Universal Prayer-by Alexander Pope. Alexander Pope’s witty and pointed poetic satire brought him infamy during his lifetime. It has also made critical evaluation of Pope in the years since his death more prone to interpretation based on the critic’s personal feelings about such satire than perhaps any other poet in history.
Pope was born the only child of Alexander and Edith Pope in 1688. The senior Pope, a linen-draper, had recently converted to Catholicism, and moved from London to Berkshire to avoid the anti-Catholic sentiment that ran rampant in London at the time.
Universal Prayer by Alexander Pope
Father of all! In every age,
In ev’ry clime ador’d,
By saint, by savage, and by sage,
Jehovah, Jove, or Lord!Thou Great First Cause, least understood,
Who all my sense confin’d
To know but this, that Thou art good,
And that myself am blind:Yet gave me, in this dark estate,
To see the good from ill;
And, binding Nature fast in Fate,
Left free the human Will.What Conscience dictates to be done,
Or warns me not to do;
This teach me more than Hell to shun,
That more than Heav’n pursue.What blessings thy free bounty gives
Let me not cast away;
For God is paid when man receives;
T’ enjoy is to obey.Yet not to earth’s contracted span
Thy goodness let me bound,
Or think thee Lord alone of man,
When thousand worlds are round.Let not this weak, unknowing hand
Presume thy bolts to throw,
And teach damnation round the land
On each I judge thy foe.If I am right, thy grace impart,
Still in the right to stay;
If I am wrong, O teach my heart
To find that better way.
Save me alike from foolish Pride
Or impious Discontent,
At aught thy wisdom has denied,
Or aught that goodness lent.
Teach me to feel another’s woe,
To right the fault I see:
That mercy I to others show,
That mercy show to me.
Mean tho’ I am, not wholly so,
Since quicken’d by thy breath;
O lead me whereso’er I go,
Thro’ this day’s life or death!
This day be bread and peace my lot:
All else beneath the sun
Though know’st if best bestow’d or not,
And let Thy will be done.
To Thee, whose temple is of Space,
Whose altar earth, sea, skies,
One chorus let all Beings raise!
All Nature’s incense rise!
The Iliad -by Alexander Pope. Alexander Pope’s witty and pointed poetic satire brought him infamy during his lifetime. It has also made critical evaluation of Pope in the years since his death more prone to interpretation based on the critic’s personal feelings about such satire than perhaps any other poet in history.
Pope was born the only child of Alexander and Edith Pope in 1688. The senior Pope, a linen-draper, had recently converted to Catholicism, and moved from London to Berkshire to avoid the anti-Catholic sentiment that ran rampant in London at the time.
The Iliad by Alexander Pope
He said, and pass’d with sad presaging heart
To seek his spouse, his soul’s far dearer part;
At home he sought her, but he sought in vain:
She, with one maid of all her menial train,
Had thence retir’d; and, with her second joy,
The young Astyanax, the hope of Troy,
Pensive she stood on Ilion’s tow’ry height,
Beheld the war, and sicken’d at the sight;
There her sad eyes in vain her lord explore,
Or weep the wounds her bleeding country bore.But he, who found not whom his soul desir’d,
Whose virtue charm’d him as her beauty fir’d,
Stood in the gates, and ask’d what way she bent
Her parting steps; if to the fane she went,
Where late the mourning matrons made resort,
Or sought her sisters in the Trojan court.
“Not to the court” replied th’ attendant train,
“Nor, mixed with matrons, to Minerva’s fane;
To Ilion’s steepy tow’r she bent her way,
To mark the fortunes of the doubtful day.
Troy fled, she heard, before the Grecian sword;
She heard, and trembled for her absent lord.
Distracted with surprise, she seem’d to fly,
Fear on her cheek and sorrow in her eye.
The nurse attended with her infant boy,
The young Astyanax, the hope of Troy.”Hector, this heard, return’d without delay;
Swift through the town he trod his former way
Through streets of palaces and walks of state,
And met the mourner at the Scæan gate.
With haste to meet him sprung the joyful fair,
His blameless wife, E{“e}tion’s wealthy heir
(Cilician Thebè great E{“e}tion sway’d,
And Hippoplacus’ wide-extended shade);
The nurse stood near, in whose embraces prest
His only hope hung smiling at her breast,
Whom each soft charm and early grace adorn,
Fair as the new-born star that gilds the morn.
To this lov’d infant Hector gave the name
Scamandrius, from Scamander’s honour’d stream;
Astyanax the Trojans call’d the boy,
From his great father, the defence of Troy.
Silent the warrior smil’d, and pleas’d, resign’d
To tender passions all his mighty mind:
His beauteous princess cast a mournful look,
Hung on his hand, and then dejected spoke;
Her bosom labour’d with a boding sigh,
And the big tear stood trembling in her eye.”Too daring prince! ah whither dost thou run?
Ah, too forgetful of thy wife and son!
And think’st thou not how wretched we shall be,
A widow I, a helpless orphan he!
For sure such courage length of life denies,
And thou must fall, thy virtue’s sacrifice.
Greece in her single heroes strove in vain;
Now hosts oppose thee, and thou must be slain!
Oh, grant me, gods! e’er Hector meets his doom,
All I can ask of heav’n, an early tomb!
So shall my days in one sad tenor run,
And end with sorrows as they first begun.
No parent now remains, my griefs to share,
No father’s aid, no mother’s tender care.
The fierce Achilles wrapp’d our walls in fire,
Laid Thebè waste, and slew my warlike sire!
His fate compassion in the victor bred;
Stern as he was, he yet rever’d the dead,
His radiant arms preserv’d from hostile spoil,
And laid him decent on the fun’ral pile;
Then rais’d a mountain where his bones were burn’d:
The mountain nymphs the rural tomb adorn’d;
Jove’s sylvan daughters bade their elms bestow
A barren shade, and in his honour grow.”By the same arm my sev’n brave brothers fell;
In one sad day beheld the gates of hell:
While the fat herds and snowy flocks they fed,Amid their fields the hapless heroes bled!
My mother liv’d to bear the victor’s bands,
The queen of Hippoplacia’s sylvan lands;
Redeem’d too late, she scarce beheld again
Her pleasing empire and her native plain,
When, ah! oppress’d by life-consuming woe,
She fell a victim to Diana’s bow.”Yet while my Hector still survives, I see
My father, mother, brethren, all, in thee:
Alas! my parents, brothers, kindred, all,
Once more will perish if my Hector fall.
Thy wife, thy infant, in thy danger share:
Oh, prove a husband’s and a father’s care!
That quarter most the skilful Greeks annoy,Where yon wild fig-trees join the wall of Troy:
Thou from this tow’r defend th’ important post
There Agamemnon points his dreadful host,
That pass Tydides, Ajax, strive to gain,
And there the vengeful Spartan fires his train.
Thrice our bold foes the fierce attack have giv’n,
Or led by hopes, or dictated from heav’n.
Let others in the field their arms employ,
But stay my Hector here, and guard his Troy.”
The chief replied: “That post shall be my care,
Not that alone, but all the works of war.
How would the sons of Troy, in arms renown’d,
And Troy’s proud dames, whose garments sweep the ground,
Attaint the lustre of my former name,
Should Hector basely quit the field of fame?
My early youth was bred to martial pains,
My soul impels me to th’ embattled plains:
Let me be foremost to defend the throne,
And guard my father’s glories, and my own.
Yet come it will, the day decreed by fates,
(How my heart trembles while my tongue relates!)
The day when thou, imperial Troy! must bend,
And see thy warriors fall, thy glories end.
And yet no dire presage so wounds my mind,
My mother’s death, the ruin of my kind,
Not Priam’s hoary hairs defil’d with gore,
Not all my brothers gasping on the shore,
As thine, Andromache! thy griefs I dread;
I see thee trembling, weeping, captive led.
In Argive looms our battles to design,
And woes, of which so large a part was thine!
To bear the victor’s hard commands, or bring
The weight of waters from Hyperia’s spring!
There, while you groan beneath the load of life,
They cry, ‘Behold the mighty Hector’s wife!’
Some haughty Greek, who lives thy tears to see,
Embitters all thy woes by naming me.
The thoughts of glory past and present shame,
A thousand griefs, shall waken at the name!
May I lie cold before that dreadful day,
Press’d with a load of monumental clay!
Thy Hector, wrapp’d in everlasting sleep,
Shall neither hear thee sigh, nor see thee weep.”
Thus having spoke, th’ illustrious chief of Troy
Stretch’d his fond arms to clasp the lovely boy.
The babe clung crying to his nurse’s breast,
Scar’d at the dazzling helm and nodding crest.
With secret pleasure each fond parent smil’d,
And Hector hasted to relieve his child;
The glitt’ring terrors from his brows unbound,
And plac’d the beaming helmet on the ground.
Then kiss’d the child, and, lifting high in air,
Thus to the gods preferr’d a father’s pray’r:
“O thou! whose glory fills th’ ethereal throne,
And all ye deathless pow’rs! protect my son!
Grant him, like me, to purchase just renown,
To guard the Trojans, to defend the crown,
Against his country’s foes the war to wage,
And rise the Hector of the future age!
So when, triumphant from successful toils,
Of heroes slain he bears the reeking spoils,
Whole hosts may hail him with deserv’d acclaim,
And say, ‘This chief transcends his father’s fame’:
While pleas’d, amidst the gen’ral shouts of Troy,
His mother’s conscious heart o’erflows with joy.”
He spoke, and fondly gazing on her charms,
Restor’d the pleasing burthen to her arms;
Soft on her fragrant breast the babe she laid,
Hush’d to repose, and with a smile survey’d.
The troubled pleasure soon chastis’d by fear,
She mingled with the smile a tender tear.
The soften’d chief with kind compassion view’d,
And dried the falling drops, and thus pursu’d:
“Andromache! my soul’s far better part,
Why with untimely sorrows heaves thy heart?
No hostile hand can antedate my doom,
Till fate condemns me to the silent tomb.
Fix’d is the term to all the race of earth,
And such the hard condition of our birth.
No force can then resist, no flight can save;
All sink alike, the fearful and the brave.
No more–but hasten to thy tasks at home,
There guide the spindle, and direct the loom;
Me glory summons to the martial scene,
The field of combat is the sphere for men.
Where heroes war, the foremost place I claim,
The first in danger as the first in fame.”
Summer by Alexander Pope-Alexander Pope’s witty and pointed poetic satire brought him infamy during his lifetime. It has also made critical evaluation of Pope in the years since his death more prone to interpretation based on the critic’s personal feelings about such satire than perhaps any other poet in history.
Pope was born the only child of Alexander and Edith Pope in 1688. The senior Pope, a linen-draper, had recently converted to Catholicism, and moved from London to Berkshire to avoid the anti-Catholic sentiment that ran rampant in London at the time.
Summer by Alexander Pope
See what delights in sylvan scenes appear!
Descending Gods have found Elysium here.
In woods bright Venus with Adonis stray’d,
And chaste Diana haunts the forest shade.
Come lovely nymph, and bless the silent hours,
When swains from shearing seek their nightly bow’rs;
When weary reapers quit the sultry field,
And crown’d with corn, their thanks to Ceres yield.
This harmless grove no lurking viper hides,
But in my breast the serpent Love abides.
Here bees from blossoms sip the rosy dew,
But your Alexis knows no sweets but you.
Oh deign to visit our forsaken seats,
The mossy fountains, and the green retreats!
Where-e’er you walk, cool gales shall fan the glade,
Trees, where you sit, shall crowd into a shade,
Where-e’er you tread, the blushing flow’rs shall rise,
And all things flourish where you turn your eyes.
Oh! How I long with you to pass my days,
Invoke the muses, and resound your praise;
Your praise the birds shall chant in ev’ry grove,
And winds shall waft it to the pow’rs above.
But wou’d you sing, and rival Orpheus’ strain,
The wond’ring forests soon shou’d dance again,
The moving mountains hear the pow’rful call,
And headlong streams hang list’ning in their fall!
But see, the shepherds shun the noon-day heat,
The lowing herds to murm’ring brooks retreat,
To closer shades the panting flocks remove,
Ye Gods! And is there no relief for Love?
But soon the sun with milder rays descends
To the cool ocean, where his journey ends;
On me Love’s fiercer flames for every prey,
By night he scorches, as he burns by day.
Ode on Solitude -by Alexander Pope. Alexander Pope’s witty and pointed poetic satire brought him infamy during his lifetime. It has also made critical evaluation of Pope in the years since his death more prone to interpretation based on the critic’s personal feelings about such satire than perhaps any other poet in history.
Pope was born the only child of Alexander and Edith Pope in 1688. The senior Pope, a linen-draper, had recently converted to Catholicism, and moved from London to Berkshire to avoid the anti-Catholic sentiment that ran rampant in London at the time.
Ode on Solitude by Alexander Pope
Happy the man, whose wish and care
A few paternal acres bound,
Content to breathe his native air,
In his own ground.Whose heards with milk, whose fields with bread,
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,
In health of body, peace of mind,
Quiet by day,Sound sleep by night; study and ease
Together mix’d; sweet recreation,
And innocence, which most does please,
With meditation.Thus let me live, unseen, unknown;
Thus unlamented let me dye;
Steal from the world, and not a stone
Tell where I lye.
Imitations of Horace – by Alexander Pope. Alexander Pope’s witty and pointed poetic satire brought him infamy during his lifetime. It has also made critical evaluation of Pope in the years since his death more prone to interpretation based on the critic’s personal feelings about such satire than perhaps any other poet in history.
Pope was born the only child of Alexander and Edith Pope in 1688. The senior Pope, a linen-draper, had recently converted to Catholicism, and moved from London to Berkshire to avoid the anti-Catholic sentiment that ran rampant in London at the time.
Imitations of Horace by Alexander Pope
Ne Rubeam, Pingui donatus Munere
(Horace, Epistles II.i.267)
While you, great patron of mankind, sustain
The balanc’d world, and open all the main;
Your country, chief, in arms abroad defend,
At home, with morals, arts, and laws amend;
How shall the Muse, from such a monarch steal
An hour, and not defraud the public weal?
Edward and Henry, now the boast of fame,
And virtuous Alfred, a more sacred name,
After a life of gen’rous toils endur’d,
The Gaul subdu’d, or property secur’d,
Ambition humbled, mighty cities storm’d,
Or laws establish’d, and the world reform’d;
Clos’d their long glories with a sigh, to find
Th’ unwilling gratitude of base mankind!
All human virtue, to its latest breath
Finds envy never conquer’d, but by death.
The great Alcides, ev’ry labour past,
Had still this monster to subdue at last.
Sure fate of all, beneath whose rising ray
Each star of meaner merit fades away!
Oppress’d we feel the beam directly beat,
Those suns of glory please not till they set.
To thee the world its present homage pays,
The harvest early, but mature the praise:
Great friend of liberty! in kings a name
Above all Greek, above all Roman fame:
Whose word is truth, as sacred and rever’d,
As Heav’n’s own oracles from altars heard.
Wonder of kings! like whom, to mortal eyes
None e’er has risen, and none e’er shall rise.
Just in one instance, be it yet confest
Your people, Sir, are partial in the rest:
Foes to all living worth except your own,
And advocates for folly dead and gone.
Authors, like coins, grow dear as they grow old;
It is the rust we value, not the gold.
Chaucer’s worst ribaldry is learn’d by rote,
And beastly Skelton heads of houses quote:
One likes no language but the Faery Queen ;
A Scot will fight for Christ’s Kirk o’ the Green:
And each true Briton is to Ben so civil,
He swears the Muses met him at the Devil.
Though justly Greece her eldest sons admires,
Why should not we be wiser than our sires?
In ev’ry public virtue we excel:
We build, we paint, we sing, we dance as well,
And learned Athens to our art must stoop,
Could she behold us tumbling through a hoop.
If time improve our wit as well as wine,
Say at what age a poet grows divine?
Shall we, or shall we not, account him so,
Who died, perhaps, an hundred years ago?
End all dispute; and fix the year precise
When British bards begin t’immortalize?
“Who lasts a century can have no flaw,
I hold that wit a classic, good in law.”
Suppose he wants a year, will you compound?
And shall we deem him ancient, right and sound,
Or damn to all eternity at once,
At ninety-nine, a modern and a dunce?
“We shall not quarrel for a year or two;
By courtesy of England, he may do.”
Then by the rule that made the horsetail bare,
I pluck out year by year, as hair by hair,
And melt down ancients like a heap of snow:
While you, to measure merits, look in Stowe,
And estimating authors by the year,
Bestow a garland only on a bier.
Shakespeare (whom you and ev’ry playhouse bill
Style the divine, the matchless, what you will)
For gain, not glory, wing’d his roving flight,
And grew immortal in his own despite.
Ben, old and poor, as little seem’d to heed
The life to come, in ev’ry poet’s creed.
Who now reads Cowley? if he pleases yet,
His moral pleases, not his pointed wit;
Forgot his epic, nay Pindaric art,
But still I love the language of his heart.
“Yet surely, surely, these were famous men!
What boy but hears the sayings of old Ben?
In all debates where critics bear a part,
Not one but nods, and talks of Jonson’s art,
Of Shakespeare’s nature, and of Cowley’s wit;
How Beaumont’s judgment check’d what Fletcher writ;
How Shadwell hasty, Wycherley was slow;
But, for the passions, Southerne sure and Rowe.
These, only these, support the crowded stage,
From eldest Heywood down to Cibber’s age.”
All this may be; the people’s voice is odd,
It is, and it is not, the voice of God.
To Gammer Gurton if it give the bays,
And yet deny the Careless Husband praise,
Or say our fathers never broke a rule;
Why then, I say, the public is a fool.
But let them own, that greater faults than we
They had, and greater virtues, I’ll agree.
Spenser himself affects the obsolete,
And Sidney’s verse halts ill on Roman feet:
Milton’s strong pinion now not Heav’n can bound,
Now serpent-like, in prose he sweeps the ground,
In quibbles, angel and archangel join,
And God the Father turns a school divine.
Not that I’d lop the beauties from his book,
Like slashing Bentley with his desp’rate hook,
Or damn all Shakespeare, like th’ affected fool
At court, who hates whate’er he read at school.
But for the wits of either Charles’s days,
The mob of gentlemen who wrote with ease;
Sprat, Carew, Sedley, and a hundred more,
(Like twinkling stars the Miscellanies o’er)
One simile, that solitary shines
In the dry desert of a thousand lines,
Or lengthen’d thought that gleams through many a page,
Has sanctified whole poems for an age.
I lose my patience, and I own it too,
When works are censur’d, not as bad, but new;
While if our elders break all reason’s laws,
These fools demand not pardon, but applause.
On Avon’s bank, where flow’rs eternal blow,
If I but ask if any weed can grow?
One tragic sentence if I dare deride,
Which Betterton’s grave action dignified,
Or well-mouth’d Booth with emphasis proclaims
(Though but, perhaps, a muster-roll of names)
How will our fathers rise up in a rage,
And swear, all shame is lost in George’s age!
You’d think no fools disgrac’d the former reign,
Did not some grave examples yet remain,
Who scorn a lad should teach his father skill,
And, having once been wrong, will be so still.
He, who to seem more deep than you or I,
Extols old bards, or Merlin’s Prophecy,
Mistake him not; he envies, not admires,
And to debase the sons, exalts the sires.
Had ancient times conspir’d to disallow
What then was new, what had been ancient now?
Or what remain’d, so worthy to be read
By learned critics, of the mighty dead?
In days of ease, when now the weary sword
Was sheath’d, and luxury with Charles restor’d;
In ev’ry taste of foreign courts improv’d,
“All, by the King’s example, liv’d and lov’d.”
Then peers grew proud in horsemanship t’excel,
Newmarket’s glory rose, as Britain’s fell;
The soldier breath’d the gallantries of France,
And ev’ry flow’ry courtier writ romance.
Then marble, soften’d into life, grew warm,
And yielding metal flow’d to human form:
Lely on animated canvas stole
The sleepy eye, that spoke the melting soul.
No wonder then, when all was love and sport,
The willing Muses were debauch’d at court:
On each enervate string they taught the note
To pant or tremble through an eunuch’s throat.
But Britain, changeful as a child at play,
Now calls in princes, and now turns away:
Now Whig, now Tory, what we lov’d we hate;
Now all for pleasure, now for Church and state;
Now for prerogative, and now for laws;
Effects unhappy! from a noble cause.
Time was, a sober Englishman would knock
His servants up, and rise by five o’clock,
Instruct his family in ev’ry rule,
And send his wife to church, his son to school.
To worship like his fathers was his care;
To teach their frugal virtues to his heir;
To prove that luxury could never hold,
And place, on good security, his gold.
Now times are chang’d, and one poetic itch
Has seiz’d the court and city, poor and rich:
Sons, sires, and grandsires, all will wear the bays,
Our wives read Milton, and our daughters plays,
To theatres, and to rehearsals throng,
And all our grace at table is a song.
I, who so oft renounce the Muses, lie,
Not {-}{-}{-}{-}{-}’s self e’er tells more fibs than I;
When sick of Muse, our follies we deplore,
And promise our best friends to rhyme no more;
We wake next morning in a raging fit,
And call for pen and ink to show our wit.
He serv’d a ‘prenticeship who sets up shop;
Ward tried on puppies and the poor, his drop;
Ev’n Radcliffe’s doctors travel first to France,
Nor dare to practise till they’ve learn’d to dance.
Who builds a bridge that never drove a pile?
(Should Ripley venture, all the world would smile)
But those who cannot write, and those who can,
All rhyme, and scrawl, and scribble, to a man.
Yet, Sir, reflect, the mischief is not great;
These madmen never hurt the Church or state:
Sometimes the folly benefits mankind;
And rarely av’rice taints the tuneful mind.
Allow him but his plaything of a pen,
He ne’er rebels, or plots, like other men:
Flight of cashiers, or mobs, he’ll never mind;
And knows no losses while the Muse is kind.
To cheat a friend, or ward, he leaves to Peter;
The good man heaps up nothing but mere metre,
Enjoys his garden and his book in quiet;
And then–a perfect hermit in his diet.
Of little use the man you may suppose,
Who says in verse what others say in prose:
Yet let me show, a poet’s of some weight,
And (though no soldier) useful to the state.
What will a child learn sooner than a song?
What better teach a foreigner the tongue?
What’s long or short, each accent where to place,
And speak in public with some sort of grace.
I scarce can think him such a worthless thing,
Unless he praise some monster of a king;
Or virtue or religion turn to sport,
To please a lewd, or unbelieving court.
Unhappy Dryden!–In all Charles’s days,
Roscommon only boasts unspotted bays;
And in our own (excuse some courtly stains)
No whiter page than Addison 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.
Let Ireland tell, how wit upheld her cause,
Her trade supported, and supplied her laws;
And leave on Swift this grateful verse engrav’d,
“The rights a court attack’d, a poet sav’d.”
Behold the hand that wrought a nation’s cure,
Stretch’d to relieve the idiot and the poor,
Proud vice to brand, or injur’d worth adorn,
And stretch the ray to ages yet unborn.
Not but there are, who merit other palms;
Hopkins and Sternhold glad the heart with psalms:
The boys and girls whom charity maintains,
Implore your help in these pathetic strains:
How could devotion touch the country pews,
Unless the gods bestow’d a proper Muse?
Verse cheers their leisure, verse assists their work,
Verse prays for peace, or sings down Pope and Turk.
The silenc’d preacher yields to potent strain,
And feels that grace his pray’r besought in vain;
The blessing thrills through all the lab’ring throng,
And Heav’n is won by violence of song.
Our rural ancestors, with little blest,
Patient of labour when the end was rest,
Indulg’d the day that hous’d their annual grain,
With feasts, and off’rings, and a thankful strain:
The joy their wives, their sons, and servants share,
Ease of their toil, and part’ners of their care:
The laugh, the jest, attendants on the bowl,
Smooth’d ev’ry brow, and open’d ev’ry soul:
With growing years the pleasing licence grew,
And taunts alternate innocently flew.
But times corrupt, and nature, ill-inclin’d,
Produc’d the point that left a sting behind;
Till friend with friend, and families at strife,
Triumphant malice rag’d through private life.
Who felt the wrong, or fear’d it, took th’ alarm,
Appeal’d to law, and justice lent her arm.
At length, by wholesome dread of statutes bound,
The poets learn’d to please, and not to wound:
Most warp’d to flatt’ry’s side; but some, more nice,
Preserv’d the freedom, and forbore the vice.
Hence satire rose, that just the medium hit,
And heals with morals what it hurts with wit.
We conquer’d France, but felt our captive’s charms;
Her arts victorious triumph’d o’er our arms;
Britain to soft refinements less a foe,
Wit grew polite, and numbers learn’d to flow.
Waller was smooth; but Dryden taught to join
The varying verse, the full-resounding line,
The long majestic march, and energy divine.
Though still some traces of our rustic vein
And splayfoot verse remain’d, and will remain.
Late, very late, correctness grew our care,
When the tir’d nation breath’d from civil war.
Exact Racine, and Corneille’s noble fire
Show’d us that France had something to admire.
Not but the tragic spirit was our own,
And full in Shakespeare, fair in Otway shone:
But Otway fail’d to polish or refine,
And fluent Shakespeare scarce effac’d a line.
Ev’n copious Dryden wanted, or forgot,
The last and greatest art, the art to blot.
Some doubt, if equal pains, or equal fire
The humbler Muse of comedy require.
But in known images of life, I guess
The labour greater, as th’ indulgence less.
Observe how seldom ev’n the best succeed:
Tell me if Congreve’s fools are fools indeed?
What pert, low dialogue has Farqu’ar writ!
How Van wants grace, who never wanted wit!
The stage how loosely does Astr{ae}ea tread,
Who fairly puts all characters to bed!
And idle Cibber, how he breaks the laws,
To make poor Pinky eat with vast applause!
But fill their purse, our poet’s work is done,
Alike to them, by pathos or by pun.
O you! whom vanity’s light bark conveys
On fame’s mad voyage by the wind of praise,
With what a shifting gale your course you ply,
For ever sunk too low, or borne too high!
Who pants for glory finds but short repose,
A breath revives him, or a breath o’erthrows.
Farewell the stage! if just as thrives the play,
The silly bard grows fat, or falls away.
There still remains, to mortify a wit,
The many-headed monster of the pit:
A senseless, worthless, and unhonour’d crowd;
Who, to disturb their betters mighty proud,
Clatt’ring their sticks before ten lines are spoke,
Call for the farce, the bear, or the black-joke.
What dear delight to Britons farce affords!
Farce once the taste of mobs, but now of lords;
(For taste, eternal wanderer, now flies
From heads to ears, and now from ears to eyes.)
The play stands still; damn action and discourse,
Back fly the scenes, and enter foot and horse;
Pageants on pageants, in long order drawn,
Peers, heralds, bishops, ermine, gold, and lawn;
The champion too! and, to complete the jest,
Old Edward’s armour beams on Cibber’s breast.
With laughter sure Democritus had died,
Had he beheld an audience gape so wide.
Let bear or elephant be e’er so white,
The people, sure, the people are the sight!
Ah luckless poet! stretch thy lungs and roar,
That bear or elephant shall heed thee more;
While all its throats the gallery extends,
And all the thunder of the pit ascends!
Loud as the wolves on Orcas’ stormy steep,
Howl to the roarings of the Northern deep.
Such is the shout, the long-applauding note,
At Quin’s high plume, or Oldfield’s petticoat,
Or when from Court a birthday suit bestow’d
Sinks the lost actor in the tawdry load.
Booth enters–hark! the universal peal!
“But has he spoken?” Not a syllable.
“What shook the stage, and made the people stare?”
Cato’s long wig, flow’r’d gown, and lacquer’d chair.
Yet lest you think I rally more than teach,
Or praise malignly arts I cannot reach,
Let me for once presume t’instruct the times,
To know the poet from the man of rhymes:
‘Tis he, who gives my breast a thousand pains,
Can make me feel each passion that he feigns;
Enrage, compose, with more than magic art,
With pity and with terror tear my heart;
And snatch me o’er the earth or thro’ the air,
To Thebes, to Athens, when he will, and where.
But not this part of the poetic state
Alone, deserves the favour of the great:
Think of those authors, Sir, who would rely
More on a reader’s sense, than gazer’s eye.
Or who shall wander where the Muses sing?
Who climb their mountain, or who taste their spring?
How shall we fill a library with wit,
When Merlin’s Cave is half unfurnish’d yet?
My Liege! why writers little claim your thought,
I guess: and, with their leave, will tell the fault:
We poets are (upon a poet’s word)
Of all mankind, the creatures most absurd:
The season, when to come, and when to go,
To sing, or cease to sing, we never know;
And if we will recite nine hours in ten,
You lose your patience, just like other men.
Then too we hurt ourselves, when to defend
A single verse, we quarrel with a friend;
Repeat unask’d; lament, the wit’s too fine
For vulgar eyes, and point out ev’ry line.
But most, when straining with too weak a wing,
We needs will write epistles to the king;
And from the moment we oblige the town,
Expect a place, or pension from the Crown;
Or dubb’d historians by express command,
T’enroll your triumphs o’er the seas and land,
Be call’d to court to plan some work divine,
As once for Louis, Boileau and Racine.
Yet think, great Sir! (so many virtues shown)
Ah think, what poet best may make them known?
Or choose at least some minister of grace,
Fit to bestow the laureate’s weighty place.
Charles, to late times to be transmitted fair,
Assign’d his figure to Bernini’s care;
And great Nassau to Kneller’s hand decreed
To fix him graceful on the bounding steed;
So well in paint and stone they judg’d of merit:
But kings in wit may want discerning spirit.
The hero William, and the martyr Charles,
One knighted Blackmore, and one pension’d Quarles;
Which made old Ben, and surly Dennis swear,
“No Lord’s anointed, but a Russian bear.”
Not with such majesty, such bold relief,
The forms august, of king, or conqu’ring chief,
E’er swell’d on marble; as in verse have shin’d
(In polish’d verse) the manners and the mind.
Oh! could I mount on the M{ae}onian wing,
Your arms, your actions, your repose to sing!
What seas you travers’d! and what fields you fought!
Your country’s peace, how oft, how dearly bought!
How barb’rous rage subsided at your word,
And nations wonder’d while they dropp’d the sword!
How, when you nodded, o’er the land and deep,
Peace stole her wing, and wrapp’d the world in sleep;
Till earth’s extremes your mediation own,
And Asia’s tyrants tremble at your throne–
But verse, alas! your Majesty disdains;
And I’m not us’d to panegyric strains:
The zeal of fools offends at any time,
But most of all, the zeal of fools in rhyme,
Besides, a fate attends on all I write,
That when I aim at praise, they say I bite.
A vile encomium doubly ridicules:
There’s nothing blackens like the ink of fools;
If true, a woeful likeness; and if lies,
“Praise undeserv’d is scandal in disguise.”
Well may he blush, who gives it, or receives;
And when I flatter, let my dirty leaves
(Like journals, odes, and such forgotten things
As Eusden, Philips, Settle, writ of kings)
Clothe spice, line trunks, or flutt’ring in a row,
Befringe the rails of Bedlam and Soho.
Couplets on Wit-Alexander Pope’s witty and pointed poetic satire brought him infamy during his lifetime. It has also made critical evaluation of Pope in the years since his death more prone to interpretation based on the critic’s personal feelings about such satire than perhaps any other poet in history.
Pope was born the only child of Alexander and Edith Pope in 1688. The senior Pope, a linen-draper, had recently converted to Catholicism, and moved from London to Berkshire to avoid the anti-Catholic sentiment that ran rampant in London at the time.
Couplets on Wit by Alexander Pope
But our Great Turks in wit must reign alone
And ill can bear a Brother on the Throne.
Wit is like faith by such warm Fools profest
Who to be saved by one, must damn the rest.
Some who grow dull religious strait commence
And gain in morals what they lose in sence.
Wits starve as useless to a Common weal
While Fools have places purely for their Zea.
Now wits gain praise by copying other wits
As one Hog lives on what another sh—.
Wou’d you your writings to some Palates fit
Purged all you verses from the sin of wit
For authors now are so conceited grown
They praise no works but what are like their own.
An Essay on Criticism-Alexander Pope’s witty and pointed poetic satire brought him infamy during his lifetime. It has also made critical evaluation of Pope in the years since his death more prone to interpretation based on the critic’s personal feelings about such satire than perhaps any other poet in history.
Pope was born the only child of Alexander and Edith Pope in 1688. The senior Pope, a linen-draper, had recently converted to Catholicism, and moved from London to Berkshire to avoid the anti-Catholic sentiment that ran rampant in London at the time.
An Essay on Criticism by Alexander Pope
‘Tis hard to say if greater want of skill
Appear in writing or in judging ill;
But of the two less dangerous is th’offence
To tire our patience than mislead our sense:
Some few in that, but numbers err in this;
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.
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,
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:
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 traced,
Is by ill col’ring but the more disgraced,
So by false learning is good sense defaced:
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,
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 Mævius scribble in Apollo’s spite,
There are who judge still worse than he can write.
Some have at first for Wits, then Poets pass’d;
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, numerous in our isle,
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 them would a hundred tongues required,
Or one vain Wit’s, that might a hundred tire.
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,
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;
Thus in the soul while Memory prevails,
The solid power of Understanding fails;
Where beams of warm Imagination play,
The Memory’s soft figures melt away.
One Science only will one genius fit;
So vast is Art, so narrow human wit:
Now 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:
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,
One clear, unchanged, 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.
In some fair body thus th’informing soul
With spirits feeds, with vigour fills the whole;
Each motion guides, and every nerve sustains,
Itself unseen, but in th’ effects remains.
Some, to whom Heav’n in wit has been profuse,
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.
‘Tis more to guide than spur the Muse’s steed,
Restrain his fury than provoke his speed:
The winged courser, like a gen’rous horse,
Shows most true mettel when you check his course.
Those rules of old, discover’d, not devised,
Are Nature still, but Nature methodized;
Nature, like Liberty, is but restrain’d
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;
Held from afar, aloft, th’immortal prize,
And urged the rest by equal steps to rise.
Just precepts thus from great examples giv’n,
She drew from them what they derived from Heav’n.
The gen’rous Critic fann’d the poet’s fire,
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;
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 doctors’ bills to play the doctor’s part,
Bold in the practice of mistaken rules,
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;
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 every page;
Religion, country, genius of his age:
Without all these at once before your eyes,
Cavil you may, but never criticise.
Be Homer’s works your study and delight,
Read them by day, and meditate by night;
Thence form your judgment, thence your maxims bring,
And trace the Muses upward to their spring.
Still with itself compared, his text peruse;
And let your comment be the Mantuan Muse.
When first young Maro in his boundless mind
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.
Convinced, amazed, he checks the bold design,
And rules as strict his labour’d work confine
As if the Stagyrite o’erlook’d each line.
Learn hence for ancient rules a just esteem;
To copy Nature is to copy them.
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.
If, where the rules not far enough extend,
(Since rules were made but to promote their end)
Some lucky license answer to the full
Th’intent proposed, that license is a rule.
Thus Pegasus, a nearer way to take,
May boldly deviate from the common track.
Great Wits sometimes may gloriously offend,
And rise to faults true Critics dare not mend;
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.
In prospects thus some objects please our eyes,
Which out of Nature’s common order rise,
The shapeless rock, or hanging precipice.
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;
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.
Some figures monstrous and misshaped 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
His powers 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 errors seem,
Nor is it Homer nods, but we that dream.
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!
Hear in all tongues consenting Paeans 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!
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!
O may some spark of your celestial fire
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.
Part II
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 vice of fools.
Whatever Nature has in worth denied
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 deference,
And fills up all the mighty void of Sense:
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 dangerous thing;
Drink deep, or taste not the Pierian spring:
There shallow draughts intoxicate the brain,
And drinking largely sobers us again.
Fired at first sight with what the Muse imparts,
In fearless youth we tempt the heights of arts,
While from the bounded level of our mind
Short views we take, nor see the lengths behind:
Bur more advanc’d, behold with strange surprise
New distant scenes of endliess science rise!
So pleas’d at first the tow’ring Alps we try,
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;
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, not seek slight faults to find
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,
That shunning faults one quiet tenor 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,
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 surprise,
All comes united to th’admiring eyes;
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 n’er was, nor is, nor e’er shall be.
In every work regard the writer’s end,
Since none can compass more than they intend;
And if the means be just, the conduct true,
Applause, in spite of trivial faults, is due.
As men of breeding, sometimes men of wit,
T’avoid great errors must the less commit;
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,
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 State;
Concluding all were desperate sots and fools
Who durst depart from Aristotle’s rules.
Our author, happy in a judge so nice,
Produced his play, and begged the knight’s advice;
Made him observe the Subject and the Plot,
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 Stagyrite.”
“Not so, by Heaven!, (he answers in a rage)
Knights, squires, and steeds must enter on the stage.”
“So vast a throng the stage can n’er contain.”
“Then build a new, or act it in a plain.”
Thus critics of less judgement than caprice,
Curious, not knowing, not exact, but nice,
Form short ideas, and offend the Arts
(As most in Manners), by a love to parts.
Some to Conceit alone their taste confine,
And glitt’ring thoughts struck out at every line;
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 every part,
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 convinced at sight we find,
That give us back the image of our mind.
As shades more sweetly recommend the light,
So modest plainness sets of sprightly wit:
For works may have more wit than does them good,
As bodies perish thro’ excess of blood.
Others for language all their care express,
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.
False eloquence, like the prismatic glass,
Its gaudy colours spreads on every place;
The face of Nature we no more survey,
All glares alike, without distinction gay;
But true expression, like th’unchanging sun,
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
Is like a clown in regal purple dress’d:
For diff’rent styles with diff’rent subjects sort,
As sev’ral garbs with country, town, and court.
Some by old words to fame have made pretence,
Ancients in phrase, mere moderns in their sense;
Such labour’d nothings, in so strange a style,
Amaze th’unlearned, and make the learned smile;
Unlucky as Fungoso in the play,
These sparks with awkward vanity display
What the fine gentleman wore yesterday;
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 tried,
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 tho’ thousand charms conspire,
Her voice is all these tuneful fools admire;
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 vowels tire,
While expletives their feeble aid to join,
And ten low words oft creep in one dull line:
While they ring round the same unvaried chimes,
With sure returns of still expected rhymes;
Where’er you find “the cooling western breeze,”
In the next line, it “whispers thro’ 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,
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
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.
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,
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 surprise,
And bid alternate passions fall and rise!
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,
And the world’s Victor stood subdued by sound!
The power 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.
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;
For fools admire, but men of sense approve:
As things seem large which we thro’ mist descry,
Dulness is ever apt to magnify.
Some foreign writers, some our own despise;
The ancients only, or the moderns prize.
Thus Wit, like Faith, by each man is applied
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
,
But ripens spirits in cold northern climes;
Which from the first has shone on ages past,
Enligths the present, and shall warm the last;
Tho’ each may feel increases and decays,
And see now clearer and now darker days,
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,
And own stale nonsense which they ne’er invent.
Some judge of authors’ 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;
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,
How the Wit brightens! how the Style refines!
Before his sacred name flies every fault,
And each exalted stanza teems with thought!
The vulgar thus thro’ imitation err,
As oft the learn’d by being singular;
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,
But always think the last opinion right.
A Muse by these is like a mistress used,
This hour she’s idolized, the next abused;
While their weak heads, like towns unfortified,
‘Twixt sense and nonsense daily change their side.
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 shool-divines this zealous isle o’erspread;
Who knew most sentences was deepest read.
Faith, Gospel, all seem’d made to be disputed,
And none has sense enough to be confuted.
Scotists and Thomists now in peace remain
Amidst their kindred cobwebs in Ducklane.
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,
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.
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, beaux:
But sense survived when merry jests were past;
For rising merit will bouy up at last.
Might he return and bless once more our eyes,
New Blackmores and new Milbournes must arise.
Nay, should great Homer lift his awful head,
Zoilus again would start up from the dead.
Envy will Merit as its shade pursue,
But like a shadow proves the substance true;
For envied Wit, like Sol eclips’d, makes known
Th’opposing body’s grossness, not its own.
When first that sun too powerful beams displays,
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.
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 partiarch wits survived a thousand years:
Now length of fame (our second life) is lost,
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,
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,
And each bold figure just begins to live,
The treach’rous colours the fair art betray,
And all the bright creations fades away!
Unhappy Wit, like most mistaken things,
Atones not for that envy which it brings:
In youth alone its empty praise we boast,
But soon the sort-lived vanity is lost;
Like some fair flower the early Spring supplies,
That gaily blooms, but ev’n in blooming dies.
What is this Wit, which must our cares employ?
The owner’s wife that other men enjoy;
Then most our trouble still when most admired,
And still the more we give, the more required;
Whose fame with pains we guard, but lose with ease,
Sure some to vex, but never all to please,
‘Tis what the vicious fear, the virtuous shun;
By fools ’tis hated, and by knaves undone!
If Wit so much from Ignorance undergo,
Ah, let not Learning too commence its foe!
Of old those met rewards who could excel,
And such were prais’d who but endevour’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;
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,
Are mortals urged 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.
But if in noble minds some dregs remain,
Not yet purged off, of spleen and sour disdain,
Discharge that rage on more provoking crimes,
Nor fear a dearth on these flagitious times.
No pardon vile obscenity should find,
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 thrived with large increase:
When love was all in easy monarch’s care,
Seldom at council, never in a war;
Jilts ruled the state, and statesmen farces writ;
Nay wits had pensions, and young lords had wit;
The Fair sat panting at a courtier’s play,
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 license of a foreign reign
Did all the dregs of bold Socinus drain;
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,
And vice admired to find a flatt’rer there!
Encouraged thus, Wit’s Titans braved 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!
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.
Part III
Learn then what morals Critics ought to show,
For ’tis but half a judge’s task to know.
T’is 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.
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,
And make each day a critique on the last.
‘Tis 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 proposed as things forgot.
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,
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.
‘Twere well might critics still this freedom take,
But Appius reddens at each word you speak,
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, uncensured to be dull:
Such without Wit, are poets when they please,
As without Learning they can take degrees.
Leave dangerous truths to unsuccessful satires,
And flattery to fulsome dedicators;
Whom when the praise, the world believes no more
Than when they promise to give scribbling o’er.
‘Tis 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,
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,
Still run on poets, in a raging vein,
Ev’n to the 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 ’tis true
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.
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;
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 t tread.
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.
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;
Modestly bold, and humanly severe;
Who to a friend his faults can freely show,
And gladly praise the merit of a foe;
Bless’d with a taste exact, yet unconfin’d,
A knowledge both of books and humankind;
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 Stagyrite first left the shore,
Spread all his sails, and durst the deeps explore;
He steer’d securely, and discover’d far,
Led by the light of the Maeonian star.
Poets, a race long unconfin’d and free,
Still fond and proud of savage liberty,
Receiv’d his laws, and stood convinc’d ’twas 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
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, though he sung with fire;
His precepts teach but what his works inspire.
Our critics take a contrary extreme,
They judge with fury, but they write with phlegm;
Nor suffers Horace more in wrong translations
By Wits, than Critics in as wrong quotations.
See Dionysius Homer’s thoughts refine,
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.
Thus useful arms in magazines we place,
All ranged in order, and disposed 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,
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.
Thus long succeeding critics justly reign’d,
License 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,
And the same age saw learning fall and Rome.
With tyranny then superstition join’d,
As that the body, this enslaved the mind;
Much was believ’d, but little understood,
And to be dull was construed to be good;
A second deluge learning thus o’errun,
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,
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.
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
The poet’s bays and critics ivy grow:
Cremona now shall ever boast they name,
As next in place to Mantua, next in fame!
But soon by impious arms from Latium chased,
Their ancient bounds the banish’d Muses pass’d;
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 despised,
And kept unconquer’d and uncivilized;
Fierce for the liberties of wit, and bold,
We still defied the Romans, as of old.
Yet some there were, among the sounder few
Of those who less presumed and better knew,
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 masterpiece is writing well.”
Such was Roscommon, not more learn’d than good,
With manners gen’rous as his noble blood;
To him the wit of Greece and Rome was known,
And every author’s merit but his own.
Such late was Walsh–the Muse’s judge and friend,
Who justly knew to blame or to commend;
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,
Prescribed her heights, and pruned 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;
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.
Eloisa to Abelard- by Alexander Pope. Alexander Pope’s witty and pointed poetic satire brought him infamy during his lifetime. It has also made critical evaluation of Pope in the years since his death more prone to interpretation based on the critic’s personal feelings about such satire than perhaps any other poet in history.
Pope was born the only child of Alexander and Edith Pope in 1688. The senior Pope, a linen-draper, had recently converted to Catholicism, and moved from London to Berkshire to avoid the anti-Catholic sentiment that ran rampant in London at the time.
Eloisa to Abelard by Alexander Pope
In these deep solitudes and awful cells,
Where heav’nly-pensive contemplation dwells,
And ever-musing melancholy reigns;
What means this tumult in a vestal’s veins?
Why rove my thoughts beyond this last retreat?
Why feels my heart its long-forgotten heat?
Yet, yet I love!–From Abelard it came,
And Eloisa yet must kiss the name.
Dear fatal name! rest ever unreveal’d,
Nor pass these lips in holy silence seal’d.
Hide it, my heart, within that close disguise,
Where mix’d with God’s, his lov’d idea lies:
O write it not, my hand–the name appears
Already written–wash it out, my tears!
In vain lost Eloisa weeps and prays,
Her heart still dictates, and her hand obeys.
Relentless walls! whose darksome round contains
Repentant sighs, and voluntary pains:
Ye rugged rocks! which holy knees have worn;
Ye grots and caverns shagg’d with horrid thorn!
Shrines! where their vigils pale-ey’d virgins keep,
And pitying saints, whose statues learn to weep!
Though cold like you, unmov’d, and silent grown,
I have not yet forgot myself to stone.
All is not Heav’n’s while Abelard has part,
Still rebel nature holds out half my heart;
Nor pray’rs nor fasts its stubborn pulse restrain,
Nor tears, for ages, taught to flow in vain.
Soon as thy letters trembling I unclose,
That well-known name awakens all my woes.
Oh name for ever sad! for ever dear!
Still breath’d in sighs, still usher’d with a tear.
I tremble too, where’er my own I find,
Some dire misfortune follows close behind.
Line after line my gushing eyes o’erflow,
Led through a sad variety of woe:
Now warm in love, now with’ring in thy bloom,
Lost in a convent’s solitary gloom!
There stern religion quench’d th’ unwilling flame,
There died the best of passions, love and fame.
Yet write, oh write me all, that I may join
Griefs to thy griefs, and echo sighs to thine.
Nor foes nor fortune take this pow’r away;
And is my Abelard less kind than they?
Tears still are mine, and those I need not spare,
Love but demands what else were shed in pray’r;
No happier task these faded eyes pursue;
To read and weep is all they now can do.
Then share thy pain, allow that sad relief;
Ah, more than share it! give me all thy grief.
Heav’n first taught letters for some wretch’s aid,
Some banish’d lover, or some captive maid;
They live, they speak, they breathe what love inspires,
Warm from the soul, and faithful to its fires,
The virgin’s wish without her fears impart,
Excuse the blush, and pour out all the heart,
Speed the soft intercourse from soul to soul,
And waft a sigh from Indus to the Pole.
Thou know’st how guiltless first I met thy flame,
When Love approach’d me under Friendship’s name;
My fancy form’d thee of angelic kind,
Some emanation of th’ all-beauteous Mind.
Those smiling eyes, attemp’ring ev’ry day,
Shone sweetly lambent with celestial day.
Guiltless I gaz’d; heav’n listen’d while you sung;
And truths divine came mended from that tongue.
From lips like those what precept fail’d to move?
Too soon they taught me ’twas no sin to love.
Back through the paths of pleasing sense I ran,
Nor wish’d an Angel whom I lov’d a Man.
Dim and remote the joys of saints I see;
Nor envy them, that heav’n I lose for thee.
How oft, when press’d to marriage, have I said,
Curse on all laws but those which love has made!
Love, free as air, at sight of human ties,
Spreads his light wings, and in a moment flies,
Let wealth, let honour, wait the wedded dame,
August her deed, and sacred be her fame;
Before true passion all those views remove,
Fame, wealth, and honour! what are you to Love?
The jealous God, when we profane his fires,
Those restless passions in revenge inspires;
And bids them make mistaken mortals groan,
Who seek in love for aught but love alone.
Should at my feet the world’s great master fall,
Himself, his throne, his world, I’d scorn ’em all:
Not Caesar’s empress would I deign to prove;
No, make me mistress to the man I love;
If there be yet another name more free,
More fond than mistress, make me that to thee!
Oh happy state! when souls each other draw,
When love is liberty, and nature, law:
All then is full, possessing, and possess’d,
No craving void left aching in the breast:
Ev’n thought meets thought, ere from the lips it part,
And each warm wish springs mutual from the heart.
This sure is bliss (if bliss on earth there be)
And once the lot of Abelard and me.
Alas, how chang’d! what sudden horrors rise!
A naked lover bound and bleeding lies!
Where, where was Eloise? her voice, her hand,
Her poniard, had oppos’d the dire command.
Barbarian, stay! that bloody stroke restrain;
The crime was common, common be the pain.
I can no more; by shame, by rage suppress’d,
Let tears, and burning blushes speak the rest.
Canst thou forget that sad, that solemn day,
When victims at yon altar’s foot we lay?
Canst thou forget what tears that moment fell,
When, warm in youth, I bade the world farewell?
As with cold lips I kiss’d the sacred veil,
The shrines all trembl’d, and the lamps grew pale:
Heav’n scarce believ’d the conquest it survey’d,
And saints with wonder heard the vows I made.
Yet then, to those dread altars as I drew,
Not on the Cross my eyes were fix’d, but you:
Not grace, or zeal, love only was my call,
And if I lose thy love, I lose my all.
Come! with thy looks, thy words, relieve my woe;
Those still at least are left thee to bestow.
Still on that breast enamour’d let me lie,
Still drink delicious poison from thy eye,
Pant on thy lip, and to thy heart be press’d;
Give all thou canst–and let me dream the rest.
Ah no! instruct me other joys to prize,
With other beauties charm my partial eyes,
Full in my view set all the bright abode,
And make my soul quit Abelard for God.
Ah, think at least thy flock deserves thy care,
Plants of thy hand, and children of thy pray’r.
From the false world in early youth they fled,
By thee to mountains, wilds, and deserts led.
You rais’d these hallow’d walls; the desert smil’d,
And Paradise was open’d in the wild.
No weeping orphan saw his father’s stores
Our shrines irradiate, or emblaze the floors;
No silver saints, by dying misers giv’n,
Here brib’d the rage of ill-requited heav’n:
But such plain roofs as piety could raise,
And only vocal with the Maker’s praise.
In these lone walls (their days eternal bound)
These moss-grown domes with spiry turrets crown’d,
Where awful arches make a noonday night,
And the dim windows shed a solemn light;
Thy eyes diffus’d a reconciling ray,
And gleams of glory brighten’d all the day.
But now no face divine contentment wears,
‘Tis all blank sadness, or continual tears.
See how the force of others’ pray’rs I try,
(O pious fraud of am’rous charity!)
But why should I on others’ pray’rs depend?
Come thou, my father, brother, husband, friend!
Ah let thy handmaid, sister, daughter move,
And all those tender names in one, thy love!
The darksome pines that o’er yon rocks reclin’d
Wave high, and murmur to the hollow wind,
The wand’ring streams that shine between the hills,
The grots that echo to the tinkling rills,
The dying gales that pant upon the trees,
The lakes that quiver to the curling breeze;
No more these scenes my meditation aid,
Or lull to rest the visionary maid.
But o’er the twilight groves and dusky caves,
Long-sounding aisles, and intermingled graves,
Black Melancholy sits, and round her throws
A death-like silence, and a dread repose:
Her gloomy presence saddens all the scene,
Shades ev’ry flow’r, and darkens ev’ry green,
Deepens the murmur of the falling floods,
And breathes a browner horror on the woods.
Yet here for ever, ever must I stay;
Sad proof how well a lover can obey!
Death, only death, can break the lasting chain;
And here, ev’n then, shall my cold dust remain,
Here all its frailties, all its flames resign,
And wait till ’tis no sin to mix with thine.
Ah wretch! believ’d the spouse of God in vain,
Confess’d within the slave of love and man.
Assist me, Heav’n! but whence arose that pray’r?
Sprung it from piety, or from despair?
Ev’n here, where frozen chastity retires,
Love finds an altar for forbidden fires.
I ought to grieve, but cannot what I ought;
I mourn the lover, not lament the fault;
I view my crime, but kindle at the view,
Repent old pleasures, and solicit new;
Now turn’d to Heav’n, I weep my past offence,
Now think of thee, and curse my innocence.
Of all affliction taught a lover yet,
‘Tis sure the hardest science to forget!
How shall I lose the sin, yet keep the sense,
And love th’ offender, yet detest th’ offence?
How the dear object from the crime remove,
Or how distinguish penitence from love?
Unequal task! a passion to resign,
For hearts so touch’d, so pierc’d, so lost as mine.
Ere such a soul regains its peaceful state,
How often must it love, how often hate!
How often hope, despair, resent, regret,
Conceal, disdain–do all things but forget.
But let Heav’n seize it, all at once ’tis fir’d;
Not touch’d, but rapt; not waken’d, but inspir’d!
Oh come! oh teach me nature to subdue,
Renounce my love, my life, myself–and you.
Fill my fond heart with God alone, for he
Alone can rival, can succeed to thee.
How happy is the blameless vestal’s lot!
The world forgetting, by the world forgot.
Eternal sunshine of the spotless mind!
Each pray’r accepted, and each wish resign’d;
Labour and rest, that equal periods keep;
“Obedient slumbers that can wake and weep;”
Desires compos’d, affections ever ev’n,
Tears that delight, and sighs that waft to Heav’n.
Grace shines around her with serenest beams,
And whisp’ring angels prompt her golden dreams.
For her th’ unfading rose of Eden blooms,
And wings of seraphs shed divine perfumes,
For her the Spouse prepares the bridal ring,
For her white virgins hymeneals sing,
To sounds of heav’nly harps she dies away,
And melts in visions of eternal day.
Far other dreams my erring soul employ,
Far other raptures, of unholy joy:
When at the close of each sad, sorrowing day,
Fancy restores what vengeance snatch’d away,
Then conscience sleeps, and leaving nature free,
All my loose soul unbounded springs to thee.
Oh curs’d, dear horrors of all-conscious night!
How glowing guilt exalts the keen delight!
Provoking Daemons all restraint remove,
And stir within me every source of love.
I hear thee, view thee, gaze o’er all thy charms,
And round thy phantom glue my clasping arms.
I wake–no more I hear, no more I view,
The phantom flies me, as unkind as you.
I call aloud; it hears not what I say;
I stretch my empty arms; it glides away.
To dream once more I close my willing eyes;
Ye soft illusions, dear deceits, arise!
Alas, no more–methinks we wand’ring go
Through dreary wastes, and weep each other’s woe,
Where round some mould’ring tower pale ivy creeps,
And low-brow’d rocks hang nodding o’er the deeps.
Sudden you mount, you beckon from the skies;
Clouds interpose, waves roar, and winds arise.
I shriek, start up, the same sad prospect find,
And wake to all the griefs I left behind.
For thee the fates, severely kind, ordain
A cool suspense from pleasure and from pain;
Thy life a long, dead calm of fix’d repose;
No pulse that riots, and no blood that glows.
Still as the sea, ere winds were taught to blow,
Or moving spirit bade the waters flow;
Soft as the slumbers of a saint forgiv’n,
And mild as opening gleams of promis’d heav’n.
Come, Abelard! for what hast thou to dread?
The torch of Venus burns not for the dead.
Nature stands check’d; Religion disapproves;
Ev’n thou art cold–yet Eloisa loves.
Ah hopeless, lasting flames! like those that burn
To light the dead, and warm th’ unfruitful urn.
What scenes appear where’er I turn my view?
The dear ideas, where I fly, pursue,
Rise in the grove, before the altar rise,
Stain all my soul, and wanton in my eyes.
I waste the matin lamp in sighs for thee,
Thy image steals between my God and me,
Thy voice I seem in ev’ry hymn to hear,
With ev’ry bead I drop too soft a tear.
When from the censer clouds of fragrance roll,
And swelling organs lift the rising soul,
One thought of thee puts all the pomp to flight,
Priests, tapers, temples, swim before my sight:
In seas of flame my plunging soul is drown’d,
While altars blaze, and angels tremble round.
While prostrate here in humble grief I lie,
Kind, virtuous drops just gath’ring in my eye,
While praying, trembling, in the dust I roll,
And dawning grace is op’ning on my soul:
Come, if thou dar’st, all charming as thou art!
Oppose thyself to Heav’n; dispute my heart;
Come, with one glance of those deluding eyes
Blot out each bright idea of the skies;
Take back that grace, those sorrows, and those tears;
Take back my fruitless penitence and pray’rs;
Snatch me, just mounting, from the blest abode;
Assist the fiends, and tear me from my God!
No, fly me, fly me, far as pole from pole;
Rise Alps between us! and whole oceans roll!
Ah, come not, write not, think not once of me,
Nor share one pang of all I felt for thee.
Thy oaths I quit, thy memory resign;
Forget, renounce me, hate whate’er was mine.
Fair eyes, and tempting looks (which yet I view!)
Long lov’d, ador’d ideas, all adieu!
Oh Grace serene! oh virtue heav’nly fair!
Divine oblivion of low-thoughted care!
Fresh blooming hope, gay daughter of the sky!
And faith, our early immortality!
Enter, each mild, each amicable guest;
Receive, and wrap me in eternal rest!
See in her cell sad Eloisa spread,
Propp’d on some tomb, a neighbour of the dead.
In each low wind methinks a spirit calls,
And more than echoes talk along the walls.
Here, as I watch’d the dying lamps around,
From yonder shrine I heard a hollow sound.
“Come, sister, come!” (it said, or seem’d to say)
“Thy place is here, sad sister, come away!
Once like thyself, I trembled, wept, and pray’d,
Love’s victim then, though now a sainted maid:
But all is calm in this eternal sleep;
Here grief forgets to groan, and love to weep,
Ev’n superstition loses ev’ry fear:
For God, not man, absolves our frailties here.”
I come, I come! prepare your roseate bow’rs,
Celestial palms, and ever-blooming flow’rs.
Thither, where sinners may have rest, I go,
Where flames refin’d in breasts seraphic glow:
Thou, Abelard! the last sad office pay,
And smooth my passage to the realms of day;
See my lips tremble, and my eye-balls roll,
Suck my last breath, and catch my flying soul!
Ah no–in sacred vestments may’st thou stand,
The hallow’d taper trembling in thy hand,
Present the cross before my lifted eye,
Teach me at once, and learn of me to die.
Ah then, thy once-lov’d Eloisa see!
It will be then no crime to gaze on me.
See from my cheek the transient roses fly!
See the last sparkle languish in my eye!
Till ev’ry motion, pulse, and breath be o’er;
And ev’n my Abelard be lov’d no more.
O Death all-eloquent! you only prove
What dust we dote on, when ’tis man we love.
Then too, when fate shall thy fair frame destroy,
(That cause of all my guilt, and all my joy)
In trance ecstatic may thy pangs be drown’d,
Bright clouds descend, and angels watch thee round,
From op’ning skies may streaming glories shine,
And saints embrace thee with a love like mine.
May one kind grave unite each hapless name,
And graft my love immortal on thy fame!
Then, ages hence, when all my woes are o’er,
When this rebellious heart shall beat no more;
If ever chance two wand’ring lovers brings
To Paraclete’s white walls and silver springs,
O’er the pale marble shall they join their heads,
And drink the falling tears each other sheds;
Then sadly say, with mutual pity mov’d,
“Oh may we never love as these have lov’d!”
From the full choir when loud Hosannas rise,
And swell the pomp of dreadful sacrifice,
Amid that scene if some relenting eye
Glance on the stone where our cold relics lie,
Devotion’s self shall steal a thought from Heav’n,
One human tear shall drop and be forgiv’n.
And sure, if fate some future bard shall join
In sad similitude of griefs to mine,
Condemn’d whole years in absence to deplore,
And image charms he must behold no more;
Such if there be, who loves so long, so well;
Let him our sad, our tender story tell;
The well-sung woes will soothe my pensive ghost;
He best can paint ’em, who shall feel ’em most.
Argus by Alexander Pope. Alexander Pope’s witty and pointed poetic satire brought him infamy during his lifetime. It has also made critical evaluation of Pope in the years since his death more prone to interpretation based on the critic’s personal feelings about such satire than perhaps any other poet in history.
Pope was born the only child of Alexander and Edith Pope in 1688. The senior Pope, a linen-draper, had recently converted to Catholicism, and moved from London to Berkshire to avoid the anti-Catholic sentiment that ran rampant in London at the time.
Argus by Alexander Pope
When wise Ulysses, from his native coast
Long kept by wars, and long by tempests toss’d,
Arrived at last, poor, old, disguised, alone,
To all his friends, and ev’n his Queen unknown,
Changed as he was, with age, and toils, and cares,
Furrow’d his rev’rend face, and white his hairs,
In his own palace forc’d to ask his bread,
Scorn’d by those slaves his former bounty fed,
Forgot of all his own domestic crew,
The faithful Dog alone his rightful master knew!Unfed, unhous’d, neglected, on the clay
Like an old servant now cashier’d, he lay;
Touch’d with resentment of ungrateful man,
And longing to behold his ancient lord again.
Him when he saw he rose, and crawl’d to meet,
(‘Twas all he could) and fawn’d and kiss’d his feet,
Seiz’d with dumb joy; then falling by his side,
Own’d his returning lord, look’d up, and died!
Analysis Argus by Alexander Pope:
In “Argus,” Pope draws on the story of Odysseus and his dog, Argus. When Odysseus returned home after many years at sea, he went unrecognized by everyone he once knew, even his own wife. Only his faithful old dog, Argos, recognized him. Argos mustered the last of his strength, walked over to his master (who could not acknowledge his old friend, as he was undercover) and died.
Pope takes a new, witty spin on the story by dedicating the second stanza to recounting Argos’ viewpoint. Much of the irony and wit of this stanza comes from the dramatic & overwrought style in which the viewpoint of a dog is recounted – “longing to behold his ancient lord again” is absurdly grandiose language & in fact obscures the simplicity of Odysseus and Argos’ relationship which is frequently viewed as central to the story’s significance. Pope thus implicitly satirizes the tropes of his medium, applying its styles in a way which reveals what it lacks.
There is also a possible political satire here – Argos sacrifices all of his strength & life for his “ancient lord”, who barely acknowledges him. The directness with which Pope describes Argos’ death – “look’d up, and died!” – satirizes the idea that such a death for a higher noble would be honorable and worthwhile. Indeed, this death is unglamorous and sudden. It seems Pope sees no honor in the sacrifice of self for an uncaring lord.
Stylistically the poem matches the patterns of Augustan poetry – it is written with heroic couplets in iambic pentameter.
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