And finally the merit of the later work,
even more than of the earlier, is due to the force and brilliancy of
detached passages rather than to any coherent, consistent, and
well-balanced system which it presents.
even more than of the earlier, is due to the force and brilliancy of
detached passages rather than to any coherent, consistent, and
well-balanced system which it presents.
Alexander Pope
' the genius, of John Sheffield (1649-1720), Duke of Buckingham
(not to be confounded with Dryden's enemy). Line 724 is quoted from his
'Essay on Poetry'.
'725 Roscommon:'
Wentworth Dillon (1633-1684), Earl of Roscommon, author of a translation
of the 'Ars Poetica' and of 'An Essay on Translated Verse'.
'729 Walsh:'
a commonplace poet (1663-1708), but apparently a good critic. Dryden, in
fact, called him the best critic in the nation. He was an early friend
and judicious adviser of Pope himself, who showed him much of his early
work, including the first draft of this very poem. Pope was sincerely
attached to him, and this tribute to his dead friend is marked by deep
and genuine feeling.
'738 short excursions:'
such as this 'Essay on Criticism' instead of longer and more ambitious
poems which Pope planned and in part executed in his boyhood. There is
no reason to believe with Mr. Elwin that this passage proves that Pope
formed the design of the poem after the death of Walsh.
* * * * *
AN ESSAY ON MAN
INTRODUCTION
The 'Essay on Man' is the longest and in some ways the most important
work of the third period of Pope's career. It corresponds closely to his
early work, the 'Essay on Criticism'. Like the earlier work, the 'Essay
on Man' is a didactic poem, written primarily to diffuse and popularize
certain ideas of the poet. As in the earlier work these ideas are by no
means original with Pope, but were the common property of a school of
thinkers in his day. As in the 'Essay on Criticism', Pope here attempts
to show that these ideas have their origin in nature and are consistent
with the common sense of man.
And finally the merit of the later work,
even more than of the earlier, is due to the force and brilliancy of
detached passages rather than to any coherent, consistent, and
well-balanced system which it presents.
The close of the seventeenth century and beginning of the eighteenth was
marked by a change of ground in the sphere of religious controversy. The
old debates between the Catholic and Protestant churches gradually died
out as these two branches of Western Christianity settled down in quiet
possession of the territory they still occupy. In their place arose a
vigorous controversy on the first principles of religion in general, on
the nature of God, the origin of evil, the place of man in the universe,
and the respective merits of optimism and pessimism as philosophic
theories. The controversialists as a rule either rejected or neglected
the dogmas of revealed religion and based their arguments upon real or
supposed facts of history, physical nature, and the mental processes and
moral characteristics of man. In this controversy the two parties at
times were curiously mingled. Orthodox clergymen used arguments which
justified a strong suspicion of their orthodoxy; and avowed freethinkers
bitterly disclaimed the imputation of atheism and wrote in terms that
might be easily adopted by a devout believer.
Into this controversy Pope was led by his deepening intimacy with
Bolingbroke, who had returned from France in 1725 and settled at his
country place within a few miles of Twickenham. During his long exile
Bolingbroke had amused himself with the study of moral philosophy and
natural religion, and in his frequent intercourse with Pope he poured
out his new-found opinions with all the fluency, vigor, and polish which
made him so famous among the orators and talkers of the day.
Bolingbroke's views were for that time distinctly heterodox, and, if
logically developed, led to complete agnosticism. But he seems to have
avoided a complete statement of his ideas to Pope, possibly for fear of
shocking or frightening the sensitive little poet who still remained a
professed Catholic. Pope, however, was very far from being a strict
Catholic, and indeed prided himself on the breadth and liberality of his
opinions. He was, therefore, at once fascinated and stimulated by the
eloquent conversation of Bolingbroke, and resolved to write a
philosophical poem in which to embody the ideas they held in common.
Bolingbroke approved of the idea, and went so far as to furnish the poet
with seven or eight sheets of notes "to direct the plan in general and
to supply matter for particular epistles. " Lord Bathurst, who knew both
Pope and Bolingbroke, went so far as to say in later years that the
'Essay' was originally composed by Bolingbroke in prose and that Pope
only put it into verse. But this is undoubtedly an exaggeration of what
Pope himself frankly acknowledged, that the poem was composed under the
influence of Bolingbroke, that in the main it reflected his opinions,
and that Bolingbroke had assisted him in the general plan and in
numerous details.
(not to be confounded with Dryden's enemy). Line 724 is quoted from his
'Essay on Poetry'.
'725 Roscommon:'
Wentworth Dillon (1633-1684), Earl of Roscommon, author of a translation
of the 'Ars Poetica' and of 'An Essay on Translated Verse'.
'729 Walsh:'
a commonplace poet (1663-1708), but apparently a good critic. Dryden, in
fact, called him the best critic in the nation. He was an early friend
and judicious adviser of Pope himself, who showed him much of his early
work, including the first draft of this very poem. Pope was sincerely
attached to him, and this tribute to his dead friend is marked by deep
and genuine feeling.
'738 short excursions:'
such as this 'Essay on Criticism' instead of longer and more ambitious
poems which Pope planned and in part executed in his boyhood. There is
no reason to believe with Mr. Elwin that this passage proves that Pope
formed the design of the poem after the death of Walsh.
* * * * *
AN ESSAY ON MAN
INTRODUCTION
The 'Essay on Man' is the longest and in some ways the most important
work of the third period of Pope's career. It corresponds closely to his
early work, the 'Essay on Criticism'. Like the earlier work, the 'Essay
on Man' is a didactic poem, written primarily to diffuse and popularize
certain ideas of the poet. As in the earlier work these ideas are by no
means original with Pope, but were the common property of a school of
thinkers in his day. As in the 'Essay on Criticism', Pope here attempts
to show that these ideas have their origin in nature and are consistent
with the common sense of man.
And finally the merit of the later work,
even more than of the earlier, is due to the force and brilliancy of
detached passages rather than to any coherent, consistent, and
well-balanced system which it presents.
The close of the seventeenth century and beginning of the eighteenth was
marked by a change of ground in the sphere of religious controversy. The
old debates between the Catholic and Protestant churches gradually died
out as these two branches of Western Christianity settled down in quiet
possession of the territory they still occupy. In their place arose a
vigorous controversy on the first principles of religion in general, on
the nature of God, the origin of evil, the place of man in the universe,
and the respective merits of optimism and pessimism as philosophic
theories. The controversialists as a rule either rejected or neglected
the dogmas of revealed religion and based their arguments upon real or
supposed facts of history, physical nature, and the mental processes and
moral characteristics of man. In this controversy the two parties at
times were curiously mingled. Orthodox clergymen used arguments which
justified a strong suspicion of their orthodoxy; and avowed freethinkers
bitterly disclaimed the imputation of atheism and wrote in terms that
might be easily adopted by a devout believer.
Into this controversy Pope was led by his deepening intimacy with
Bolingbroke, who had returned from France in 1725 and settled at his
country place within a few miles of Twickenham. During his long exile
Bolingbroke had amused himself with the study of moral philosophy and
natural religion, and in his frequent intercourse with Pope he poured
out his new-found opinions with all the fluency, vigor, and polish which
made him so famous among the orators and talkers of the day.
Bolingbroke's views were for that time distinctly heterodox, and, if
logically developed, led to complete agnosticism. But he seems to have
avoided a complete statement of his ideas to Pope, possibly for fear of
shocking or frightening the sensitive little poet who still remained a
professed Catholic. Pope, however, was very far from being a strict
Catholic, and indeed prided himself on the breadth and liberality of his
opinions. He was, therefore, at once fascinated and stimulated by the
eloquent conversation of Bolingbroke, and resolved to write a
philosophical poem in which to embody the ideas they held in common.
Bolingbroke approved of the idea, and went so far as to furnish the poet
with seven or eight sheets of notes "to direct the plan in general and
to supply matter for particular epistles. " Lord Bathurst, who knew both
Pope and Bolingbroke, went so far as to say in later years that the
'Essay' was originally composed by Bolingbroke in prose and that Pope
only put it into verse. But this is undoubtedly an exaggeration of what
Pope himself frankly acknowledged, that the poem was composed under the
influence of Bolingbroke, that in the main it reflected his opinions,
and that Bolingbroke had assisted him in the general plan and in
numerous details.
