The Rape of the Lock, and Other Poems
Japhet Crooke, a notorious forger of the time. He died in prison in
1734, after having had his nose slit and ears cropped for his crimes;
see below, l. 365.
'363 Knight of the post':
a slang term for a professional witness ready to, swear to anything for
money. A knight of the shire, on the other hand, is the representative
of a county in the House of Commons.
'367 bit':
tricked, taken in, a piece of Queen Anne slang. The allusion is probably
to the way in which Lady Mary Wortley Montague allowed Pope to make love
to her and then laughed at him.
'369 friend to his distress':
in 1733, when old Dennis was in great poverty, a play was performed for
his benefit, for which Pope obligingly wrote a prologue.
'371'
Colley Gibber, actor and poet laureate. Pope speaks as if it were an act
of condescension for him to have drunk with Gibber.--'Moore': James
Moore Smythe (see note on l. 23), whom Pope used to meet at the house of
the Blounts. He wrote a comedy, 'The Rival Modes', in which he
introduced six lines that Pope had written. Pope apparently had given
him leave to do so, and then retracted his permission. But Moore used
them without the permission and an undignified quarrel arose as to the
true authorship of the passage.
'373 Welsted',
a hack writer of the day, had falsely charged Pope with being
responsible for the death of the lady who is celebrated in Pope's 'Elegy
to the Memory of an Unfortunate Lady'.
'374-375'
There is an allusion here that has never been fully explained. Possibly
the passage refers to Teresa Blount whom Pope suspected of having
circulated slanderous reports concerning his relations with her sister.
'376-377'
Suffered Budgell to attribute to his (Pope's) pen the slanderous gossip
of the 'Grub Street Journal',--a paper to which Pope did, as a matter of
fact, contribute--and let him (Budgell) write anything he pleased except
his (Pope's) will. Budgell, a distant cousin of Addison's, fell into bad
habits after his friend's death. He was strongly suspected of having
forged a will by which Dr. Tindal of Oxford left him a considerable sum
of money. He finally drowned himself in the Thames.
'378 the two Curlls':
Curll, the bookseller, and Lord Hervey whom Pope here couples with him
because of Hervey's vulgar abuse of Pope's personal deformities and
obscure parentage.
'380 Yet why':
Why should they abuse Pope's inoffensive parents? Compare the following
lines.
'383'
Moore's own mother was suspected of loose conduct.
'386-388 Of gentle blood ... each parent':
Pope asserted, perhaps incorrectly, that his father belonged to a
gentleman's family, the head of which was the Earl of Downe. His mother
was the daughter of a Yorkshire gentleman, who lost two sons in the
service of Charles I (cf. l. 386).
'389 Bestia':
probably the elder Horace Walpole, who was in receipt of a handsome
pension.
'391'
An allusion to Addison's unhappy marriage with the Countess of Warwick.
'393 The good man':
Pope's father, who as a devout Roman Catholic refused to take the oath
of allegiance (cf. l. 395), or risk the equivocations sanctioned by the
"schoolmen," 'i.e'. the Catholic casuists of the day (l. 398).
'404 Friend':
Arbuthnot, to whom the epistle is addressed.
'405-411'
The first draft of these appeared in a letter to Aaron Hill, September
3, 1731, where Pope speaks of having sent them "the other day to a
particular friend," perhaps the poet Thomson. Mrs. Pope, who was very
old and feeble, was of course alive when they were first written, but
died more than a year before the passage appeared in its revised form in
this 'Epistle'.
'412'
An allusion to the promise contained in the fifth commandment.
'415 served a Queen':
Arbuthnot had been Queen Anne's doctor, but was driven out of his rooms
in the palace after her death.
'416 that blessing':
long life for Arbuthnot. It was, in fact, denied, for he died a month or
so after the appearance of the 'Epistle'.
* * * * *
NOTES ON
ODE ON SOLITUDE
Pope says that this delightful little poem was written at the early age
of twelve. It first appeared in a letter to his friend, Henry Cromwell,
dated July 17, 1709. There are several variations between this first
form and that in which it was finally published, and it is probable that
Pope thought enough of his boyish production to subject it to repeated
revision. Its spirit is characteristic of a side of Pope's nature that
is often forgotten. He was, indeed, the poet of the society of his day,
urban, cultured, and pleasure-loving; but to the end of his days he
retained a love for the quiet charm of country life which he had come to
feel in his boyhood at Binfield, and for which he early withdrew from
the whirl and dissipations of London to the groves and the grotto of his
villa at Twickenham.
* * * * *
NOTES ON
THE DESCENT OF DULLNESS
In the fourth book of the 'Dunciad', Pope abandons the satire on the
pretenders to literary fame which had run through the earlier books, and
flies at higher game. He represents the Goddess Dullness as "coming in
her majesty to destroy Order and Science, and to substitute the Kingdom
of the Dull upon earth." He attacks the pedantry and formalism of
university education in his day, the dissipation and false taste of the
traveled gentry, the foolish pretensions to learning of collectors and
virtuosi, and the daringly irreverent speculations of freethinkers and
infidels. At the close of the book he represents the Goddess as
dismissing her worshipers with a speech which she concludes with "a yawn
of extraordinary virtue." Under its influence "all nature nods," and
pulpits, colleges, and Parliament succumb. The poem closes with the
magnificent description of the descent of Dullness and her final
conquest of art, philosophy, and religion. It is said that Pope himself
admired these lines so much that he could not repeat them without his
voice faltering with emotion. "And well it might, sir," said Dr. Johnson
when this anecdote was repeated to him, "for they are noble lines." And
Thackeray in his lecture on Pope in 'The English Humorists' says:
"In these astonishing lines Pope reaches, I think, to the very
greatest height which his sublime art has attained, and shows himself
the equal of all poets of all times. It is the brightest ardor, the
loftiest assertion of truth, the most generous wisdom, illustrated by
the noblest poetic figure, and spoken in words the aptest, grandest,
and most harmonious."
* * * * *
EPITAPH ON GAY
John Gay, the idlest, best-natured, and best-loved man of letters of his
day, was the special friend of Pope. His early work, 'The Shepherd's
Week', was planned as a parody on the 'Pastorals' of Pope's rival,
Ambrose Philips, and Pope assisted him in the composition of his
luckless farce, 'Three Hours after Marriage'. When Gay's opera 'Polly'
was forbidden by the licenser, and Gay's patrons, the Duke and Duchess
of Queensberry, were driven from court for soliciting subscriptions for
him, Pope warmly espoused his cause. Gay died in 1732 and was buried in
Westminster Abbey. Pope's epitaph for his tomb was first published in
the quarto edition of Pope's works in 1735--Johnson, in his discussion
of Pope's epitaphs ('Lives of the Poets'), devotes a couple of pages of
somewhat captious criticism to these lines; but they have at least the
virtue of simplicity and sincerity, and are at once an admirable
portrait of the man and a lasting tribute to the poet Gay.
* * * * *
APPENDIX
THE RAPE OF THE LOCK
Nolueram, Belinda, tuos violare capillos
Sed juvat, hoc precibus me tribuisse tuis.
MART.
FIRST EDITION
CANTO I
What dire offence from am'rous causes springs,
What mighty quarrels rise from trivial things,
I sing--This verse to C--l, Muse! is due:
This, ev'n Belinda may vouchsafe to view:
Slight is the subject, but not so the praise, 5
If she inspire, and he approve my lays.
Say what strange motive, goddess! could compel
A well-bred lord t' assault a gentle belle?
O say what stranger cause, yet unexplored,
Could make a gentle belle reject a lord? 10
And dwells such rage in softest bosoms then,
And lodge such daring souls in little men?
Sol through white curtains did his beams display,
And ope'd those eyes which brighter shine than they,
Shock just had giv'n himself the rousing shake, 15
And nymphs prepared their chocolate to take;
Thrice the wrought slipper knocked against the ground,
And striking watches the tenth hour resound.
Belinda rose, and midst attending dames,
Launched on the bosom of the silver Thames: 20
A train of well-dressed youths around her shone,
And ev'ry eye was fixed on her alone:
On her white breast a sparkling cross she wore
Which Jews might kiss and infidels adore.
Her lively looks a sprightly mind disclose, 25
Quick as her eyes, and as unfixed as those:
Favours to none, to all she smiles extends;
Oft she rejects, but never once offends.
Bright as the sun, her eyes the gazers strike,
And, like the sun, they shine on all alike. 30
Yet graceful ease, and sweetness void of pride,
Might hide her faults, if belles had faults to hide:
If to her share some female errors fall,
Look on her face, and you'll forgive 'em all.
This nymph, to the destruction of mankind, 35
Nourished two locks, which graceful hung behind
In equal curls, and well conspired to deck
With shining ringlets her smooth iv'ry neck.
Love in these labyrinths his slaves detains,
And mighty hearts are held in slender chains. 40
With hairy springes we the birds betray,
Slight lines of hair surprise the finny prey,
Fair tresses man's imperial race insnare,
And beauty draws us with a single hair.
Th' adventurous baron the bright locks admired; 45
He saw, he wished, and to the prize aspired.
Resolved to win, he meditates the way,
By force to ravish, or by fraud betray;
For when success a lover's toil attends,
Few ask if fraud or force attained his ends. 50
For this, ere Phoebus rose, he had implored
Propitious heav'n, and every pow'r adored,
But chiefly Love--to Love an altar built,
Of twelve vast French romances, neatly gilt.
There lay the sword-knot Sylvia's hands had sewn 55
With Flavia's busk that oft had wrapped his own:
A fan, a garter, half a pair of gloves,
And all the trophies of his former loves.
With tender billets-doux he lights the pire,
And breathes three am'rous sighs to raise the fire. 60
Then prostrate falls, and begs with ardent eyes
Soon to obtain, and long possess the prize:
The pow'rs gave ear, and granted half his pray'r,
The rest the winds dispersed in empty air.
Close by those meads, for ever crowned with flow'rs, 65
Where Thames with pride surveys his rising tow'rs,
There stands a structure of majestic frame,
Which from the neighb'ring Hampton takes its name.
Here Britain's statesmen oft the fall foredoom
Of foreign tyrants, and of nymphs at home; 70
Here thou, great Anna! whom three realms obey,
Dost sometimes counsel take--and sometimes tea.
Hither our nymphs and heroes did resort,
To taste awhile the pleasures of a court;