No More Learning

'159 Great wits:'

poets of real genius.


'160 faults:'

here used in the sense of irregularities, exceptions to the rules of
poetry. When these are justified by the poet's genius, true critics do
not presume to correct them. In many editions this couplet comes after
l. 151. This was Pope's first arrangement, but he later shifted it to
its present position.


'162 As Kings:'

the Stuart kings claimed the right to "dispense with laws," that is, to
set them aside in special instances. In 1686 eleven out of twelve
English judges decided in a test case that "it is a privilege
inseparably connected with the sovereignty of the king to dispense with
penal laws, and that according to his own judgment. " The English people
very naturally felt that such a privilege opened the door to absolute
monarchy, and after the fall of James II, Parliament declared in 1689
that "the pretended power of suspending of laws . . . 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.