The Rape of the Lock, and Other Poems
things in the classic poets which to carping critics seem faults are
often clever devices to make a deeper impression on the reader.
'180 Homer nods:'
Horace in his 'Art of Poetry' used this figure to imply that even the
greatest poet sometimes made mistakes. Pope very neatly suggests that it
may be the critic rather than the poet who is asleep.
'181 each ancient Altar:'
used here to denote the works of the great classic writers. The whole
passage down to l. 200 is a noble outburst of enthusiasm for the poets
whom Pope had read so eagerly in early youth.
'186 consenting Paeans:'
unanimous hymns of praise.
'194 must ... found:'
are not destined to be discovered till some future time.
'196'
Who is "the last, the meanest of your sons"?
'203 bias:'
mental bent, or inclination.
'208'
This line is based upon physiological theories which are now obsolete.
According to these wind or air supplied the lack of blood or of animal
spirits in imperfectly constituted bodies. To such bodies Pope compares
those ill-regulated minds where a deficiency of learning and natural
ability is supplied by self-conceit.
'216' The Pierian spring:
the spring of the Muses, who were called Pierides in Greek mythology. It
is used here as a symbol for learning, particularly for the study of
literature.
'222' the lengths behind:
the great spaces of learning that lie behind the first objects of our
study.
'225-232'
This fine simile is one of the best expressions in English verse of the
modesty of the true scholar, due to his realization of the boundless
extent of knowledge. It was such a feeling that led Sir Isaac Newton to
say after all his wonderful discoveries,
"I do not know what I may appear to the world, but to myself I seem to
have been only like a boy playing on the seashore and diverting myself
in now and then finding a smoother pebble or a prettier shell than
ordinary whilst the great ocean of truth lay all the time undiscovered
before me."
'244' peculiar parts:
individual parts.
'248 ev'n thine, O Rome:'
there are so many splendid churches in Rome that an inhabitant of this
city would be less inclined than a stranger to wonder at the perfect
proportions of any of them. But there are two, at least, the Pantheon
and St. Peter's, which might justly evoke the admiration even of a
Roman. It was probably of one of these that Pope was thinking.
'265'
What is the difference between "principles" and "notions" in this line?
'265 La Mancha's Knight:'
Don Quixote. The anecdote that follows is not taken from Cervantes'
novel, but from a continuation of it by an author calling himself
Avellanada. The story is that Don Quixote once fell in with a scholar
who had written a play about a persecuted queen of Bohemia. Her
innocence in the original story was established by a combat in the
lists, but this the poet proposed to omit as contrary to the rules of
Aristotle. The Don, although professing great respect for Aristotle,
insisted that the combat was the best part of the story and must be
acted, even if a special theater had to be built for the purpose, or the
play given in the open fields. Pope quotes this anecdote to show how
some critics in spite of their professed acceptance of general rules are
so prejudiced in favor of a minor point as to judge a whole work of art
from one standpoint only.
'270 Dennis:'
John Dennis, a playwright and critic of Pope's time. Pope and he were
engaged in frequent quarrels, but this first reference to him in Pope's
works is distinctly complimentary. The line probably refers to some
remarks by Dennis on the Grecian stage in his 'Impartial Critic', a
pamphlet published in 1693.
'273 nice:'
discriminating; in l. 286 the meaning is "over-scrupulous, finicky."
'276 unities:'
according to the laws of dramatic composition generally accepted in
Pope's day, a play must observe the unities of subject, place, and time.
That is, it must have one main theme, not a number of diverse stories,
for its plot; all the scenes must be laid in one place, or as nearly so
as possible; and the action must be begun and finished within the space
of twenty-four hours.
'286 Curious:'
fastidious, over-particular.
'288 by a love to parts:'
by too diligent attention to particular parts of a work of art, which
hinders them from forming a true judgment of the work as a whole.
'289 Conceit:'
an uncommon or fantastic expression of thought. "Conceits" had been much
sought after by the poets who wrote in the first half of the seventeenth
century.
'297 True Wit:'
here opposed to the "conceit" of which Pope has been speaking. It is
defined as a natural idea expressed in fit words.
'299 whose truth ... find:'
of whose truth we find ourselves at once convinced.
'308 take upon content:'
take for granted.
'311-317'
Show how Pope uses the simile of the "prismatic glass" to distinguish
between "false eloquence" and "true expression."
'319 decent:'
becoming.
'328 Fungoso:'
a character in Ben Jonson's 'Every Man out of his Humour'. He is the son
of a miserly farmer, and tries hard, though all in vain, to imitate the
dress and manners of a fine gentleman.
'329 These sparks:'
these would-be dandies.
'337 Numbers:'
rhythm, meter.
'341 haunt Parnassus:
read poetry.--ear:' note that in Pope's day this word rhymed with
"repair" and "there."
'344 These:'
critics who care for the meter only in poetry insist on the proper
number of syllables in a line, no matter what sort of sound or sense
results. For instance, they do not object to a series of "open vowels,"
'i.e.' hiatuses caused by the juxtaposition of such words as "tho" and
"oft," "the" and "ear." Line 345 is composed especially to show how
feeble a rhythm results from such a succession of "open vowels." They do
not object to bolstering up a line with "expletives," such as "do" in l.
346, nor to using ten "low words," 'i.e.' short, monosyllabic words to
make up a line.
'347'
With this line Pope passes unconsciously from speaking of bad critics to
denouncing some of the errors of bad poets, who keep on using hackneyed
phrases and worn-out metrical devices.
'356 Alexandrine:'
a line of six iambic feet, such as l. 357, written especially to
illustrate this form. Why does Pope use the adjective "needless" here?
'361 Denham's strength ... Waller's sweetness:'
Waller and Denham were poets of the century before Pope; they are almost
forgotten to-day, but were extravagantly admired in his time. Waller
began and Denham continued the fashion of writing in "closed" heroic
couplets, 'i.e.' in verses where the sense is for the most part
contained within one couplet and does not run over into the next as had
been the fashion in earlier verse. Dryden said that "the excellence and
dignity of rhyme were never fully known till Mr. Waller taught it," and
the same critic spoke of Denham's poetry as "majestic and correct."
'370 Ajax:'
one of the heroes of the 'Iliad'. He is represented more than once as
hurling huge stones at his enemies. Note that Pope has endeavored in
this and the following line to convey the sense of effort and struggle.
What means does he employ? Do you think he succeeds?
'372 Camilla:'
a heroine who appears in the latter part of the 'AEneid' fighting against
the Trojan invaders of Italy. Virgil says that she was so swift of foot
that she might have run over a field of wheat without breaking the
stalks, or across the sea without wetting her feet. Pope attempts in l.
373 to reproduce in the sound and movement of his verse the sense of
swift flight.
'374 Timotheus:'
a Greek poet and singer who was said to have played and sung before
Alexander the Great. The reference in this passage is to Dryden's famous
poem, 'Alexander's Feast'.
'376 the son of Libyan Jove:'
Alexander the Great, who boasted that he was the son of Jupiter. The
famous oracle of Jupiter Ammon situated in the Libyan desert was visited
by Alexander, who was said to have learned there the secret of his
parentage.
'383 Dryden:'
this fine compliment is paid to a poet whom Pope was proud to
acknowledge as his master. "I learned versification wholly from Dryden's
works," he once said. Pope's admiration for Dryden dated from early
youth, and while still a boy he induced a friend to take him to see the
old poet in his favorite coffee-house.
'391' admire:
not used in our modern sense, but in its original meaning, "to wonder
at." According to Pope, it is only fools who are lost in wonder at the
beauties of a poem; wise men "approve," 'i.e.' test and pronounce them
good.
'396-397'
Pope acknowledged that in these lines he was alluding to the
uncharitable belief of his fellow-Catholics that all outside the fold of
the Catholic church were sure to be damned.
'400 sublimes:'
purifies.
'404 each:'
each age.
'415 joins with Quality:'
takes sides with "the quality," 'i.e.' people of rank.
'429'
Are so clever that they refuse to accept the common and true belief, and
so forfeit their salvation.
'441 Sentences:'
the reference is to a mediaeval treatise on Theology, by Peter Lombard,
called the 'Book of Sentences'. It was long used as a university
text-book.
'444 Scotists and Thomists:'
mediaeval scholars, followers respectively of Duns Scotus and Thomas
Aquinas. A long dispute raged between their disciples. In this couplet
Pope points out that the dispute is now forgotten, and the books of the
old disputants lie covered with cobwebs in Duck-lane, a street in London
where second-hand books were sold in Pope's day. He calls the cobwebs
"kindred," because the arguments of Thomists and Scotists were as fine
spun as a spider's web.
'449'
"The latest fashionable folly is the test, or the proof, of a quick,
up-to-date wit." In other words, to be generally accepted an author must
accept the current fashion, foolish though it may be.
'457'
This was especially true in Pope's day when literature was so closely
connected with politics that an author's work was praised or blamed not
upon its merits, but according to his, and the critic's, politics.
'459 Parsons, Critics, Beaus':
Dryden, the head of English letters in the generation before Pope, had
been bitterly assailed on various charges by parsons, like Jeremy
Collier, critics like Milbourn, and fine gentlemen like the Duke of
Buckingham. But his works remained when the jests that were made against
them were forgotten.
'463'
Sir Richard Blackmore, a famous doctor in Dryden's day, was also a very
dull and voluminous writer. He attacked Dryden in a poem called 'A
Satire against Wit'. Luke Milbourn was a clergyman of the same period,
who abused Dryden's translation of Virgil.
'465 Zoilus':
a Greek critic who attacked Homer.
'481'
The English language and the public taste had changed very rapidly
during the century preceding Pope. He imagined that these changes would
continue so that no poet's reputation would last longer than a man's
life, "bare threescore," and Dryden's poetry would come to be as hard to
understand and as little read as Chaucer's at that time. It is worth
noting that both Dryden and Pope rewrote parts of Chaucer in modern
English.
'506-507'
Explain why "wit" is feared by wicked men and shunned by the virtuous,
hated by fools, and "undone" or ruined by knaves.
'521 sacred':
accursed, like the Latin 'sacer'.
'527 spleen':
bad temper.
'534 the fat age':
the reign of Charles II, as ll. 536-537 show, when literature became
notoriously licentious.
'538 Jilts ... statesmen':