The Rape of the Lock, and Other Poems
'69-76'
Pope now goes on to argue that on the basis of what has been proved we
ought not to regard man as an imperfect being, but rather as one who is
perfectly adapted to his place in the universe. His knowledge, for
example, is measured by the brief time he has to live and the brief
space he can survey.
'69 fault:'
pronounced in Pope's day as rhyming with "ought."
'73-76'
These lines are really out of place. They first appeared after l. 98;
then Pope struck them out altogether. Just before his death he put them
into their present place on the advice of Warburton, who probably
approved of them because of their reference to a future state of bliss.
It is plain that they interfere with the regular argument of the poem.
'79'
This line is grammatically dependent upon "hides," l. 77.
'81 riot:'
used here in the sense of "luxurious life." The lamb is slain to provide
for some feast.
'86 Heav'n:'
'i.e.' God. Hence the relative "who" in the next line.
'92-98'
Pope urges man to comfort himself with hope, seeing that he cannot know
the future.
'93 "What future bliss:"
the words "shall be" are to be understood after this phrase.
'96'
Point out the exact meaning of this familiar line.
'97 from home:'
away from its true home, the life to come. This line represents one of
the alterations which Warburton induced Pope to make. The poet first
wrote "confined at home," thus representing this life as the home of the
soul. His friend led him to make the change in order to express more
clearly his belief in the soul's immortality.
'89'
Show how "rests" and "expatiates" in this line contrast with "uneasy"
and "confined" in l. 97.
'99-112'
In this famous passage Pope shows how the belief in immortality is found
even among the most ignorant tribes. This is to Pope an argument that
the soul must be immortal, since only Nature, or God working through
Nature, could have implanted this conception in the Indian's mind.
'102 the solar walk:'
the sun's path in the heavens.
'the milky way:'
some old philosophers held that the souls of good men went thither after
death.
Pope means that the ignorant Indian had no conception of a heaven
reserved for the just such as Greek sages and Christian believers have.
All he believes in is "an humbler heaven," where he shall be free from
the evils of this life. Line 108 has special reference to the tortures
inflicted upon the natives of Mexico and Peru by the avaricious Spanish
conquerors.
'109-110'
He is contented with a future existence, without asking for the glories
of the Christian's heaven.
'111 equal sky:'
impartial heaven, for the heaven of the Indians was open to all men,
good or bad.
'113-130'
In this passage Pope blames those civilized men who, though they should
be wiser than the Indian, murmur against the decrees of God. The
imperative verbs "weigh," "call," "say," etc., are used satirically.
'113 scale of sense:'
the scale, or means of judgment, which our senses give us.
'117 gust:'
the pleasure of taste.
'120'
The murmurers are dissatisfied that man is not at once perfect in his
present state and destined to immortality, although such gifts have been
given to no other creature.
'123 reas'ning Pride:'
the pride of the intellect which assumes to condemn God's providence.
'131-172'
In this passage Pope imagines a dialogue between one of the proud
murmurers he has described and himself. His opponent insists that the
world was made primarily for man's enjoyment (ll. 132-140). Pope asks
whether nature does not seem to swerve from this end of promoting human
happiness in times of pestilence, earthquake, and tempest (ll. 141-144).
The other answers that these are only rare exceptions to the general
laws, due perhaps to some change in nature since the world began (ll.
145-148). Pope replies by asking why there should not be exceptions in
the moral as well as in the physical world; may not great villains be
compared to terrible catastrophes in nature (ll. 148-156)? He goes on to
say that no one but God can answer this question, that our human
reasoning springs from pride, and that the true course of reasoning is
simply to submit (ll. 156-164). He then suggests that "passions," by
which he means vices, are as necessary a part of the moral order as
storms of the physical world (ll. 165-172).
'142 livid deaths':
pestilence.
'143-144'
Pope was perhaps thinking of a terrible earthquake and flood that had
caused great loss of life in Chili the year before this poem appeared.
'150 Then Nature deviates':
Nature departs from her regular order on such occasions as these
catastrophes.
'151' that end:
human happiness, as in l. 149.
'156'
Caesar Borgia, the wicked son of Pope Alexander VI, and Catiline are
mentioned here as portents in the moral world parallel to plagues and
earthquakes in the physical.
'160 young Ammon':
Alexander the Great. See note on 'Essay on Criticism', l. 376.
'163'
Why do we accuse God for permitting wickedness when we do not blame Him
for permitting evil in the natural world?
'166 there':
in nature.
'here':
in man.
'173-206'
In this section Pope reproves those who are dissatisfied with man's
faculties. He points out that all animals, man included, have powers
suited to their position in the world (ll. 179-188), and asserts that if
man had keener senses than he now has, he would be exposed to evils from
which he now is free (ll. 193-203).
'176 To want':
to lack.
'177'
Paraphrase this line in prose.
'181 compensated':
accented on the antepenult.
'183 the state':
the place which the creature occupies in the natural world.
'195 finer optics':
keener power of sight.
'197 touch':
a noun, subject of "were given," understood from l. 195.
'199 quick effluvia':
pungent odors. The construction is very condensed here; "effluvia" may
be regarded like "touch" as a subject of "were given" (l. 195); but one
would expect rather a phrase to denote a keener sense of smell than man
now possesses.
'202 music of the spheres':
it was an old belief that the stars and planets uttered musical notes as
they moved along their courses. These notes made up the "harmony of the
spheres." Shakespeare ('Merchant of Venice', V, 64-5) says that our
senses are too dull to hear it. Pope, following a passage in Cicero's
'Somnium Scipionis', suggests that this music is too loud for human
senses.
'207-232'
Pope now goes on to show how in the animal world there is an exact
gradation of the faculties of sense and of the powers of instinct. Man
alone is endowed with reason which is more than equivalent to all these
powers and makes him lord over all animals.
'212'
The mole is almost blind; the lynx was supposed to be the most
keen-sighted of animals.
'213-214'
The lion was supposed by Pope to hunt by sight alone as the dog by
scent. What does he mean by "the tainted green"?
'215-216'
Fishes are almost deaf, while birds are very quick of hearing.
'219 nice:'
keenly discriminating.
'healing dew:'
healthful honey.
'221-222'
The power of instinct which is barely perceptible in the pig amounts
almost to the power of reason in the elephant.
'223 barrier:'
pronounced like the French 'barriere', as a word of two syllables with
the accent on the last.
'226 Sense ... Thought:'
sensation and reason.
'227 Middle natures:'
intermediate natures, which long to unite with those above or below
them. The exact sense is not very clear.
'233-258'
In this passage Pope insists that the chain of being stretches unbroken
from God through man to the lowest created forms. If any link in this
chain were broken, as would happen if men possessed higher faculties
than are now assigned them, the whole universe would be thrown into
confusion. This is another answer to those who complain of the
imperfections of man's nature.
'234 quick:'
living. Pope does not discriminate between organic and inorganic matter.
'240 glass:'
microscope.
'242-244'
Inferior beings might then press upon us. If they did not, a fatal gap
would be left by our ascent in the scale.
'247 each system:'
Pope imagines the universe to be composed of an infinite number of
systems like ours. Since each of these is essential to the orderly
arrangement of the universe, any disorder such as he has imagined would
have infinitely destructive consequences. These are described in ll.
251-257.
'267-280'
In these lines Pope speaks of God as the soul of the world in an
outburst of really exalted enthusiasm that is rare enough in his work.
'269 That:'
a relative pronoun referring to "soul," l. 268.
'270 th' ethereal frame:' the heavens.
'276 as perfect in a hair as heart:'
this has been called "a vile antithesis," on the ground that there is no
reason why hair and heart should be contrasted. But Pope may have had in
mind the saying of Christ. "the very hairs of your head are all
numbered." The hairs are spoken of here as the least important part of
the body; the heart, on the other hand, has always been thought of as
the most important organ. There is, therefore, a real antithesis between
the two.
'278 Seraph ... burns:'
the seraphim according to old commentators are on fire with the love of
God.
'280 equals all:'
makes all things equal. This does not seem consistent with the idea of
the gradations of existence which Pope has been preaching throughout
this Epistle. Possibly it means that all things high and low are filled
alike with the divine spirit and in this sense all things are equal. But
one must not expect to find exact and consistent philosophy in the
'Essay on Man'.
'281-294'
Here Pope sums up the argument of this Epistle, urging man to recognize
his ignorance, to be content with his seeming imperfections, and to
realize that "whatever is, is right."
'282 Our proper bliss:'
our happiness as men.
'283 point:'
appointed place in the universe.
'286 Secure:'
sure.
'289'
Hobbes, an English philosopher with whose work Pope was, no doubt,
acquainted, says, "Nature is the art whereby God governs the world."
* * * * *
AN EPISTLE TO DR ARBUTHNOT
INTRODUCTION
Next to 'The Rape of the Lock', I think, the 'Epistle to Arbuthnot' is
the most interesting and the most important of Pope's poems--the most
important since it shows the master poet of the age employing his
ripened powers in the field most suitable for their display, that of
personal satire, the most interesting, because, unlike his former
satiric poem the 'Dunciad', it is not mere invective, but gives us, as
no other poem of Pope's can be said to do, a portrait of the poet
himself.
Like most of Pope's poems, the 'Epistle to Arbuthnot' owes its existence
to an objective cause. This was the poet's wish to justify himself
against a series of savage attacks, which had recently been directed
against him. If Pope had expected by the publication of the 'Dunciad' to
crush the herd of scribblers who had been for years abusing him, he must
have been woefully disappointed. On the contrary, the roar of insult and
calumny rose louder than ever, and new voices were added to the chorus.
In the year 1733 two enemies entered the field against Pope such as he
had never yet had to encounter--enemies of high social position, of
acknowledged wit, and of a certain, though as the sequel proved quite
inadequate, talent for satire. These were Lady Mary Wortley Montague and
Lord John Hervey.