Lecture 6 Alexander Pope and the poetry of

Lecture #6 Alexander Pope and the poetry of English classicism

Historical Background – The Augustan Age - because they flattered themselves that with them English life and literature had reached a culminating period of civilization and elegance corresponding to that which existed at Rome under the Emperor Augustus. In reality the men of the early eighteenth century, like those of the Restoration, largely misunderstood the qualities of the classical spirit, and thinking to reproduce them attained only a superficial, pseudo-classical, imitation. The main characteristics of the period and its literature continue, with some further development, those of the Restoration, and may be summarily indicated as follows:

Main characteristics of Augustan literature Interest was largely centered in the practical well-being either of society as a whole or of one's own social class or set. conventional good breeding, fine manners, the pleasures of the leisure class were the only part of life much worth regarding. carried still further the distrust and dislike felt by the previous generation for emotion, enthusiasm, and strong individuality both in life and in literature, and exalted Reason and Regularity as their guiding stars. 'decency' and 'neatness' sought a conventional uniformity in manners, speech, and indeed in nearly everything else, and were uneasy if they deviated far from the approved, respectable standards of the body of their fellows.

Main characteristics of Augustan literature great poetic imagination, therefore, could scarcely exist among them, or indeed supreme greatness of any sort. had little appreciation for external Nature or for any beauty except that of formalized Art. in speech and especially in literature, most of all in poetry, they were given to abstractness of thought and expression, intended to secure elegance, but often serving largely to substitute superficiality for definiteness and significant meaning. they abounded in personifications of abstract qualities and ideas (Honor, Glory, Sorrow, and so on, with prominent capital letters), a sort of a pseudo-classical substitute for emotion.

Main characteristics of Augustan literature made absolute submission of judgment to the ancients, especially to the Latin poets and the Greek. Some authors seemed timidly to desire to be under authority and to glory in surrendering their independence, individuality, and originality to foreign and long-established leaders and principles. resulted largely in a more or less shallow formal smoothness. there was a strong tendency to moralizing, which also was not altogether free from conventionality and superficiality. Although the 'Augustan Age' must be considered to end before the middle of the century, the same spirit continued dominant among many writers until near its close, so that almost the whole of the century may be called the period of pseudoclassicism.

ALEXANDER POPE (1688 -1744)

ALEXANDER POPE (1688 -1744) English essayist, critic, satirist, and one of the greatest poets of Enlightenment. AN ESSAY ON CRITICISM (1711), appeared when he was twenty-three. It included the famous line "a little learning is a dangerous thing. " was born in London, the son of a Roman Catholic linen-merchant. Pope's father, the son of an Anglican vicar, had converted to Catholicism, which caused the family many problems. while still at school, Pope wrote a play based on speeches from the Iliad. He wrote his first verses at the age of 12. never grew beyond 1. 37 meters (4 feet, 6 inches) tall. In his time Pope was famous for his witty satires and aggressive, bitter quarrels with other writers. Pope died on May 30, 1744. With the growth of Romanticism Pope's poetry was increasingly seen as outdated and the "Age of Pope" ended. It was not until the 1930 s when serious attempt was made to rediscover the poet's work.

ALEXANDER POPE (1688 -1744) A man should never be ashamed to own he has been wrong, which is but saying, that he is wiser today than he was yesterday. Amusement is the happiness of those who cannot think. Fools admire, but men of sense approve. Man: the glory, jest, and riddle of the world. Our passions are like convulsion fits, which, though they make us stronger for a time, leave us the weaker ever after. Some people will never learn anything because they understand everything too soon. To err is human, to forgive divine. (An essay on Criticism) Blessed is he who expects nothing, for he shall never be disappointed. (Letter to Gay, October 6, 1727) A little learning is a dangerous thing; drink deep, or taste not the Pierian spring: there shallow draughts intoxicate the brain, and drinking largely sobers us again. (An essay on Criticism)

“The Rape of the Lock” (1717) “heroi-comical poem” ~ mock-epic / mock-heroic parodies the serious, elevated style of the classical epic poem–such as The Iliad or The Odyssey, by Homer–to poke fun at human follies. treats petty humans or insignificant occurrences as if they were extraordinary or heroic, like the great heroes and events of Homer's two great epics. Setting The action takes place in London in the early 1700's on a single day. The story begins at noon (Canto I) at the London residence of Belinda as she carefully prepares herself for a gala social gathering. The scene then shifts (Canto II) to a boat carrying Belinda up the Thames. The rest of the story (Cantos III-V) takes place where Belinda debarks– Hampton Court Palace, a former residence of King Henry VIII on the outskirts of London–except for a brief scene in Canto IV that takes place in the cave of the Queen of Spleen.

Source: A Real-Life Incident Pope based The Rape of the Lock on an actual incident in which a British nobleman, Lord Petre, cut off a lock of hair dangling from the head of the beautiful Arabella Fermor. Petre’s daring theft of the lock set off a battle royal between the Petre and Fermor families. John Caryll persuaded the great writer to pen a literary work satirizing the absurdity and silliness of the dispute. The result was one of the greatest satirical poems in all of literature. Theme The central theme of The Rape of the Lock is the fuss that high society makes over trifling matters, such as breaches of decorum. This is the moral of the story as told by Clarissa: But since, alas! frail Beauty must decay, Curl'd or uncurl'd, since Locks will turn to grey; Since painted, or not painted, all shall fade, And she who scorns a Man, must die a Maid, What then remains but well our Pow'r to use, And keep good Humour still whate'er we lose?

“The Rape of the Lock” (1717) This Nymph, to the Destruction of Mankind, Nourish'd two Locks which graceful hung behind In equal Curls, and well conspir'd to deck With shining Ringlets the smooth Iv'ry Neck. Then flash'd the living Lightnings from her Eyes, And Screams of Horror rend th' affrighted Skies. Not louder Shrieks to pitying Heav'n are cast, When Husbands, or when Lapdogs breathe their last, Or when rich China Vessels, fal'n from high, In glitt'ring Dust and painted Fragments lie!