Decay of Piety; Decay [Allestree, Richard]? But he can hardly have thought that ‘Sir Robert’ [Walpole] would approve of anything he was about to write, or that the King would read it, and the close of the poem seems close to ironising the lawyer friend – as if in invoking Sir Robert, however ironically, the lawyer’s canny carefulness simply evaporates. Oppress'd we feel the beam directly beat. And own, the Spaniard did a waggish thing, Lord Hervey, whom Pope attacks as Sporus. Apparently Lady Mary Pope renounces this dramatic ground (as Horace had), but claims its emotional force. Or choose at least some minister of grace. i, 1–2). I pluck out year by year, as hair by hair. ], [Richardson, Samuel] Clarissa; Pamela; Richardson’s Pamela. For that, it was important not to leave the public be the judge in order to make sure the distance between the new and the old, veteros and novos (Horace, lines 37-38), was respected and here the social context starts to shape. Kneller: Sir Godfrey Kneller (1646-1723), German-born portrait painter who settled in England in 1675. Show'd us that France had something to admire. Nor think thy Weakness shall be thy Defence; [60] What's long or short, each accent where to place. To Thee ’tis Provocation to exist. You strike unwounding, we unhurt can laugh. birthday suit: one of the magnificent suits worn at royal birthday celebrations. Smooth'd ev'ry brow, and open'd ev'ry soul: With growing years the pleasing licence grew. P. So proud, I am no Slave: These, only these, support the crowded stage. Pope points out (with a customary barb) that his satire is not all negative: ‘Godknows, I praise a Courtier where I can’ (Epil. And certain Laws, by Suff’rers thought unjust, Van: Sir John Vanbrugh (1664-1726), comic dramatist and architect. "[Pope] Munus Apolline dignum. This political complaint then is strictly connected with and leads the way to the real Epistle’s social concern. In these we return to the dialogue form of the first Imitation, and there is a similar progression from low-key, comic man oeuvring to high-powered satiric denunciation. ii, 205–9). That Spirit, he pretends to imitate, distinguished parents. 2. 5. Secondly, the choice of Horace must be explained: not only he was on the defensive of writing satire, as Pope was towards his literary environment, but also gave him the chance to rise questions and social problems besides giving judgments of contemporary literature and taste. In Imitation of Horace. These issues found their place in the mock-epic poem The first Epistle of the Second Book of Horace Imitated (May 1737), which also best underlines Pope’s contempt for George II, making of it a parodic effective thread over the poem. Of Shakespeare's nature, and of Cowley's wit; How Beaumont's judgment check'd what Fletcher writ; But, for the passions, Southerne sure and Rowe. Can make me feel each passion that he feigns; Enrage, compose, with more than magic art. Where money is all, morality is irrelevant: ‘But fill their purse, our Poet’s work is done,/Alike to them, by Pathos or by Pun’ (Ep. Pinky: William Penkethman, a comic actor, notorious for having, in a performance of Cibber's. My Lords the Judges laugh, and you’re dismiss’d. The game of the parallel ironic and glorific tone plays constantly throughout the poem: such a ‘Wonder of Kings! One knighted Blackmore, and one pension'd Quarles; Oh! At court, who hates whate'er he read at school. Invention strives to be before in vain; You’ll give me, like a Friend both sage and free, In Pope's time, before the discovery of an earlier example, it was believed to the earliest. A single verse, we quarrel with a friend; Repeat unask'd; lament, the wit's too fine. And promise our best friends to rhyme no more; And call for pen and ink to show our wit. Who can believe, who view the bad, the good, With an engagingly comic imitation of a lawyer’s fussy exactitude, Pope has his lawyer show him the statute book and remind him of the law which might be cited against his own independent satiric ‘law’ (145–8). 2.i, 71–2), lines replete with the kind of ready irony Pope was already famous for: while thieves and sharpers (cheats) are sitting targets,proscribed by law, supercargoes are officers who embezzle the cargo in their trust and the supposedly neutral word ‘Directors’ conjures in actuality the whole litany of abuse against the South Sea Directors of 1720 [25] and the ensuing sense that to be that high up the professional tree was to be automatically corrupt. But still I love the language of his heart. He serv'd a 'prenticeship who sets up shop; Nor dare to practise till they've learn'd to dance. ‘If Time improve our Wit as well as Wine, | Say at what age a Poet grows divine?’ (Pope, lines 49-50). For vulgar eyes, and point out ev'ry line. The poem is so constantly balanced on the coexistence of political and social context. Imitations of Horace By Alexander Pope About this Poet The acknowledged master of the heroic couplet and one of the primary tastemakers of the Augustan age, British writer Alexander Pope was a central figure in the Neoclassical movement of the early 18th century. In this sort of literary scene, poets such as Horace, Ovid, Virgil and Livy found their mastery being appreciated, highlighted and celebrated. Bentley was generally ridiculed for his heavily amended edition of, Sprat: Thomas Sprat (1635-1713), writer and divine, who became Bishop of Rochester in 1684. why writers little claim your thought. Merlin's cave: "[Pope] A Building in the Royal Gardens of Richmond, where is a small, but choice Collection of Books." ill-humour” (Johnson). A little Insect shiv’ring at a Breeze? The series of poems published in the Horatian mode between 1733 and 1738 presents a great range of voice (there are lyrics, as well as epistles and satires), giving Pope the opportunity to try out in extended form the many tonal variants he had deployed in To Arbuthnot: domestic, filial, fraternal; witty, ironic, self-mocking; bitter, angry, cold. An hour, and not defraud the Publick Weal (Ep. 837-838. But times corrupt, and nature, ill-inclin'd. To make those tremble who escape the Law? ’Twill make thy Readers few, as are thy Friends: 8. Is this the Ridicule to live so long, [85] The self-deprecation is no longer ironic, but actually a guarantee of honesty: foes and friends are linked by the equations of alliteration in a‘glass’ which makes no distorting distinctions because it does not spare the‘self’ which writes. Imitations Of Horace: The First Epistle Of The Second Book poem by Alexander Pope. Thy Bow is doubly bent to force a Dart. In the final lines he delineates a self-portrait, adjusting and immerging himself among the Georgian England, society for whom he felt the need to ‘call for Pen and Ink’[4]. Pope was very short Flight of cashiers: refers to the flight of the cashiers of the South Sea Company to France, after being found guilty of a breach of trust.
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