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.
crush the herd of scribblers who had been for years abusing him, he must
have been woefully disappointed.
Alexander Pope
.
.
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.
Lady Mary had been for years acknowledged as one of the wittiest, most
learned, and most beautiful women of her day. Pope seems to have met her
in 1715 and at once joined the train of her admirers. When she
accompanied her husband on his embassy to Constantinople in the
following year, the poet entered into a long correspondence with her,
protesting in the most elaborate fashion his undying devotion. On her
return he induced her to settle with her husband at Twickenham. Here he
continued his attentions, half real, half in the affected gallantry of
the day, until, to quote the lady's own words to her daughter many years
after, "at some ill-chosen time when she least expected what romancers
call a declaration, he made such passionate love to her, as, in spite of
her utmost endeavours to be angry and look grave, provoked an immoderate
fit of laughter," and, she added, from that moment Pope became her
implacable enemy. Certainly by the time Pope began to write the
'Dunciad' he was so far estranged from his old friend that he permitted
himself in that poem a scoffing allusion to a scandal in which she had
recently become involved. The lady answered, or the poet thought that
she did, with an anonymous pamphlet, 'A Pop upon Pope', describing a
castigation, wholly imaginary, said to have been inflicted upon the poet
as a proper reward for his satire. After this, of course, all hope of a
reconciliation was at an end, and in his satires and epistles Pope
repeatedly introduced Lady Mary under various titles in the most
offensive fashion. In his first 'Imitation of Horace', published in
February, 1733, he referred in the most unpardonable manner to a certain
Sappho, and the dangers attendant upon any acquaintance with her. Lady
Mary was foolish enough to apply the lines to herself and to send a
common friend to remonstrate with Pope. He coolly replied that he was
surprised that Lady Mary should feel hurt, since the lines could only
apply to certain women, naming four notorious scribblers, whose lives
were as immoral as their works. Such an answer was by no means
calculated to turn away the lady's wrath, and for an ally in the
campaign of anonymous abuse that she now planned she sought out her
friend Lord Hervey.
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.
Lady Mary had been for years acknowledged as one of the wittiest, most
learned, and most beautiful women of her day. Pope seems to have met her
in 1715 and at once joined the train of her admirers. When she
accompanied her husband on his embassy to Constantinople in the
following year, the poet entered into a long correspondence with her,
protesting in the most elaborate fashion his undying devotion. On her
return he induced her to settle with her husband at Twickenham. Here he
continued his attentions, half real, half in the affected gallantry of
the day, until, to quote the lady's own words to her daughter many years
after, "at some ill-chosen time when she least expected what romancers
call a declaration, he made such passionate love to her, as, in spite of
her utmost endeavours to be angry and look grave, provoked an immoderate
fit of laughter," and, she added, from that moment Pope became her
implacable enemy. Certainly by the time Pope began to write the
'Dunciad' he was so far estranged from his old friend that he permitted
himself in that poem a scoffing allusion to a scandal in which she had
recently become involved. The lady answered, or the poet thought that
she did, with an anonymous pamphlet, 'A Pop upon Pope', describing a
castigation, wholly imaginary, said to have been inflicted upon the poet
as a proper reward for his satire. After this, of course, all hope of a
reconciliation was at an end, and in his satires and epistles Pope
repeatedly introduced Lady Mary under various titles in the most
offensive fashion. In his first 'Imitation of Horace', published in
February, 1733, he referred in the most unpardonable manner to a certain
Sappho, and the dangers attendant upon any acquaintance with her. Lady
Mary was foolish enough to apply the lines to herself and to send a
common friend to remonstrate with Pope. He coolly replied that he was
surprised that Lady Mary should feel hurt, since the lines could only
apply to certain women, naming four notorious scribblers, whose lives
were as immoral as their works. Such an answer was by no means
calculated to turn away the lady's wrath, and for an ally in the
campaign of anonymous abuse that she now planned she sought out her
friend Lord Hervey.
