"Whoever thinks a faultless piece to see, Thinks what ne'er was, nor is, nor e'er shall be." -- Alexander Pope
Alexander Pope (21 May 1688 — 30 May 1744) was an eighteenth-century English poet, best known for his satirical verse and for his translation of Homer. He is the third most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare and Tennyson. Pope is famous for his use of the heroic couplet.
"A God without dominion, providence, and final causes, is nothing else but fate and nature.""A little learning is a dangerous thing; Drink deep, or taste not the Pierian spring.""A person who is too nice an observer of the business of the crowd, like one who is too curious in observing the labor of bees, will often be stung for his curiosity.""A wit with dunces, and a dunce with wits.""A work of art that contains theories is like an object on which the price tag has been left.""Act well your part, there all the honour lies.""All are but parts of one stupendous whole, Whose body Nature is, and God the soul.""All nature is but art unknown to thee.""An honest man's the noblest work of God.""And all who told it added something new, and all who heard it, made enlargements too.""And die of nothing but a rage to live.""And, after all, what is a lie? 'Tis but the truth in a masquerade.""At ev'ry word a reputation dies.""Be not the first by whom the new are tried, Nor yet the last to lay the old aside.""Beauties in vain their pretty eyes may roll; charms strike the sight, but merit wins the soul.""Behold the child, by Nature's kindly law pleased with a rattle, tickled with a straw.""Blessed is the man who expects nothing, for he shall never be disappointed was the ninth beatitude.""But blind to former as to future fate, what mortal knows his pre-existent state?""But Satan now is wiser than of yore, and tempts by making rich, not making poor.""Charms strike the sight, but merit wins the soul.""Education forms the common mind. Just as the twig is bent, the tree's inclined.""Extremes in nature equal ends produce; In man they join to some mysterious use.""Fondly we think we honor merit then, When we but praise ourselves in other men.""Fools admire, but men of sense approve.""Fools rush in where angels fear to tread.""For fools rush in where angels fear to tread.""For Forms of Government let fools contest; whatever is best administered is best.""For modes of faith let graceless zealots fight, His can't be wrong whose life is in the right.""Genius creates, and taste preserves. Taste is the good sense of genius; without taste, genius is only sublime folly.""Gentle dullness ever loves a joke.""Get place and wealth, if possible with grace; if not, by any means get wealth and place.""Happy the man whose wish and care a few paternal acres bound, content to breathe his native air in his own ground.""Health consists with temperance alone.""Histories are more full of examples of the fidelity of dogs than of friends.""Honor and shame from no condition rise. Act well your part: there all the honor lies.""Hope springs eternal in the human breast: Man never is, but always To be Blest.""Hope travels through, nor quits us when we die.""How happy is the blameless vestal's lot? The world forgetting, by the world forgot.""How prone to doubt, how cautious are the wise!""How shall I lose the sin, yet keep the sense, and love the offender, yet detest the offence?""I find myself hoping a total end of all the unhappy divisions of mankind by party-spirit, which at best is but the madness of many for the gain of a few.""If a man's character is to be abused there's nobody like a relative to do the business.""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 tried, Nor yet the last to lay the old aside.""Is pride, the never-failing vice of fools.""Know then this truth, enough for man to know virtue alone is happiness below.""Know then thyself, presume not God to scan; The proper study of mankind is man.""Like Cato, give his little senate laws, and sit attentive to his own applause.""Lo, what huge heaps of littleness around!""Lo! The poor Indian, whose untutored mind sees God in clouds, or hears him in the wind.""Lulled in the countless chambers of the brain, our thoughts are linked by many a hidden chain; awake but one, and in, what myriads rise!""Man never thinks himself happy, but when he enjoys those things which others want or desire.""Many men have been capable of doing a wise thing, more a cunning thing, but very few a generous thing.""Men must be taught as if you taught them not, and things unknown proposed as things forgot.""Men would be angels, angels would be gods.""Nature and nature's laws lay hid in the night. God said, Let Newton be! and all was light!""Never elated when someone's oppressed, never dejected when another one's blessed.""Never find fault with the absent.""Never was it given to mortal man - To lie so boldly as we women can.""No one should be ashamed to admit they are wrong, which is but saying, in other words, that they are wiser today than they were yesterday.""No woman ever hates a man for being in love with her, but many a woman hate a man for being a friend to her.""Not always actions show the man; we find who does a kindness is not therefore kind.""Not to go back is somewhat to advance, and men must walk, at least, before they dance.""Of Manners gentle, of Affections mild; In Wit a man; Simplicity, a child.""On life's vast ocean diversely we sail. Reasons the card, but passion the gale.""On wrongs swift vengeance waits.""One science only will one genius fit; so vast is art, so narrow human wit.""Order is heaven's first law.""Our passions are like convulsion fits, which, though they make us stronger for a time, leave us the weaker ever after.""Party-spirit at best is but the madness of many for the gain of a few.""Passions are the gales of life.""Praise undeserved, is satire in disguise.""Pride is still aiming at the best houses: Men would be angels, angels would be gods. Aspiring to be gods, if angels fell; aspiring to be angels men rebel.""Remembrance and reflection how allied. What thin partitions divides sense from thought.""Satan is wiser now than before, and tempts by making rich instead of poor.""Slave to no sect, who takes no private road, But looks through Nature up to Nature's God.""So vast is art, so narrow human wit.""Some old men, continually praise the time of their youth. In fact, you would almost think that there were no fools in their days, but unluckily they themselves are left as an example.""Some people will never learn anything, for this reason, because they understand everything too soon.""Teach me to feel another's woe, to hide the fault I see, that mercy I to others show, that mercy show to me.""The bookful blockhead, ignorantly read With loads of learned lumber in his head.""The difference is too nice - Where ends the virtue or begins the vice.""The greatest magnifying glasses in the world are a man's own eyes when they look upon his own person.""The hungry judges soon the sentence sign, and wretches hang that jurymen may dine.""The learned is happy, nature to explore; The fool is happy, that he knows no more.""The most positive men are the most credulous.""The proper study of Mankind is Man.""The ruling passion, be it what it will. The ruling passion conquers reason still.""The same ambition can destroy or save, and make a patriot as it makes a knave.""The vulgar boil, the learned roast, an egg.""The way of the Creative works through change and transformation, so that each thing receives its true nature and destiny and comes into permanent accord with the Great Harmony: this is what furthers and what perseveres.""The world forgetting, by the world forgot.""The worst of madmen is a saint run mad.""There is a certain majesty in simplicity which is far above all the quaintness of wit.""They dream in courtship, but in wedlock wake.""Those move easiest who have learn'd to dance.""Tis but a part we see, and not a whole.""'Tis education forms the common mind; just as the twig is bent the tree's inclined.""'Tis not enough your counsel still be true; Blunt truths more mischief than nice falsehoods do.""To be angry is to revenge the faults of others on ourselves.""To err is human; to forgive, divine.""To observations which ourselves we make, we grow more partial for th' observer's sake.""True ease in writing comes from art, not chance, as those who move easiest have learned to dance.""True politeness consists in being easy one's self, and in making every one about one as easy as one can.""Trust not yourself, but your defects to know, make use of every friend and every foe.""Virtue she finds too painful an endeavour, content to dwell in decencies for ever.""What some call health, if purchased by perpetual anxiety about diet, isn't much better than tedious disease.""Who shall decide when doctors disagree, And soundest casuists doubt, like you and me?""Wit is the lowest form of humor.""Woman's at best a contradiction still."
Pope was born to Edith Pope (née Turner) (1643—1733) and Alexander Pope Senior. (1646—1717) a linen merchant of Plough Court, Lombard Street, London, who were both Catholics. Pope's education was affected by the penal law in force at the time upholding the status of the established Church of England, which banned Catholics from teaching, attending a university, voting, or holding public office on pain of perpetual imprisonment. Pope was taught to read by his aunt, then went to Twyford School in about 1698—9. He then went to two Catholic schools in London. Such schools, while illegal, were tolerated in some areas.
In 1700, his family moved to a small estate at Popeswood in Binfield, Berkshire, close to the royal Windsor Forest. This was due to strong anti-Catholic sentiment and a statute preventing Catholics from living within 10 miles (16 km) of either London or Westminster. Pope would later describe the countryside around the house in his poem Windsor Forest. 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. He also studied many languages and read works by English, French, Italian, Latin, and Greek poets. After five years of study, Pope came into contact with figures from the London literary society such as William Wycherley, William Congreve, Samuel Garth, William Trumbull, and William Walsh.
At Binfield, he also began to make 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 aging playwright William Wycherley and to William Walsh, a minor poet, who helped Pope revise his first major work, The Pastorals. He also met the Blount sisters, Teresa and (his alleged future lover) Martha, both of whom would remain lifelong friends.
From the age of 12, he suffered numerous health problems, such as Pott's disease (a form of tuberculosis that affects the bone) 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. He never grew beyond tall. Pope was already removed from society because he was Catholic; his poor health only alienated him further. Although he never married, he had many female friends to whom he wrote witty letters. He did have one alleged lover, his lifelong friend, Martha Blount.
In May, 1709, Pope's Pastorals was published in the sixth part of Tonson's Poetical Miscellanies. This brought instant fame to Pope. This was followed by An Essay on Criticism published in May 1711 , which was equally well received.
Around 1711, Pope made friends with Tory writers John Gay, Jonathan Swift, Thomas Parnell and John Arbuthnot, who together formed the satirical Scriblerus Club. The aim of the club was to satirise ignorance and pedantry in the form of the fictional scholar Martinus Scriblerus. He also made friends with Whig writers Joseph Addison and Richard Steele. In March of 1713, Windsor Forest was published and was a well known success.
Pope's next well known poem was The Rape of the Lock; first published in 1712, with a revised version published in 1714. This is sometimes considered Pope's most popular poem because it was a mock-heroic epic, written to make fun of 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 her permission. In his poem he treats his characters in an epic style; when the Baron steals her hair and she tries to get it back, it flies into the air and turns into a star.
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.
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 attempted Jacobite Rebellion of 1715. Though Pope as a Catholic might be 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.
An Essay on Criticism was first published anonymously on May 15, 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, the heroic couplet style (in which it was written) was a moderately new genre of poetry, and Pope's most ambitious work. "An Essay on Criticism" was an attempt to identify and refine his own positions as a poet and critic. The poem 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.
The poem begins with a discussion of the standard rules that govern poetry by which a critic passes judgment. Pope comments on the classical authors who dealt with such standards, and the authority that he believed should be accredited to them. He concludes that the rules of the ancients are identical with the rules of Nature, and fall in the category of poetry and painting, which like religion and morality, reflect natural law.
The poem is purposefully unclear and full of contradictions. Pope admits that rules are necessary for the production and criticism, but gives importance to the mysterious and irrational qualities of poetry.
He discusses the laws to which a critic should adhere while critiquing poetry, and points out that critics serve an important function in aiding poets with their works, as opposed to the practice of attacking them.
The final section of "An Essay on Criticism" discusses the moral qualities and virtues inherent in the ideal critic, who, Pope claims, is also the ideal man.
Pope had been fascinated by Homer since childhood. In 1713, he announced his plans to publish a translation of the Iliad. The work would be available by subscription, with one volume appearing every year over the course of six years. Pope secured a revolutionary deal with the publisher Bernard Lintot, which brought him two hundred guineas a volume, a very vast sum at the time.
His translation of the Iliad appeared between 1715 and 1720. It was acclaimed by Samuel Johnson as "a performance which no age or nation could hope to equal" (although the classical scholar Richard Bentley wrote: "It is a pretty poem, Mr. Pope, but you must not call it Homer.").
Twickenham and the Grotto
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The money made from the Homer translation allowed Pope to move to a villa at Twickenham in 1719, where he created his now famous grotto and gardens. Pope decorated the grotto with alabaster, marbles, and ores such as mundic and crystals. He also used Cornish diamonds, stalactites, spars, snakestones and spongestone. Here and there in the grotto he placed mirrors that were very expensive embellishments for those times. A camera obscura was installed to delight his visitors, of whom there were many. The serendipitous discovery of a spring during its excavations enabled the subterranean retreat to be filled with the relaxing sound of trickling water, which would quietly echo around the chambers. Pope was said to have remarked that: "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 this grotto still survives. The grotto now lies beneath St James Independent School for boys, and is opened to the public once a year.[5]
Encouraged by the success of the Iliad, Pope translated the Odyssey. The translation appeared in 1726, but this time, confronted with the arduousness of the task, he enlisted the help of William Broome and Elijah Fenton. Pope attempted to conceal the extent of the collaboration (he himself translated only twelve books, Broome eight and Fenton four), but the secret leaked out. It did some damage to Pope's reputation for a time, but not to his profits.
In this period, Pope was also employed by the publisher Jacob Tonson to produce an opulent new edition of Shakespeare. When it finally appeared, in 1725, this edition silently "regularised" Shakespeare's metre and rewrote his verse in a number of places.[6] Pope also demoted about 1560 lines of Shakespearean material to footnotes, arguing that they were so "excessively bad" that Shakespeare could never have written them.[7] (Other lines were excluded from the edition altogether.[8]) 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 a number of revisions to the text. Pope and Theobald were probably well acquainted, and Pope no doubt interpreted this as a violation of the rules of friendship.[9]
A second edition of Pope's Shakespeare appeared in 1728, but aside from making some minor revisions to the Preface, it seems that Pope had little to do with it. Most later eighteenth-century editors of Shakespeare dismissed Pope's creatively motivated approach to textual criticism. Pope's Preface, however, 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 eighteenth century.[10]
Later Career: "an Essay on Man" and Satiresmoreless
Though the Dunciad was first published anonymously in Dublin, its authorship was not in doubt. As well as Theobald, it pilloried a host of other "hacks", "scribblers" and "dunces". Mack called its publication "in many ways the greatest act of folly in Pope's life". Though a masterpiece, "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...". The threats were physical too. According to his sister, Pope would never go for a walk without the company of his Great Dane, Bounce, and a pair of loaded pistols in his pocket.
In 1731, Pope published his "Epistle to Burlington", on the subject of architecture, the first of four poems which would later be grouped under the title Moral Essays (1731—35). In the epistle, Pope ridiculed the bad taste of the aristocrat "Timon". Pope's enemies claimed he was attacking the Duke of Chandos and his estate, Cannons. Though the charge was untrue, it did Pope a great deal of damage.
Around this time, Pope began to grow discontented with the ministry of Robert Walpole and drew closer to the opposition led by Bolingbroke, who had returned to England in 1725. Inspired by Bolingbroke's philosophical ideas, Pope wrote An Essay on Man (1733–4). He published the first part anonymously, in a cunning and successful ploy to win praise from his fiercest critics and enemies.
Despite the 'Essay' being written in heroic couplets, many translations into European languages rapidly followed, especially in Germany, where the 'Essay' was regarded as a serious contribution to philosophy.
The Imitations of Horace followed (1733–38). These were written in the popular Augustan form of the "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 regarded as the widespread corruption tainting the country under Walpole's influence and the poor quality of the court's artistic taste.
Pope also added a wholly original poem, An Epistle to Doctor Arbuthnot, as an introduction to the "Imitations". It reviews his own literary career and includes the famous portraits of Lord Hervey ("Sporus") and Addison ("Atticus"). In 1738 he wrote the Universal Prayer.
After 1738, Pope 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 these years was revising and expanding his masterpiece The Dunciad. Book Four appeared in 1742, and a complete revision of the whole poem in the following year. In this version, Pope replaced the "hero", Lewis Theobald, with the poet laureate Colley Cibber as "king of dunces". By now Pope's health, which had never been good, was failing, and he died in his villa surrounded by friends on 30 May 1744. On the previous day, 29 May 1744, Pope called for a priest and received the Last Rites of the Catholic Church. He lies buried in the nave of the Church of St Mary the Virgin in Twickenham.
The Essay on Man is a philosophical poem, written in heroic couplets and published between 1732 and 1734. Pope intended this poem to be the centrepiece of a proposed system of ethics that was to be put forth in poetic form. It was a piece of work that Pope intended to make into a larger work; however, he did not live to complete it.
The Essay on Man is an attempt to justify the ways of God to Man, and that man is not himself the centre of all things. The essay is not solely Christian; however, it makes an assumption that man has fallen and must seek his own salvation.
The Essay on Man consists of four epistles that are addressed to Lord Bolingbroke. Pope presents an idea or his view on the Universe; he says that no matter how imperfect, complex, inscrutable and disturbing the Universe appears to be, it functions in a rational fashion according to the natural laws. The natural laws consider the Universe as a whole a perfect work of God. To humans it appears to be evil and imperfect in many ways; however, Pope points out that this is due to our limited mindset and limited intellectual capacity. Pope gets the message across that humans must accept their position in the "Great Chain of Being" which is at a middle stage between the angels and the beasts of the world. If we are able to accomplish this then we potentially could lead happy and virtuous lives.
The Essay on Man is an affirmative poem of faith: life seems to be chaotic and confusing to man when he is in the center of it, but according to Pope it is really divinely ordered. In Pope's world God exists and is what he centers the Universe around in order to have an ordered structure. The limited intelligence of man can only take in tiny portions of this order and can experience only partial truths, hence man must rely on hope which then leads into faith. Man must be aware of his existence in the Universe and what he brings to it, in terms of riches, power and fame. It is man's duty to strive to be good regardless of other situations: this is the message Pope is trying to get across to the reader.
Pope died the greatest poet of his age. However, by the mid-eighteenth century new fashions in poetry started to emerge. A decade after Pope's death, Joseph Warton claimed that Pope's style of poetry was not the most excellent form of the art. The Romantic movement that rose to prominence in early nineteenth century England was more ambivalent towards his work. Though Lord Byron identified Pope as one of his chief influences (believing his scathing satire of contemporary English literature English Bards and Scotch Reviewers a continuance of Pope's tradition), William Wordsworth found Pope's style fundamentally too decadent to represent the human condition truly.
In the twentieth century an effort to revive Pope's reputation began and was successful. Pope's work was now found to be full of references to the people and places of his time and these aided individuals' understanding of the past. The postwar period stressed the power of Pope's poetry and recognised that Pope's immersion in Christian and Biblical culture gave great depth to his poetry. Maynard Mack thought very highly of Pope's poetry. He argued that Pope's humane moral vision demanded as much respect as his technical excellence. In the years 1953–1967 the production of the definitive Twickenham edition of Pope's poems was published in ten volumes.
The last decades of the twentieth century brought further challenges to Pope's literary reputation. These critics were prompted by theoretical perspectives, such as Marxism, feminism and other forms of post-structuralism. Hence Hammond focused on Pope's singular achievement in making an independent living solely from his writing. Laura Brown's 'Alexander Pope' (1985) adopted a Marxist approach and accused Pope of becoming an apologist for the oppressive upper classes. A year after Brown's study, Brean Hammond published an article about Pope inspired by Cultural Materialism in the British context and the USA-based New Historicism. Following Hammond's approach, Raymond Williams explained art as a set of practices influenced by broad cultural factors rather than simply the vague ideas of genius alone.
In 'Politics and Poetics of Transgression' (1985) Peter Stallybrass and Allon White claimed that Pope drew upon the low culture which he despised in order to produce his own 'high art'. They asserted that Pope was implicated in the very material he was attempting to exclude, an observation not far different from the arguments of Pope's contemporaries.
Feminists also criticised Pope's works. Ellen Pollak's 'The Poetics of Sexual Myth' (1985) argued that Pope followed an anti-feminist tradition. Pollak believed that Pope regarded women as inferior to men both intellectually and physically. However, in Pope's defence it should be said that this was the general view of his time. Carolyn Williams identified a crisis in the male role during the eighteenth century in Britain and discussed its impact on Pope as well as on his writing.