200 is a noble outburst of
enthusiasm
for the poets
whom Pope had read so eagerly in early youth.
whom Pope had read so eagerly in early youth.
Alexander Pope
.
without the consent
of Parliament, is illegal. "
'164 its End:'
the purpose of every law of poetry, namely, to please the reader. This
purpose must not be "transgressed," 'i. e. ' forgotten by those who wish
to make exceptions to these laws.
'166 their precedent:'
the example of classic poets.
'179 stratagems . . . error:'
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.
of Parliament, is illegal. "
'164 its End:'
the purpose of every law of poetry, namely, to please the reader. This
purpose must not be "transgressed," 'i. e. ' forgotten by those who wish
to make exceptions to these laws.
'166 their precedent:'
the example of classic poets.
'179 stratagems . . . error:'
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.
