived from the original on 11 January 2020. Retrieved 10 March 2020. ^ "Lewis Theobald" Archived 14 August 2020 at the Wayback Machine Encyclopaedia Britannica. ^ Genetic studies of genius by Lewis Madison Terman Stanford University Press, 1925 OCLC: 194203 ^ "Personhood, Poethood, and Pope: Johnson's Life of Pope and the Search for the Man Behind the Author" by Mannheimer, Katherine. Eighteenth-Century Studies - Volume 40, Number 4, Summer 2007, pp. 631-649 MUSE Archived 3 March 2016 at the Wayback Machine ^ George Gilfillan (1856) "The Genius and Poetry of Pope", The Poetical Works of Alexander Pope, Vol. 11. ^ a b c d e f g h i Cox, Michael, editor, The Concise Oxford Chronology of English Literature, Oxford University Press, 2004, ISBN 0-19-860634-6 ^ Alexander Pope (1715) The Temple of Fame: A Vision. London: Printed for Bernard Lintott. Print. ^ Pope, Alexander. ODE FOR MUSICK. Archived 17 June 2016 at the Wayback Machine. Eighteenth-Century Poetry Archive (ECPA). ^ Pope, Alexander. The Court Ballad Archived 17 June 2016 at the Wayback Machine. Eighteenth-Century Poetry Archive (ECPA). ^ Pope, Alexander. Epistle to Richard Earl of Burlington Archived 17 June 2016 at the Wayback Machine. Eighteenth-Century Poetry Archive (ECPA). ^ Pope, Alexander. The IMPERTINENT, or A Visit to the COURT. A SATYR. Archived 17 June 2016 at the Wayback Machine. Eighteenth-Century Poetry Archive (ECPA). ^ Pope, Alexander. Bounce to Fop Archived 17 June 2016 at the Wayback Machine. Eighteenth-Century Poetry Archive (ECPA). ^ Pope, Alexander. THE FIRST ODE OF THE FOURTH BOOK OF HORACE. Archived 17 June 2016 at the Wayback Machine. Eighteenth-Century Poetry Archive (ECPA). ^ Pope, Alexander. THE FIRST EPISTLE OF THE FIRST BOOK OF HORACE. Archived 17 June 2016 at the Wayback Machine. Eighteenth-Century Poetry Archive (ECPA). Bibliography[edit] Davis, Herbert, ed. (1966). Poetical Works. Oxford Standard Authors. London: Oxford U.P. Mack, Maynard (1985). Alexander Pope. A Life. New Haven: Yale University Press. Hans Ostrom (1878) "Pope's Epilogue to the Satires, 'Dialogue I'." Explicator, 36:4, pp. 11–14. Rogers, Pat (2007). The Cambridge Companion to Alexander Pope. Cambridge: Cambridge University Press. External links[edit] Wikimedia Commons has media related to Alexander Pope. Wikiquote has quotations related to Alexander Pope. Wikisource has original works by or about:Alexander Pope Wikisource has the text of the 1885–1900 Dictionary of National Biography's article about Pope, Alexander (1688–1744). Alexander Pope at the Eighteenth-Century Poetry Archive (ECPA) Works by Alexander Pope at Project Gutenberg Works by or about Alexander Pope at Internet Archive Works by Alexander Pope at LibriVox (public domain audiobooks) John Wilkes and Alexander Pope – UK Parliament Living Heritage Lennox, Patrick Joseph (1911). "Alexander Pope" . Catholic Encyclopedia. Vol. 12. Minto, William; Bryant, Margaret (1911). "Pope, Alexander" . Encyclopædia Britannica. Vol. 22 (11th ed.). pp. 82–87. BBC audio file. In Our Time, radio 4 discussion of Pope. University of Toronto "Representative Poetry Online" page on Pope Pope's Grave The Twickenham Museum Archived 14 May 2011 at the Wayback Machine Pope's Grotto Preservation Trust Richmond Libraries' Local Studies Collection. Local History. Accessed 2010-10-19 "Archival material relating to Alexander Pope". UK National Archives. Portraits of Alexander Pope at the National Portrait Gallery, London Images relating to Alexander Pope Archived 31 July 2013 at the Wayback Machine at the English Heritage Archive Blue Plaque at 110 Chiswick Lane South, Chiswick, London W4 2LR vteAlexander PopePlays Three Hours After Marriage (1717) Essays "Peri Bathous, Or the Art of Sinking in Poetry" (1727) Poetry "Ode on Solitude" (1700) Pastorals (1709) An Essay on Criticism (1711) Messiah (1712) The Rape of the Lock (1712) Windsor-Forest (1713) The Temple of Fame (1715) Eloisa to Abelard (1717) "Elegy to the Memory of an Unfortunate Lady" (1717) Messiah (Samuel Johnson's Latin translation; 1728) The Dunciad (1728–29, 1742–43) "An Essay on Man" (1734) Moral Essays (1731–35) Epistle to Dr Arbuthnot (1735) Related Popeswood Binfield Scriblerus Club Memoirs of Martinus Scriblerus "Who breaks a butterfly upon a wheel?" Heroic couplet People Martha Blount John Caryll Authority control databases International FAST ISNI VIAF National Norway Chile Spain France BnF data Catalonia Germany Italy Israel Finland Belgium United States Sweden Latvia Japan Czech Republic Australia Greece Korea Croatia Netherlands Poland Portugal Vatican Academics CiNii Artists MusicBrainz 2 RKD Artists Te Papa (New Zealand) ULAN People Netherlands 2 Deutsche Biographie Trove Other RISM SNAC IdRef
POPE'S POEMS. AN ESSAY ON MAN. TO H. ST. JOHN LORD BOLINGBROKE. THE DESIGN.
Having proposed to write some pieces of 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 wandering 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.
ARGUMENT OF EPISTLE I.
Of the Nature and State of Man, with respect to the Universe. Of Man in the abstract. I. That we can judge only with regard to our own system, being ignorant of the relations of systems and things, v.17, etc. II. 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, v.35, etc. III. That it is partly upon his ignorance of future events, and partly upon the hope of future state, that all his happiness in the present depends, v.77, etc. IV. The pride of aiming at more knowledge, and pretending to more Perfection, 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.109, etc. V. 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, v.131, etc. VI. 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, v.173, etc. VII. That throughout the whole visible world, an universal order and gradation in the sensual and mental faculties is observed, which cause is a subordination of creature to creature, and of all creatures to Man. The gradations of sense, instinct, thought, reflection, reason; that Reason alone countervails all the other faculties, v.207. VIII. 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, v.233. IX. The extravagance, madness, and pride of such a desire, v.250. X. The consequence of all, the absolute submission due to Providence, both as to our present and future state, v.281, etc., to the end.
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; A mighty maze! but not without a plan; A wild, where weeds and flowers promiscuous shoot; Or garden tempting with forbidden fruit.
Together let us beat this ample field, Try what the open, what the covert yield; 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; 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? Through worlds unnumbered though the God be known, 'Tis ours to trace Him only in our own.
He, who through vast immensity can pierce, See worlds on worlds compose one universe, Observe how system into system runs, What other planets circle other suns, What varied being peoples every star, May tell why Heaven has made us as we are.
But of this frame, the bearings, and the ties, The strong connections, nice dependencies, Gradations just, has thy pervading soul Looked through? 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, Why formed so weak, so little, and so blind? First, if thou canst, the harder reason guess, Why formed no weaker, blinder, and no less; Ask of thy mother earth, why oaks are made Taller or stronger than the weeds they shade? 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, And all that rises, rise in due degree; Then in the scale of reasoning 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 placed him wrong? Respecting man, whatever wrong we call, May, must be right, as relative to all.
In human works, though laboured on with pain, A thousand movements scarce one purpose gain; In God's one single can its end produce; 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.
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 Egypt's god: Then shall man's pride and dulness comprehend His actions', passions', being's, use and end; Why doing, suffering, checked, impelled; and why This hour a slave, the next a deity.
Then say not man's imperfect, Heaven in fault; Say rather man's as perfect as he ought: His knowledge measured 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, As who began a thousand years ago.
III. Heaven from all creatures hides the book of Fate, All but the page prescribed, their present state: From brutes what men, from men what spirits know: Or who could suffer being here below? The lamb thy riot dooms to bleed to-day, Had he thy reason, would he skip and play? Pleased to the last, he crops the flowery food, And licks the hand just raised to shed his blood.
Oh, blindness to the future! kindly given, That each may fill the circle, marked by Heaven: Who sees with equal eye, as God of all, A hero perish, or a sparrow fall, Atoms or systems into ruin hurled, And now a bubble burst, and now a world.
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: Man never is, but always to be blest: The soul, uneasy and confined from home, Rests and expatiates in a life to come.
Lo, the poor Indian! whose untutored mind Sees God in clouds, or hears Him in the wind; His soul, proud science never taught to stray Far as the solar walk, or milky way; Yet simple Nature to his hope has given, Behind the cloud-topped hill, an humbler heaven; Some safer world in depth of woods embraced, Some happier island in the watery 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; But thinks, admitted to that equal sky, His faithful dog shall bear him company.
IV. Go, wiser thou! and, in thy scale of sense, Weigh thy opinion against providence; Call imperfection what thou fanciest such, 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 Heaven's high care, Alone made perfect here, immortal there: Snatch from His hand the balance and the rod, Re-judge His justice, be the God of God.
In pride, in reasoning pride, our error lies; All quit their sphere, and rush into the skies. Pride still is aiming at the blest abodes, 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 the Eternal Cause.
V. Ask for what end the heavenly bodies shine, Earth for whose use? Pride answers, "'Tis for mine: For me kind Nature wakes her genial power, Suckles each herb, and spreads out every flower; Annual for me, the grape, the rose renew 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 footstool earth, my canopy the skies."
But errs not Nature from this 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 replied) the first Almighty Cause Acts not by partial, but by general laws; The 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? As much that end a constant course requires Of showers and sunshine, as of man's desires; As much eternal springs and cloudless skies, As men for ever temperate, calm, and wise. If plagues or earthquakes break not Heaven's design, 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 Cæsar's mind, Or turns young Ammon loose to scourge mankind?
From pride, from pride, our very reasoning springs; Account for moral, as for natural things: Why charge we heaven in those, in these acquit? In both, to reason right is to submit. Better for us, perhaps, it might appear, Were there all harmony, all virtue here; That never air or ocean felt the wind; That never passion discomposed the mind.
But all subsists by elemental strife; And passions are the elements of life. The general 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 grieved appears 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 powers of all?
Nature to these, without profusion, kind, The proper organs, proper powers assigned; 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: Is Heaven unkind to man, and man alone?
Shall he alone, whom rational we call, Be pleased with nothing, if not blessed with all? The bliss of man (could pride that blessing find) Is not to act or think beyond mankind; No powers 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 given, To inspect a mite, not comprehend the heaven? Or touch, if tremblingly alive all o'er, To smart and agonize at every pore? Or quick effluvia darting through the brain, Die of a rose in aromatic pain?
If Nature thundered in his opening ears, And stunned him with the music of the spheres, How would he wish that Heaven had left him still The whispering zephyr, and the purling rill? Who finds not Providence all good and wise, Alike in what it gives, and what denies?
VII. Far as Creation's ample range extends, The scale of sensual, mental powers ascends: Mark how it mounts, to man's imperial race, From the green myriads in the peopled grass: 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, To that which warbles through 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 poisonous herbs extracts the healing dew? How instinct varies in the grovelling swine, Compared, half-reasoning elephant, with thine! 'Twixt that, and reason, what a nice barrier, For ever separate, yet for ever near!
Remembrance and reflection how allayed; What thin partitions sense from thought divide: And middle natures, how they long to join, Yet never passed the insuperable line! Without this just gradation, could they be Subjected, these to those, or all to thee? The powers of all subdued by thee alone, Is not thy reason all these powers in one?
VIII. See, through this air, this ocean, and this earth, All matter quick, and bursting into birth. Above, how high, progressive life may go! 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, From thee to nothing. On superior powers Were we to press, inferior might on ours: Or in the full creation leave a void, Where, one step broken, the great scale's destroyed: From Nature's chain whatever link you strike,
Tenth or ten thousandth, breaks the chain alike. And, if each system in gradation roll Alike essential to the amazing whole, The least confusion but in one, not all That system only, but the whole must fall.
Let earth unbalanced from her orbit fly, Planets and suns run lawless through the sky; Let ruling angels from their spheres be hurled, Being on being wrecked, and world on world; Heaven's whole foundations to their centre nod, 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, ordained the dust to tread, Or hand, to toil, aspired to be the head? What if the head, the eye, or ear repined To serve mere engines to the ruling mind? Just as absurd for any part to claim To be another, in this general frame: Just as absurd, to mourn the tasks or pains, The great directing Mind of All ordains.
All are but parts of one stupendous whole, Whose body Nature is, and God the soul; That, changed through all, and yet in all the same; Great in the earth, as in the ethereal frame; Warms in the sun, refreshes in the breeze, Glows in the stars, and blossoms in the trees, Lives through all life, extends through all extent, Spreads undivided, operates unspent; Breathes in our soul, informs our mortal part,
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.
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, Heaven bestows on thee. Submit. In this, or any other sphere, Secure to be as blest as thou canst bear: Safe in the hand of one disposing Power, Or in the natal, or the mortal hour. All nature is but art, unknown to thee; All chance, direction, which thou canst not see; 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.

Current Page: 1

Word Lists:

Gradation : a scale or a series of successive changes, stages, or degrees

Countervail : offset the effect of (something) by countering it with something of equal force

Perspicuity :

Imperfection : a fault, blemish, or undesirable feature

Impiety : lack of piety or reverence, especially for a god

Zephyr : a soft gentle breeze.

Seraph : an angelic being, regarded in traditional Christian angelology as belonging to the highest order of the ninefold celestial hierarchy, associated with light, ardor, and purity.

Conformation : the shape or structure of something, especially an animal

Natal : relating to the place or time of one's birth

More...

Additional Information:

Rating: B Words in the Passage: 3218 Unique Words: 1,094 Sentences: 164
Noun: 1004 Conjunction: 328 Adverb: 179 Interjection: 9
Adjective: 286 Pronoun: 198 Verb: 427 Preposition: 380
Letter Count: 13,864 Sentiment: Positive / Positive / Positive Tone: Formal Difficult Words: 674
EdSearch WebSearch
Questions and Answers

Please wait while we generate questions and answers...

Ratings & Comments

Write a Review
5 Star
0
0
4 Star
0
0
3 Star
0
0
2 Star
0
0
1 Star
0
0
0

0 Ratings & 0 Reviews

Report an Error