No More Learning

'7-36'

Pope inserted these lines in a late revision in 1717, in order, as he
said, to open more clearly the moral of the poem. The speech of Clarissa
is a parody of a famous speech by Sarpedon in the 'Iliad', XII, 310-328.


'14'

At this time the gentlemen always sat in the side boxes of the theater;
the ladies in the front boxes.


'20'

As vaccination had not yet been introduced, small-pox was at this time a
terribly dreaded scourge.


'23'

In the 'Spectator', No. 23, there is inserted a mock advertisement,
professing to teach the whole art of ogling, the church ogle, the
playhouse ogle, a flying ogle fit for the ring, etc.


'24'

Painting the face was a common practice of the belles of this time. 'The
Spectator', No. 41, contains a bitter attack on the painted ladies whom
it calls the "Picts. "


'37 virago:'

a fierce, masculine woman, here used for Thalestris.


'45'

In the 'Iliad' (Bk. XX) the gods are represented as taking sides for the
Greeks and Trojans and fighting among themselves. Pallas opposes Ares,
or Mars; and Hermes, Latona.


'48 Olympus:'

the hill on whose summit the gods were supposed to dwell, often used for
heaven itself.


'50 Neptune:'

used here for the sea over which Neptune presided.
'53 a sconce's height:'

the top of an ornamental bracket for holding candles.


'61'

Explain the metaphor in this line.


'64'

The quotation is from a song in an opera called 'Camilla'.


'65'

The Maeander is a river in Asia Minor. Ovid ('Heroides', VII, 1-2)
represents the swan as singing his death-song on its banks.


'68'

Chloe: a fanciful name. No real person is meant.


'71'

The figure of Jove weighing the issue of a battle in his scales is found
in the 'Iliad', VIII, 69-73. Milton imitated it in 'Paradise Lost', IX,
996-1004. When the men's wits mounted it showed that they were lighter,
less important, than the lady's hair, and so were destined to lose the
battle.


'89-96'

This pedigree of Belinda's bodkin is a parody of Homer's account of
Agamemnon's scepter ('Iliad', II, 100-108).


'105-106'

In Shakespeare's play Othello fiercely demands to see a handkerchief
which he has given his wife, and takes her inability to show it to him
as a proof of her infidelity.


'113'

the lunar sphere: it was an old superstition that everything lost on
earth went to the moon. An Italian poet, Ariosto, uses this notion in a
poem with which Pope was familiar ('Orlando Furioso', Canto XXXIV), and
from which he borrowed some of his ideas for the cave of Spleen.


'122'

Why does Pope include "tomes of casuistry" in this collection?


'125'

There was a legend that Romulus never died, but had been caught up to
the skies in a storm.