diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 7409-h.zip | bin | 0 -> 33913 bytes | |||
| -rw-r--r-- | 7409-h/7409-h.htm | 2135 | ||||
| -rw-r--r-- | 7409.txt | 1661 | ||||
| -rw-r--r-- | 7409.zip | bin | 0 -> 31292 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/esycr10.txt | 1626 | ||||
| -rw-r--r-- | old/esycr10.zip | bin | 0 -> 30854 bytes | |||
| -rw-r--r-- | old/esycr10h.htm | 2098 | ||||
| -rw-r--r-- | old/esycr10h.zip | bin | 0 -> 33551 bytes |
11 files changed, 7536 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/7409-h.zip b/7409-h.zip Binary files differnew file mode 100644 index 0000000..3488a3d --- /dev/null +++ b/7409-h.zip diff --git a/7409-h/7409-h.htm b/7409-h/7409-h.htm new file mode 100644 index 0000000..12bf23b --- /dev/null +++ b/7409-h/7409-h.htm @@ -0,0 +1,2135 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> + <head> + <meta http-equiv="Content-Type" content= + "text/html; charset=us-ascii"> + <title> + The Project Gutenberg eBook of An Essay on Criticism, by Alexander Pope. + </title> + <style type="text/css"> + <!-- + * { font-family: Times;} + P { text-indent: 1em; + margin-top: .75em; + font-size: 14pt; + text-align: justify; + margin-bottom: .75em; } + H1,H2,H3,H4,H5,H6 { text-align: center; } + HR { width: 33%; } + // --> + </style> + </head> + <body> + + +<pre> + +The Project Gutenberg EBook of An Essay on Criticism, by Alexander Pope + +This eBook is for the use of anyone anywhere in the United States and most +other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms of +the Project Gutenberg License included with this eBook or online at +www.gutenberg.org. If you are not located in the United States, you'll have +to check the laws of the country where you are located before using this ebook. + +Title: An Essay on Criticism + +Author: Alexander Pope + +Posting Date: February 8, 2015 [EBook #7409] +Release Date: February, 2005 +First Posted: April 25, 2003 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK AN ESSAY ON CRITICISM *** + + + + +Produced by Ted Garvin, David Garcia and the Online +Distributed Proofreading Team. + + + + + + +</pre> + + + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h1> + AN ESSAY ON CRITICISM. + </h1> + <center> + <b> <br> + BY<br> + <br> + ALEXANDER POPE, <br> + <br> + <i>WITH INTRODUCTORY AND EXPLANATORY NOTES</i>.</b> + </center> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + ALEXANDER POPE. + </h2> + <hr> + <p> + This eminent English poet was born in London, May 21, 1688. + His parents were Roman Catholics, and to this faith the poet + adhered, thus debarring himself from public office and + employment. His father, a linen merchant, having saved a + moderate competency, withdrew from business, and settled on a + small estate he had purchased in Windsor Forest. He died at + Chiswick, in 1717. His son shortly afterwards took a long + lease of a house and five acres of land at Twickenham, on the + banks of the Thames, whither he retired with his widowed + mother, to whom he was tenderly attached and where he resided + till death, cultivating his little domain with exquisite + taste and skill, and embellishing it with a grotto, temple, + wilderness, and other adjuncts poetical and picturesque. In + this famous villa Pope was visited by the most celebrated + wits, statesmen and beauties of the day, himself being the + most popular and successful poet of his age. His early years + were spent at Binfield, within the range of the Royal Forest. + He received some education at little Catholic schools, but + was his own instructor after his twelfth year. He never was a + profound or accurate scholar, but he read Latin poets with + ease and delight, and acquired some Greek, French, and + Italian. He was a poet almost from infancy, he "lisped in + numbers," and when a mere youth surpassed all his + contemporaries in metrical harmony and correctness. His + pastorals and some translations appeared in 1709, but were + written three or four years earlier. These were followed by + the <i>Essay on Criticism</i>, 1711; <i>Rape of the Lock</i> + (when completed, the most graceful, airy, and imaginative of + his works), 1712-1714; <i>Windsor Forest</i>, 1713; <i>Temple + of Fame</i>, 1715. In a collection of his works printed in + 1717 he included the <i>Epistle of Eloisa</i> and <i>Elegy on + an Unfortunate Lady</i>, two poems inimitable for pathetic + beauty and finished melodious versification. + </p> + <p> + From 1715 till 1726 Pope was chiefly engaged on his + translations of the <i>Iliad</i> and <i>Odyssey</i>, which, + though wanting in time Homeric simplicity, naturalness, and + grandeur, are splendid poems. In 1728-29 he published his + greatest satire—the <i>Dunciad</i>, an attack on all + poetasters and pretended wits, and on all other persons + against whom the sensitive poet had conceived any enmity. In + 1737 he gave to the world a volume of his <i>Literary + Correspondence</i>, containing some pleasant gossip and + observations, with choice passages of description but it + appears that the correspondence was manufactured for + publication not composed of actual letters addressed to the + parties whose names are given, and the collection was + introduced to the public by means of an elaborate stratagem + on the part of the scheming poet. Between the years 1731 and + 1739 he issued a series of poetical essays moral and + philosophical, with satires and imitations of Horace, all + admirable for sense, wit, spirit and brilliancy of these + delightful productions, the most celebrated is the <i>Essay + on Man</i> to which Bolingbroke is believed to have + contributed the spurious philosophy and false sentiment, but + its merit consists in detached passages, descriptions, and + pictures. A fourth book to the <i>Dunciad</i>, containing + many beautiful and striking lines and a general revision of + his works, closed the poet's literary cares and toils. He + died on the 30th of May, 1744, and was buried in the church + at Twickenham. + </p> + <p> + Pope was of very diminutive stature and deformed from his + birth. His physical infirmity, susceptible temperament, and + incessant study rendered his life one long disease. He was, + as his friend Lord Chesterfield said, "the most irritable of + all the <i>genus irritabile vatum</i>, offended with trifles + and never forgetting or forgiving them." His literary + stratagems, disguises, assertions, denials, and (we must add) + misrepresentations would fill volumes. Yet when no disturbing + jealousy vanity, or rivalry intervened was generous and + affectionate, and he had a manly, independent spirit. As a + poet he was deficient in originality and creative power, and + thus was inferior to his prototype, Dryden, but as a literary + artist, and brilliant declaimer satirist and moralizer in + verse he is still unrivaled. He is the English Horace, and + will as surely descend with honors to the latest posterity. + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + AN ESSAY ON CRITICISM, + </h2> + <h3> + WRITTEN IN THE YEAR 1709 + </h3> + <p> + [The title, <i>An Essay on Criticism</i> hardly indicates all + that is included in the poem. It would have been impossible + to give a full and exact idea of the art of poetical + criticism without entering into the consideration of the art + of poetry. Accordingly Pope has interwoven the precepts of + both throughout the poem which might more properly have been + styled an essay on the Art of Criticism and of Poetry.] + </p> + <hr> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + PART I. + </h2> + <p> + 'Tis hard to say if greater want of skill<br> + Appear in writing or in judging ill,<br> + But of the two less dangerous is the offense<br> + To tire our patience than mislead our sense<br> + Some few in that but numbers err in this,<br> + Ten censure wrong for one who writes amiss,<br> + A fool might once himself alone expose,<br> + Now one in verse makes many more in prose. + </p> + <p> + 'Tis with our judgments as our watches, none<br> + Go just alike, yet each believes his own<br> + In poets as true genius is but rare<br> + True taste as seldom is the critic share<br> + Both must alike from Heaven derive their light,<br> + These born to judge as well as those to write<br> + Let such teach others who themselves excel,<br> + And censure freely, who have written well<br> + Authors are partial to their wit, 'tis true [<a href= + "#17">17</a>]<br> + But are not critics to their judgment too? + </p> + <p> + Yet if we look more closely we shall find<br> + Most have the seeds of judgment in their mind<br> + Nature affords at least a glimmering light<br> + The lines though touched but faintly are drawn right,<br> + But as the slightest sketch if justly traced<br> + Is by ill coloring but the more disgraced<br> + So by false learning is good sense defaced<br> + Some are bewildered in the maze of schools [<a href= + "#26">26</a>]<br> + And some made coxcombs nature meant but fools<br> + In search of wit these lose their common sense<br> + And then turn critics in their own defense<br> + Each burns alike who can or cannot write<br> + Or with a rival's or an eunuch's spite<br> + All fools have still an itching to deride<br> + And fain would be upon the laughing side<br> + If Maevius scribble in Apollo's spite [<a href= + "#34">34</a>]<br> + There are who judge still worse than he can write. + </p> + <p> + Some have at first for wits then poets passed<br> + Turned critics next and proved plain fools at last<br> + Some neither can for wits nor critics pass<br> + As heavy mules are neither horse nor ass.<br> + Those half-learned witlings, numerous in our isle,<br> + As half-formed insects on the banks of Nile<br> + Unfinished things one knows not what to call<br> + Their generation is so equivocal<br> + To tell them would a hundred tongues require,<br> + Or one vain wits that might a hundred tire. + </p> + <p> + But you who seek to give and merit fame,<br> + And justly bear a critic's noble name,<br> + Be sure yourself and your own reach to know<br> + How far your genius taste and learning go.<br> + Launch not beyond your depth, but be discreet<br> + And mark that point where sense and dullness meet. + </p> + <p> + Nature to all things fixed the limits fit<br> + And wisely curbed proud man's pretending wit.<br> + As on the land while here the ocean gains.<br> + In other parts it leaves wide sandy plains<br> + Thus in the soul while memory prevails,<br> + The solid power of understanding fails<br> + Where beams of warm imagination play,<br> + The memory's soft figures melt away<br> + One science only will one genius fit,<br> + So vast is art, so narrow human wit<br> + Not only bounded to peculiar arts,<br> + But oft in those confined to single parts<br> + Like kings, we lose the conquests gained before,<br> + By vain ambition still to make them more<br> + Each might his several province well command,<br> + Would all but stoop to what they understand. + </p> + <p> + First follow nature and your judgment frame<br> + By her just standard, which is still the same.<br> + Unerring nature still divinely bright,<br> + One clear, unchanged and universal light,<br> + Life force and beauty, must to all impart,<br> + At once the source and end and test of art<br> + Art from that fund each just supply provides,<br> + Works without show and without pomp presides<br> + In some fair body thus the informing soul<br> + With spirits feeds, with vigor fills the whole,<br> + Each motion guides and every nerve sustains,<br> + Itself unseen, but in the effects remains.<br> + Some, to whom Heaven in wit has been profuse, [<a href= + "#80">80</a>]<br> + Want as much more, to turn it to its use;<br> + For wit and judgment often are at strife,<br> + Though meant each other's aid, like man and wife.<br> + 'Tis more to guide, than spur the muse's steed,<br> + Restrain his fury, than provoke his speed,<br> + The winged courser, like a generous horse, [<a href= + "#86">86</a>]<br> + Shows most true mettle when you check his course. + </p> + <p> + Those rules, of old discovered, not devised,<br> + Are nature still, but nature methodized;<br> + Nature, like liberty, is but restrained<br> + By the same laws which first herself ordained. + </p> + <p> + Hear how learned Greece her useful rules indites,<br> + When to repress and when indulge our flights.<br> + High on Parnassus' top her sons she showed, [<a href= + "#94">94</a>]<br> + And pointed out those arduous paths they trod;<br> + Held from afar, aloft, the immortal prize,<br> + And urged the rest by equal steps to rise. [<a href= + "#97">97</a>]<br> + Just precepts thus from great examples given,<br> + She drew from them what they derived from Heaven.<br> + The generous critic fanned the poet's fire,<br> + And taught the world with reason to admire.<br> + Then criticism the muse's handmaid proved,<br> + To dress her charms, and make her more beloved:<br> + But following wits from that intention strayed<br> + Who could not win the mistress, wooed the maid<br> + Against the poets their own arms they turned<br> + Sure to hate most the men from whom they learned<br> + So modern pothecaries taught the art<br> + By doctors bills to play the doctor's part.<br> + Bold in the practice of mistaken rules<br> + Prescribe, apply, and call their masters fools.<br> + Some on the leaves of ancient authors prey,<br> + Nor time nor moths e'er spoil so much as they.<br> + Some dryly plain, without invention's aid,<br> + Write dull receipts how poems may be made<br> + These leave the sense their learning to display,<br> + And those explain the meaning quite away. + </p> + <p> + You then, whose judgment the right course would steer,<br> + Know well each ancient's proper character,<br> + His fable subject scope in every page,<br> + Religion, country, genius of his age<br> + Without all these at once before your eyes,<br> + Cavil you may, but never criticise.<br> + Be Homers works your study and delight,<br> + Read them by day and meditate by night,<br> + Thence form your judgment thence your maxims bring<br> + And trace the muses upward to their spring.<br> + Still with itself compared, his text peruse,<br> + And let your comment be the Mantuan Muse. [<a href= + "#129">129</a>] + </p> + <p> + When first young Maro in his boundless mind, + [<a href="#130">130</a>]<br> + A work to outlast immortal Rome designed,<br> + Perhaps he seemed above the critic's law<br> + And but from nature's fountain scorned to draw<br> + But when to examine every part he came<br> + Nature and Homer were he found the same<br> + Convinced, amazed, he checks the bold design<br> + And rules as strict his labored work confine<br> + As if the Stagirite o'erlooked each line [<a href= + "#138">138</a>]<br> + Learn hence for ancient rules a just esteem,<br> + To copy nature is to copy them. + </p> + <p> + Some beauties yet no precepts can declare,<br> + For there's a happiness as well as care.<br> + Music resembles poetry—in each<br> + Are nameless graces which no methods teach,<br> + And which a master hand alone can reach<br> + If, where the rules not far enough extend<br> + (Since rules were made but to promote their end),<br> + Some lucky license answer to the full<br> + The intent proposed that license is a rule.<br> + Thus Pegasus a nearer way to take<br> + May boldly deviate from the common track<br> + Great wits sometimes may gloriously offend,<br> + And rise to faults true critics dare not mend,<br> + From vulgar bounds with brave disorder part,<br> + And snatch a grace beyond the reach of art,<br> + Which without passing through the judgment gains<br> + The heart and all its end at once attains.<br> + In prospects, thus, some objects please our eyes,<br> + Which out of nature's common order rise,<br> + The shapeless rock or hanging precipice.<br> + But though the ancients thus their rules invade<br> + (As kings dispense with laws themselves have made),<br> + Moderns beware! or if you must offend<br> + Against the precept, ne'er transgress its end,<br> + Let it be seldom, and compelled by need,<br> + And have, at least, their precedent to plead.<br> + The critic else proceeds without remorse,<br> + Seizes your fame, and puts his laws in force. + </p> + <p> + I know there are, to whose presumptuous thoughts<br> + Those freer beauties, even in them, seem faults<br> + Some figures monstrous and misshaped appear,<br> + Considered singly, or beheld too near,<br> + Which, but proportioned to their light, or place,<br> + Due distance reconciles to form and grace.<br> + A prudent chief not always must display<br> + His powers in equal ranks and fair array,<br> + But with the occasion and the place comply.<br> + Conceal his force, nay, seem sometimes to fly.<br> + Those oft are stratagems which errors seem,<br> + Nor is it Homer nods, but we that dream. [<a href= + "#180">180</a>] + </p> + <p> + Still green with bays each ancient altar stands,<br> + Above the reach of sacrilegious hands,<br> + Secure from flames, from envy's fiercer rage, [<a href= + "#183">183</a>]<br> + Destructive war, and all-involving age.<br> + See, from each clime the learned their incense bring;<br> + Hear, in all tongues consenting Paeans ring!<br> + In praise so just let every voice be joined,<br> + And fill the general chorus of mankind.<br> + Hail! bards triumphant! born in happier days;<br> + Immortal heirs of universal praise!<br> + Whose honors with increase of ages grow,<br> + As streams roll down, enlarging as they flow;<br> + Nations unborn your mighty names shall sound, [<a href= + "#193">193</a>]<br> + And worlds applaud that must not yet be found!<br> + Oh may some spark of your celestial fire,<br> + The last, the meanest of your sons inspire,<br> + (That, on weak wings, from far pursues your flights,<br> + Glows while he reads, but trembles as he writes),<br> + To teach vain wits a science little known,<br> + To admire superior sense, and doubt their own! + </p> + <hr> + + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + PART II. + </h2> + + <p> + Of all the causes which conspire to blind<br> + Man's erring judgment and misguide the mind,<br> + What the weak head with strongest bias rules,<br> + Is pride, the never-failing vice of fools.<br> + Whatever nature has in worth denied,<br> + She gives in large recruits of needful pride;<br> + For as in bodies, thus in souls, we find<br> + What wants in blood and spirits, swelled with wind:<br> + Pride where wit fails steps in to our defense,<br> + And fills up all the mighty void of sense.<br> + If once right reason drives that cloud away,<br> + Truth breaks upon us with resistless day<br> + Trust not yourself, but your defects to know,<br> + Make use of every friend—and every foe. + </p> + <p> + A little learning is a dangerous thing<br> + Drink deep, or taste not the Pierian spring [<a href= + "#216">216</a>]<br> + There shallow draughts intoxicate the brain,<br> + And drinking largely sobers us again.<br> + Fired at first sight with what the muse imparts,<br> + In fearless youth we tempt the heights of arts<br> + While from the bounded level of our mind<br> + Short views we take nor see the lengths behind<br> + But more advanced behold with strange surprise,<br> + New distant scenes of endless science rise!<br> + So pleased at first the towering Alps we try,<br> + Mount o'er the vales and seem to tread the sky,<br> + The eternal snows appear already passed<br> + And the first clouds and mountains seem the last.<br> + But those attained we tremble to survey<br> + The growing labors of the lengthened way<br> + The increasing prospect tires our wandering eyes,<br> + Hills peep o'er hills and Alps on Alps arise! + </p> + <p> + A perfect judge will read each work of wit<br> + With the same spirit that its author writ<br> + Survey the whole nor seek slight faults to find<br> + Where nature moves and rapture warms the mind,<br> + Nor lose for that malignant dull delight<br> + The generous pleasure to be charmed with wit<br> + But in such lays as neither ebb nor flow,<br> + Correctly cold and regularly low<br> + That, shunning faults, one quiet tenor keep;<br> + We cannot blame indeed—but we may sleep.<br> + In wit, as nature, what affects our hearts<br> + Is not the exactness of peculiar parts,<br> + 'Tis not a lip, or eye, we beauty call,<br> + But the joint force and full result of all.<br> + Thus, when we view some well proportioned dome<br> + (The worlds just wonder, and even thine, O Rome!), + [<a href="#248">248</a>]<br> + No single parts unequally surprise,<br> + All comes united to the admiring eyes;<br> + No monstrous height or breadth, or length, appear;<br> + The whole at once is bold, and regular. + </p> + <p> + Whoever thinks a faultless piece to see.<br> + Thinks what ne'er was, nor is, nor e'er shall be.<br> + In every work regard the writer's end,<br> + Since none can compass more than they intend;<br> + And if the means be just, the conduct true,<br> + Applause, in spite of trivial faults, is due.<br> + As men of breeding, sometimes men of wit,<br> + To avoid great errors, must the less commit:<br> + Neglect the rules each verbal critic lays,<br> + For not to know some trifles is a praise.<br> + Most critics, fond of some subservient art,<br> + Still make the whole depend upon a part:<br> + They talk of principles, but notions prize,<br> + And all to one loved folly sacrifice. + </p> + <p> + Once on a time La Mancha's knight, they say, + [<a href="#267">267</a>]<br> + A certain bard encountering on the way,<br> + Discoursed in terms as just, with looks as sage,<br> + As e'er could Dennis, of the Grecian stage; [<a href= + "#270">270</a>]<br> + Concluding all were desperate sots and fools,<br> + Who durst depart from Aristotle's rules<br> + Our author, happy in a judge so nice,<br> + Produced his play, and begged the knight's advice;<br> + Made him observe the subject, and the plot,<br> + The manners, passions, unities, what not?<br> + All which, exact to rule, were brought about,<br> + Were but a combat in the lists left out<br> + "What! leave the combat out?" exclaims the knight.<br> + "Yes, or we must renounce the Stagirite."<br> + "Not so, by heaven!" (he answers in a rage)<br> + "Knights, squires, and steeds must enter on the stage."<br> + "So vast a throng the stage can ne'er contain."<br> + "Then build a new, or act it in a plain." + </p> + <p> + Thus critics of less judgment than caprice,<br> + Curious, not knowing, not exact, but nice,<br> + Form short ideas, and offend in arts<br> + (As most in manners) by a love to parts. + </p> + <p> + Some to conceit alone their taste confine,<br> + And glittering thoughts struck out at every line;<br> + Pleased with a work where nothing's just or fit;<br> + One glaring chaos and wild heap of wit.<br> + Poets, like painters, thus, unskilled to trace<br> + The naked nature and the living grace,<br> + With gold and jewels cover every part,<br> + And hide with ornaments their want of art.<br> + True wit is nature to advantage dressed;<br> + What oft was thought, but ne'er so well expressed;<br> + Something, whose truth convinced at sight we find<br> + That gives us back the image of our mind.<br> + As shades more sweetly recommend the light,<br> + So modest plainness sets off sprightly wit<br> + For works may have more wit than does them good,<br> + As bodies perish through excess of blood. + </p> + <p> + Others for language all their care express,<br> + And value books, as women men, for dress.<br> + Their praise is still—"the style is excellent,"<br> + The sense they humbly take upon content [<a href= + "#308">308</a>]<br> + Words are like leaves, and where they most abound<br> + Much fruit of sense beneath is rarely found.<br> + False eloquence, like the prismatic glass. [<a href= + "#311">311</a>]<br> + Its gaudy colors spreads on every place,<br> + The face of nature we no more survey.<br> + All glares alike without distinction gay:<br> + But true expression, like the unchanging sun,<br> + Clears and improves whate'er it shines upon;<br> + It gilds all objects, but it alters none.<br> + Expression is the dress of thought, and still<br> + Appears more decent, as more suitable,<br> + A vile conceit in pompous words expressed,<br> + Is like a clown in regal purple dressed<br> + For different styles with different subjects sort,<br> + As several garbs with country town and court<br> + Some by old words to fame have made pretense,<br> + Ancients in phrase, mere moderns in their sense;<br> + Such labored nothings, in so strange a style,<br> + Amaze the unlearned, and make the learned smile.<br> + Unlucky, as Fungoso in the play, [<a href="#328">328</a>]<br> + These sparks with awkward vanity display<br> + What the fine gentleman wore yesterday;<br> + And but so mimic ancient wits at best,<br> + As apes our grandsires in their doublets dressed.<br> + In words as fashions the same rule will hold,<br> + Alike fantastic if too new or old.<br> + Be not the first by whom the new are tried,<br> + Nor yet the last to lay the old aside + </p> + <p> + But most by numbers judge a poet's song<br> + And smooth or rough, with them is right or wrong.<br> + In the bright muse though thousand charms conspire,<br> + Her voice is all these tuneful fools admire,<br> + Who haunt Parnassus but to please their ear,<br> + Not mend their minds, as some to church repair,<br> + Not for the doctrine but the music there<br> + These equal syllables alone require,<br> + Though oft the ear the open vowels tire;<br> + While expletives their feeble aid do join;<br> + And ten low words oft creep in one dull line,<br> + While they ring round the same unvaried chimes,<br> + With sure returns of still expected rhymes,<br> + Where'er you find "the cooling western breeze,"<br> + In the next line it "whispers through the trees"<br> + If crystal streams "with pleasing murmurs creep"<br> + The reader's threatened (not in vain) with "sleep"<br> + Then, at the last and only couplet fraught<br> + With some unmeaning thing they call a thought,<br> + A needless Alexandrine ends the song [<a href= + "#356">356</a>]<br> + That, like a wounded snake drags its slow length along. + </p> + <p> + Leave such to tune their own dull rhymes, and know<br> + What's roundly smooth or languishingly slow;<br> + And praise the easy vigor of a line,<br> + Where Denham's strength, and Waller's sweetness join. + [<a href="#361">361</a>]<br> + True ease in writing comes from art, not chance,<br> + As those move easiest who have learned to dance<br> + 'Tis not enough no harshness gives offense,<br> + The sound must seem an echo to the sense.<br> + Soft is the strain when Zephyr gently blows, [<a href= + "#366">366</a>]<br> + And the smooth stream in smoother numbers flows,<br> + But when loud surges lash the sounding shore,<br> + The hoarse, rough verse should like the torrent roar,<br> + When Ajax strives some rock's vast weight to throw,<br> + The line too labors, and the words move slow;<br> + Not so, when swift Camilla scours the plain,<br> + Flies o'er the unbending corn, and skims along the main. + [<a href="#373">373</a>]<br> + Hear how Timotheus' varied lays surprise, [<a href= + "#374">374</a>]<br> + And bid alternate passions fall and rise!<br> + While, at each change, the son of Libyan Jove [<a href= + "#376">376</a>]<br> + Now burns with glory, and then melts with love;<br> + Now his fierce eyes with sparkling fury glow,<br> + Now sighs steal out, and tears begin to flow:<br> + Persians and Greeks like turns of nature found,<br> + And the world's victor stood subdued by sound? [<a href= + "#381">381</a>]<br> + The power of music all our hearts allow,<br> + And what Timotheus was, is Dryden now. + </p> + <p> + Avoid extremes, and shun the fault of such,<br> + Who still are pleased too little or too much.<br> + At every trifle scorn to take offense,<br> + That always shows great pride, or little sense:<br> + Those heads, as stomachs, are not sure the best,<br> + Which nauseate all, and nothing can digest.<br> + Yet let not each gay turn thy rapture move;<br> + For fools admire, but men of sense approve:<br> + As things seem large which we through mist descry,<br> + Dullness is ever apt to magnify. [<a href="#393">393</a>] + </p> + <p> + Some foreign writers, some our own despise,<br> + The ancients only, or the moderns prize.<br> + Thus wit, like faith, by each man is applied<br> + To one small sect, and all are damned beside.<br> + Meanly they seek the blessing to confine,<br> + And force that sun but on a part to shine,<br> + Which not alone the southern wit sublimes,<br> + But ripens spirits in cold northern climes.<br> + Which from the first has shone on ages past,<br> + Enlights the present, and shall warm the last,<br> + Though each may feel increases and decays,<br> + And see now clearer and now darker days.<br> + Regard not then if wit be old or new,<br> + But blame the false, and value still the true. + </p> + <p> + Some ne'er advance a judgment of their own,<br> + But catch the spreading notion of the town,<br> + They reason and conclude by precedent,<br> + And own stale nonsense which they ne'er invent.<br> + Some judge of authors names not works, and then<br> + Nor praise nor blame the writing, but the men.<br> + Of all this servile herd the worst is he<br> + That in proud dullness joins with quality<br> + A constant critic at the great man's board,<br> + To fetch and carry nonsense for my lord<br> + What woful stuff this madrigal would be,<br> + In some starved hackney sonnetteer, or me!<br> + But let a lord once own the happy lines,<br> + How the wit brightens! how the style refines!<br> + Before his sacred name flies every fault,<br> + And each exalted stanza teems with thought! + </p> + <p> + The vulgar thus through imitation err;<br> + As oft the learned by being singular.<br> + So much they scorn the crowd that if the throng<br> + By chance go right they purposely go wrong:<br> + So schismatics the plain believers quit,<br> + And are but damned for having too much wit.<br> + Some praise at morning what they blame at night,<br> + But always think the last opinion right.<br> + A muse by these is like a mistress used,<br> + This hour she's idolized, the next abused;<br> + While their weak heads, like towns unfortified,<br> + 'Twixt sense and nonsense daily change their side.<br> + Ask them the cause, they're wiser still they say;<br> + And still to-morrow's wiser than to-day.<br> + We think our fathers fools, so wise we grow;<br> + Our wiser sons, no doubt, will think us so.<br> + Once school-divines this zealous isle o'erspread.<br> + Who knew most sentences was deepest read, [<a href= + "#441">441</a>]<br> + Faith, Gospel, all, seemed made to be disputed,<br> + And none had sense enough to be confuted:<br> + Scotists and Thomists now in peace remain, [<a href= + "#444">444</a>]<br> + Amidst their kindred cobwebs in Duck Lane. [<a href= + "#445">445</a>]<br> + If faith itself has different dresses worn,<br> + What wonder modes in wit should take their turn?<br> + Oft, leaving what is natural and fit,<br> + The current folly proves the ready wit;<br> + And authors think their reputation safe,<br> + Which lives as long as fools are pleased to laugh. + </p> + <p> + Some valuing those of their own side or mind,<br> + Still make themselves the measure of mankind:<br> + Fondly we think we honor merit then,<br> + When we but praise ourselves in other men.<br> + Parties in wit attend on those of state,<br> + And public faction doubles private hate.<br> + Pride, malice, folly against Dryden rose,<br> + In various shapes of parsons, critics, beaux; [<a href= + "#459">459</a>]<br> + But sense survived, when merry jests were past;<br> + For rising merit will buoy up at last.<br> + Might he return, and bless once more our eyes,<br> + New Blackmores and new Millbourns must arise: [<a href= + "#463">463</a>]<br> + Nay, should great Homer lift his awful head,<br> + Zoilus again would start up from the dead [<a href= + "#465">465</a>]<br> + Envy will merit, as its shade, pursue,<br> + But like a shadow, proves the substance true:<br> + For envied wit, like Sol eclipsed, makes known<br> + The opposing body's grossness, not its own.<br> + When first that sun too powerful beams displays,<br> + It draws up vapors which obscure its rays,<br> + But even those clouds at last adorn its way<br> + Reflect new glories and augment the day + </p> + <p> + Be thou the first true merit to befriend<br> + His praise is lost who stays till all commend<br> + Short is the date alas! of modern rhymes<br> + And 'tis but just to let them live betimes<br> + No longer now that golden age appears<br> + When patriarch wits survived a thousand years [<a href= + "#479">479</a>]<br> + Now length of fame (our second life) is lost<br> + And bare threescore is all even that can boast,<br> + Our sons their fathers failing language see<br> + And such as Chaucer is shall Dryden be<br> + So when the faithful pencil has designed<br> + Some bright idea of the master's mind<br> + Where a new world leaps out at his command<br> + And ready nature waits upon his hand<br> + When the ripe colors soften and unite<br> + And sweetly melt into just shade and light<br> + When mellowing years their full perfection give<br> + And each bold figure just begins to live<br> + The treacherous colors the fair art betray<br> + And all the bright creation fades away! + </p> + <p> + Unhappy wit, like most mistaken things<br> + Atones not for that envy which it brings<br> + In youth alone its empty praise we boast<br> + But soon the short lived vanity is lost.<br> + Like some fair flower the early spring supplies<br> + That gayly blooms but even in blooming dies<br> + What is this wit, which must our cares employ?<br> + The owner's wife that other men enjoy<br> + Then most our trouble still when most admired<br> + And still the more we give the more required<br> + Whose fame with pains we guard, but lose with ease,<br> + Sure some to vex, but never all to please,<br> + 'Tis what the vicious fear, the virtuous shun,<br> + By fools 'tis hated, and by knaves undone! + </p> + <p> + If wit so much from ignorance undergo,<br> + Ah! let not learning too commence its foe!<br> + Of old, those met rewards who could excel,<br> + And such were praised who but endeavored well:<br> + Though triumphs were to generals only due,<br> + Crowns were reserved to grace the soldiers too.<br> + Now they who reach Parnassus' lofty crown,<br> + Employ their pains to spurn some others down;<br> + And, while self-love each jealous writer rules,<br> + Contending wits become the sport of fools:<br> + But still the worst with most regret commend,<br> + For each ill author is as bad a friend<br> + To what base ends, and by what abject ways,<br> + Are mortals urged, through sacred lust of praise!<br> + Ah, ne'er so dire a thirst of glory boast,<br> + Nor in the critic let the man be lost<br> + Good-nature and good sense must ever join;<br> + To err is human, to forgive, divine. + </p> + <p> + But if in noble minds some dregs remain,<br> + Not yet purged off, of spleen and sour disdain;<br> + Discharge that rage on more provoking crimes,<br> + Nor fear a dearth in these flagitious times.<br> + No pardon vile obscenity should find,<br> + Though wit and art conspire to move your mind;<br> + But dullness with obscenity must prove<br> + As shameful sure as impotence in love.<br> + In the fat age of pleasure, wealth, and ease,<br> + Sprung the rank weed, and thrived with large increase:<br> + When love was all an easy monarch's care, [<a href= + "#536">536</a>]<br> + Seldom at council, never in a war<br> + Jilts ruled the state, and statesmen farces writ;<br> + Nay, wits had pensions, and young lords had wit:<br> + The fair sat panting at a courtier's play,<br> + And not a mask went unimproved away: [<a href= + "#541">541</a>]<br> + The modest fan was lifted up no more,<br> + And virgins smiled at what they blushed before.<br> + The following license of a foreign reign, [<a href= + "#544">544</a>]<br> + Did all the dregs of bold Socinus drain, [<a href= + "#545">545</a>]<br> + Then unbelieving priests reformed the nation.<br> + And taught more pleasant methods of salvation;<br> + Where Heaven's free subjects might their rights dispute,<br> + Lest God himself should seem too absolute:<br> + Pulpits their sacred satire learned to spare,<br> + And vice admired to find a flatterer there!<br> + Encouraged thus, wit's Titans braved the skies, [<a href= + "#552">552</a>]<br> + And the press groaned with licensed blasphemies.<br> + These monsters, critics! with your darts engage,<br> + Here point your thunder, and exhaust your rage!<br> + Yet shun their fault, who, scandalously nice,<br> + Will needs mistake an author into vice;<br> + All seems infected that the infected spy,<br> + As all looks yellow to the jaundiced eye. + </p> + <hr> + + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + PART III. + </h2> + + <p> + Learn, then, what morals critics ought to show,<br> + For 'tis but half a judge's task to know.<br> + 'Tis not enough, taste, judgment, learning, join;<br> + In all you speak, let truth and candor shine:<br> + That not alone what to your sense is due<br> + All may allow, but seek your friendship too. + </p> + <p> + Be silent always, when you doubt your sense;<br> + And speak, though sure, with seeming diffidence:<br> + Some positive persisting fops we know,<br> + Who, if once wrong will needs be always so;<br> + But you, with pleasure, own your errors past,<br> + And make each day a critique on the last. + </p> + <p> + 'Tis not enough your counsel still be true;<br> + Blunt truths more mischief than nice falsehoods do;<br> + Men must be taught as if you taught them not,<br> + And things unknown proposed as things forgot.<br> + Without good breeding truth is disapproved;<br> + That only makes superior sense beloved. + </p> + <p> + Be niggards of advice on no pretense;<br> + For the worst avarice is that of sense<br> + With mean complacence, ne'er betray your trust,<br> + Nor be so civil as to prove unjust<br> + Fear not the anger of the wise to raise,<br> + Those best can bear reproof who merit praise. + </p> + <p> + 'Twere well might critics still this freedom take,<br> + But Appius reddens at each word you speak, [<a href= + "#585">585</a>]<br> + And stares, tremendous with a threatening eye,<br> + Like some fierce tyrant in old tapestry<br> + Fear most to tax an honorable fool<br> + Whose right it is uncensured to be dull<br> + Such, without wit are poets when they please,<br> + As without learning they can take degrees<br> + Leave dangerous truths to unsuccessful satires,<br> + And flattery to fulsome dedicators<br> + Whom, when they praise, the world believes no more,<br> + Than when they promise to give scribbling o'er. + </p> + <p> + 'Tis best sometimes your censure to restrain,<br> + And charitably let the dull be vain<br> + Your silence there is better than your spite,<br> + For who can rail so long as they can write?<br> + Still humming on, their drowsy course they keep,<br> + And lashed so long like tops are lashed asleep.<br> + False steps but help them to renew the race,<br> + As after stumbling, jades will mend their pace.<br> + What crowds of these, impenitently bold,<br> + In sounds and jingling syllables grown old,<br> + Still run on poets in a raging vein,<br> + Even to the dregs and squeezing of the brain;<br> + Strain out the last dull droppings of their sense,<br> + And rhyme with all the rage of impotence! + </p> + <p> + Such shameless bards we have, and yet, 'tis true,<br> + There are as mad abandoned critics, too<br> + The bookful blockhead ignorantly read,<br> + With loads of learned lumber in his head,<br> + With his own tongue still edifies his ears,<br> + And always listening to himself appears<br> + All books he reads and all he reads assails<br> + From Dryden's Fables down to Durfey's Tales [<a href= + "#617">617</a>]<br> + With him most authors steal their works or buy;<br> + Garth did not write his own Dispensary [<a href= + "#619">619</a>]<br> + Name a new play, and he's the poets friend<br> + Nay, showed his faults—but when would poets mend?<br> + No place so sacred from such fops is barred,<br> + Nor is Paul's Church more safe than Paul's Churchyard: + [<a href="#623">623</a>]<br> + Nay, fly to altars; there they'll talk you dead,<br> + For fools rush in where angels fear to tread<br> + Distrustful sense with modest caution speaks,<br> + It still looks home, and short excursions makes;<br> + But rattling nonsense in full volleys breaks,<br> + And, never shocked, and never turned aside.<br> + Bursts out, resistless, with a thundering tide, + </p> + <p> + But where's the man who counsel can bestow,<br> + Still pleased to teach, and yet not proud to know?<br> + Unbiased, or by favor, or in spite,<br> + Not dully prepossessed, nor blindly right;<br> + Though learned, well-bred, and though well bred, sincere,<br> + Modestly bold, and humanly severe,<br> + Who to a friend his faults can freely show,<br> + And gladly praise the merit of a foe?<br> + Blessed with a taste exact, yet unconfined;<br> + A knowledge both of books and human kind;<br> + Generous converse, a soul exempt from pride;<br> + And love to praise, with reason on his side? + </p> + <p> + Such once were critics such the happy few,<br> + Athens and Rome in better ages knew.<br> + The mighty Stagirite first left the shore, [<a href= + "#645">645</a>]<br> + Spread all his sails, and durst the deeps explore;<br> + He steered securely, and discovered far,<br> + Led by the light of the Maeonian star. [<a href= + "#648">648</a>]<br> + Poets, a race long unconfined and free,<br> + Still fond and proud of savage liberty,<br> + Received his laws, and stood convinced 'twas fit,<br> + Who conquered nature, should preside o'er wit. [<a href= + "#652">652</a>] + </p> + <p> + Horace still charms with graceful negligence,<br> + And without method talks us into sense;<br> + Will like a friend familiarly convey<br> + The truest notions in the easiest way.<br> + He who supreme in judgment as in wit,<br> + Might boldly censure, as he boldly writ,<br> + Yet judged with coolness though he sung with fire;<br> + His precepts teach but what his works inspire<br> + Our critics take a contrary extreme<br> + They judge with fury, but they write with phlegm:<br> + Nor suffers Horace more in wrong translations<br> + By wits than critics in as wrong quotations. + </p> + <p> + See Dionysius Homer's thoughts refine, + [<a href="#665">665</a>]<br> + And call new beauties forth from every line! + </p> + <p> + Fancy and art in gay Petronius please, + [<a href="#667">667</a>]<br> + The scholar's learning with the courtier's ease. + </p> + <p> + In grave Quintilian's copious work we find + [<a href="#669">669</a>]<br> + The justest rules and clearest method joined:<br> + Thus useful arms in magazines we place,<br> + All ranged in order, and disposed with grace,<br> + But less to please the eye, than arm the hand,<br> + Still fit for use, and ready at command. + </p> + <p> + Thee bold Longinus! all the Nine inspire, + [<a href="#675">675</a>]<br> + And bless their critic with a poet's fire.<br> + An ardent judge, who, zealous in his trust,<br> + With warmth gives sentence, yet is always just:<br> + Whose own example strengthens all his laws;<br> + And is himself that great sublime he draws. + </p> + <p> + Thus long succeeding critics justly reigned,<br> + License repressed, and useful laws ordained.<br> + Learning and Rome alike in empire grew;<br> + And arts still followed where her eagles flew,<br> + From the same foes at last, both felt their doom,<br> + And the same age saw learning fall, and Rome. [<a href= + "#686">686</a>]<br> + With tyranny then superstition joined<br> + As that the body, this enslaved the mind;<br> + Much was believed but little understood,<br> + And to be dull was construed to be good;<br> + A second deluge learning thus o'errun,<br> + And the monks finished what the Goths begun. [<a href= + "#692">692</a>] + </p> + <p> + At length Erasmus, that great injured name + [<a href="#693">693</a>]<br> + (The glory of the priesthood and the shame!)<br> + Stemmed the wild torrent of a barbarous age,<br> + And drove those holy Vandals off the stage. [<a href= + "#696">696</a>] + </p> + <p> + But see! each muse, in Leo's golden days, + [<a href="#697">697</a>]<br> + Starts from her trance and trims her withered bays,<br> + Rome's ancient genius o'er its ruins spread<br> + Shakes off the dust, and rears his reverent head<br> + Then sculpture and her sister arts revive,<br> + Stones leaped to form, and rocks began to live;<br> + With sweeter notes each rising temple rung,<br> + A Raphael painted, and a Vida sung [<a href= + "#704">704</a>]<br> + Immortal Vida! on whose honored brow<br> + The poets bays and critic's ivy grow<br> + Cremona now shall ever boast thy name<br> + As next in place to Mantua, next in fame! + </p> + <p> + But soon by impious arms from Latium chased,<br> + Their ancient bounds the banished muses passed.<br> + Thence arts o'er all the northern world advance,<br> + But critic-learning flourished most in France,<br> + The rules a nation born to serve, obeys;<br> + And Boileau still in right of Horace sways [<a href= + "#714">714</a>]<br> + But we, brave Britons, foreign laws despised,<br> + And kept unconquered and uncivilized,<br> + Fierce for the liberties of wit and bold,<br> + We still defied the Romans as of old.<br> + Yet some there were, among the sounder few<br> + Of those who less presumed and better knew,<br> + Who durst assert the juster ancient cause,<br> + And here restored wit's fundamental laws.<br> + Such was the muse, whose rule and practice tell<br> + "Nature's chief masterpiece is writing well."<br> + Such was Roscommon, not more learned than good,<br> + With manners generous as his noble blood,<br> + To him the wit of Greece and Rome was known,<br> + And every author's merit, but his own<br> + Such late was Walsh—the muse's judge and friend,<br> + Who justly knew to blame or to commend,<br> + To failings mild, but zealous for desert,<br> + The clearest head, and the sincerest heart,<br> + This humble praise, lamented shade! receive,<br> + This praise at least a grateful muse may give.<br> + The muse whose early voice you taught to sing<br> + Prescribed her heights and pruned her tender wing,<br> + (Her guide now lost) no more attempts to rise,<br> + But in low numbers short excursions tries,<br> + Content if hence the unlearned their wants may view,<br> + The learned reflect on what before they knew<br> + Careless of censure, nor too fond of fame,<br> + Still pleased to praise, yet not afraid to blame,<br> + Averse alike to flatter, or offend,<br> + Not free from faults, nor yet too vain to mend. + </p> + <hr> + + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + LINE NOTES + </h2> + + <p> + <a name="17"><!--Line Note 17--></a> [Line 17: <b>Wit</b> is + used in the poem in a great variety of meanings (1) Here it + seems to mean <i>genius</i> or <i>fancy</i>, (2) in line 36 + <i>a man of fancy</i>, (3) in line 53 <i>the + understanding</i> or <i>powers of the mind</i>, (4) in line + 81 it means <i>judgment</i>.] + </p> + <p> + <a name="26"><!--Line Note 26--></a> [Line 26: + <b>Schools</b>—Different systems of doctrine or + philosophy as taught by particular teachers.] + </p> + <p> + <a name="34"><!--Line Note 34--></a> [Line 34: + <b>Maevius</b>—An insignificant poet of the Augustan + age, ridiculed by Virgil in his third Eclogue and by Horace + in his tenth Epode.] + </p> + <p> + <a name="80"><!--Line Note 80--></a> [Lines 80, 81: There is + here a slight inaccuracy or inconsistency, since "wit" has a + different meaning in the two lines: in 80, it means + <i>fancy,</i> in 81, <i>judgment</i>.] + </p> + <p> + <a name="86"><!--Line Note 86--></a> [Line 86: <b>The winged + courser</b>.—Pegasus, a winged horse which sprang from + the blood of Medusa when Perseus cut off her head. As soon as + born he left the earth and flew up to heaven, or, according + to Ovid, took up his abode on Mount Helicon, and was always + associated with the Muses.] + </p> + <p> + <a name="94"><!--Line Note 94--></a> [Line 94: + <b>Parnassus</b>.—A mountain of Phocis, which received + its name from Parnassus, the son of Neptune, and was sacred + to the Muses, Apollo and Bacchus.] + </p> + <p> + <a name="97"><!--Line Note 97--></a> [Line 97: <b>Equal + steps</b>.—Steps equal to the undertaking.] + </p> + <p> + <a name="129"><!--Line Note 129--></a> [Line 129: <b>The + Mantuan Muse</b>—Virgil called Maro in the next line + (his full name being, Virgilius Publius Maro) born near + Mantua, 70 B.C.] + </p> + <p> + <a name="130"><!--Line Note 130-136--></a> <a name="136"> + <!--Line Note 130-136--></a> [Lines 130-136: It is said that + Virgil first intended to write a poem on the Alban and Roman + affairs which he found beyond his powers, and then he + imitated Homer: + </p> + <p> + Cum canerem reges et proelia Cynthius aurem<br> + Vellit—<i>Virg. Ecl. VI</i>] + </p> + <p> + <a name="138"><!--Line Note 138--></a> [Line 138: <b>The + Stagirite</b>—Aristotle, born at the Greek town of + Stageira on the Strymonic Gulf (Gulf of Contessa, in Turkey) + 384 B.C., whose treatises on Rhetoric and the Art of Poetry + were the earliest development of a Philosophy of Criticism + and still continue to be studied. + </p> + <p> + The poet contradicts himself with regard to the principle he + is here laying down in lines 271-272 where he laughs at + Dennis for + </p> + <p> + Concluding all were desperate sots and fools<br> + Who durst depart from Aristotle's rules.] + </p> + <p> + <a name="180"><!--Line Note 180--></a> [Line 180: <b>Homer + nods</b>—<i>Quandoque bonus dormitat Homerus</i>, 'even + the good Homer nods'—Horace, <i>Epistola ad + Pisones</i>, 359.] + </p> + <p> + <a name="183"><!--Line Note 183--></a> [Lines 183, 184: + <b>Secure from flames</b>.—The poet probably alludes to + such fires as those in which the Alexandrine and Palatine + Libraries were destroyed. <b>From envy's fiercer + rage</b>.—Probably he alludes to the writings of such + men as Maevius (see note to line 34) and Zoilus, a sophist + and grammarian of Amphipolis, who distinguished himself by + his criticism on Isocrates, Plato, and Homer, receiving the + nickname of <i>Homeromastic</i> (chastiser of Homer). + <b>Destructive war</b>—Probably an allusion to the + irruption of the barbarians into the south of Europe. <b>And + all-involving age</b>; that is, time. This is usually + explained as an allusion to 'the long reign of ignorance and + superstition in the cloisters,' but it is surely far-fetched, + and more than the language will bear.] + </p> + <p> + <a name="193"><!--Line Note 193--></a> [Lines 193, 194: + </p> + <p> + 'Round the whole world this dreaded name shall + sound,<br> + And reach to worlds that must not yet be + found,"—COWLEY.] + </p> + <p> + <a name="216"><!--Line Note 216--></a> [Line 216: <b>The + Pierian spring</b>—A fountain in Pieria, a district + round Mount Olympus and the native country of the Muses.] + </p> + <p> + <a name="248"><!--Line Note 248--></a> [Line 248: <b>And even + thine, O Rome.</b>—The dome of St Peter's Church, + designed by Michael Angelo.] + </p> + <p> + <a name="267"><!--Line Note 267--></a> [Line 267: <b>La + Mancha's Knight</b>.—Don Quixote, a fictitious Spanish + knight, the hero of a book written (1605) by Cervantes, a + Spanish writer.] + </p> + <p> + <a name="270"><!--Line Note 270--></a> [Line 270: + <b>Dennis,</b> the son of a saddler in London, born 1657, was + a mediocre writer, and rather better critic of the time, with + whom Pope came a good deal into collision. Addison's tragedy + of <i>Cato</i>, for which Pope had written a prologue, had + been attacked by Dennis. Pope, to defend Addison, wrote an + imaginary report, pretending to be written by a notorious + quack mad-doctor of the day, entitled <i>The Narrative of Dr. + Robert Norris on the Frenz of F. D.</i> Dennis replied to it + by his <i>Character of Mr. Pope</i>. Ultimately Pope gave him + a place in his <i>Dunciad</i>, and wrote a prologue for his + benefit.] + </p> + <p> + <a name="308"><!--Line Note 308--></a> [Line 308: <b>On + content</b>.—On trust, a common use of the word in + Pope's time.] + </p> + <p> + <a name="311"><!--Line Note 311--></a> [Lines 311, 312: + <b>Prismatic glass</b>.—A glass prism by which light is + refracted, and the component rays, which are of different + colors being refracted at different angles show what is + called a spectrum or series of colored bars, in the order + violet, indigo, blue, green, yellow, orange, red.] + </p> + <p> + <a name="328"><!--Line Note 328--></a> [Line 328: + <b>Fungoso</b>—One of the characters in Ben Jonson's + <i>Every Man out of his Humor</i> who assumed the dress and + tried to pass himself off for another.] + </p> + <p> + <a name="356"><!--Line Note 356--></a> [Line 356: + <b>Alexandrine</b>—A line of twelve syllables, so + called from a French poem on the Life of Alexander the Great, + written in that meter. The poet gives a remarkable example in + the next line.] + </p> + <p> + <a name="361"><!--Line Note 361--></a> [Line 361: Sir John + Denham, a poet of the time of Charles I. (1615-1668). His + verse is characterized by considerable smoothness and + ingenuity of rhythm, with here and there a passage of some + force—Edmund Waller (1606-1687) is celebrated as one of + the refiners of English poetry. His rank among English poets, + however, is very subordinate.] + </p> + <p> + <a name="366"><!--Line Note 366--></a> [Line 366: + <b>Zephyr</b>.—Zephyrus, the west wind personified by + the poets and made the most mild and gentle of the sylvan + deities.] + </p> + <p> + [Lines 366-373: In this passage + the poet obviously intended to make "the sound seem an echo + to the sense". The success of the attempt has not been very + complete except in the second two lines, expressing the dash + and roar of the waves, and in the last two, expressing the + skimming, continuous motion of Camilla. What he refers to is + the onomatopoeia of Homer and Virgil in the passages alluded + to. <b>Ajax</b>, the son of Telamon, was, next to Achilles, + the bravest of all the Greeks in the Trojan war. When the + Greeks were challenged by Hector he was chosen their champion + and it was in their encounter that he seized a huge stone and + hurled it at Hector. + </p> + <p> + Thus rendered by Pope himself: + </p> + <p> + "Then Ajax seized the fragment of a rock<br> + Applied each nerve, and swinging round on + high,<br> + With force tempestuous let the ruin fly<br> + The huge stone thundering through his buckler + broke." + </p> + <p> + <b>Camilla</b>, queen of the Volsci, was brought up in the + woods, and, according to Virgil, was swifter than the winds. + She led an army to assist Turnus against Aeneas. + </p> + <p> + "Dura pan, cursuque pedum praevertere + ventos.<br> + Illa vel intactae segetis per summa + volaret<br> + Gramina nec teneras cursu laesisset + aristas;<br> + Vel mare per medium fluctu suspensa + tumenti,<br> + Ferret iter, celeres nec tingeret aequore + plantas."<br> + + + + + <i>Aen</i>. vii 807-811. + </p> + <p> + Thus rendered by Dryden. + </p> + <p> + "Outstripped the winds in speed upon the + plain,<br> + Flew o'er the fields, nor hurt the bearded + grain;<br> + She swept the seas, and as she skimmed + along,<br> + Her flying feet unbathed on billows hung"] + </p> + <p> + <a name="374"><!--Line Note 374-381--></a> <a name="381"> + <!--Line Note 374-381--></a> [Lines 374-381: This passage + refers to Dryden's ode, <i>Alexander's Feast</i>, or <i>The + Power of Music</i>. Timotheus, mentioned in it, was a + musician of Boeotia, a favorite of Alexander's, not the great + musician Timotheus, who died before Alexander was born, + unless, indeed, Dryden have confused the two.] + </p> + <p> + <a name="376"><!--Line Note 376--></a> [Line 376: <b>The son + of Libyan Jove</b>.—A title arrogated to himself by + Alexander.] + </p> + <p> + <a name="393"><!--Line Note 393--></a> [Line 393: + <b>Dullness</b> here 'seems to be incorrectly used. Ignorance + is apt to magnify, but dullness reposes in stolid + indifference.'] + </p> + <p> + <a name="441"><!--Line Note 441--></a> [Line 441: + <b>Sentences</b>—Passages from the Fathers of the + Church who were regarded as decisive authorities on all + disputed points of doctrine.] + </p> + <p> + <a name="444"><!--Line Note 444--></a> [Line 444: + <b>Scotists</b>—The disciples of Duns Scotus, one of + the most famous and influential of the scholastics of the + fourteenth century, who was opposed to Thomas Aquinas + (1224-1274), another famous scholastic, regarding the + doctrines of grace and the freedom of the will, but + especially the immaculate conception of the Virgin. The + followers of the latter were called Thomists, between whom + and the Scotists bitter controversies were carried on.] + </p> + <p> + <a name="445"><!--Line Note 445--></a> [Line 445: <b>Duck + Lane</b>.—A place near Smithfield where old books were + sold. The cobwebs were kindred to the works of these + controversialists, because their arguments were intricate and + obscure. Scotus is said to have demolished two hundred + objections to the doctrine of the immaculate conception, and + established it by a cloud of proofs.] + </p> + <p> + <a name="459"><!--Line Note 459--></a> [Line 459: + <b>Parsons</b>.—This is an allusion to Jeremy Collier, + the author of <i>A Short View etc, of the English Stage</i>. + <b>Critics, beaux</b>.—This to the Duke of Buckingham, + the author of <i>The Rehearsal</i>.] + </p> + <p> + <a name="463"><!--Line Note 463--></a> [Line 463: + <b>Blackmore</b>, Sir Richard (1652-1729), one of the court + physicians and the writer of a great deal of worthless + poetry. He attacked the dramatists of the time generally and + Dryden individually, and is the Quack Maurus of Dryden's + prologue to <i>The Secular Masque</i>. <b>Millbourn</b>, Rev. + Luke, who criticised Dryden; which criticism, although + sneered at by Pope, is allowed to have been judicious and + decisive.] + </p> + <p> + <a name="465"><!--Line Note 465--></a> [Line 465: + <b>Zoilus</b>. See note on line 183.] + </p> + <p> + <a name="479"><!--Line Note 479--></a> [Line 479: + <b>Patriarch wits</b>—Perhaps an allusion to the great + age to which the antediluvian patriarchs of the Bible lived.] + </p> + <p> + <a name="536"><!--Line Note 536--></a> [Line 536: <b>An easy + monarch</b>.—Charles II.] + </p> + <p> + <a name="541"><!--Line Note 541--></a> [Line 541: At that + time ladies went to the theater in masks.] + </p> + <p> + <a name="544"><!--Line Note 544--></a> [Line 544: <b>A + foreign reign</b>.—The reign of the foreigner, William + III.] + </p> + <p> + <a name="545"><!--Line Note 545--></a> [Line 545: + <b>Socinus</b>.—The reaction from the fanaticism of the + Puritans, who held extreme notions of free grace and + satisfaction, by resolving all Christianity into morality, + led the way to the introduction of Socinianism, the most + prominent feature of which is the denial of the existence of + the Trinity.] + </p> + <p> + <a name="552"><!--Line Note 552--></a> [Line 552: <b>Wit's + Titans</b>.—The Titans, in Greek mythology, were the + children of Uranus (heaven) and Gaea (earth), and of gigantic + size. They engaged in a conflict with Zeus, the king of + heaven, which lasted ten years. They were completely + defeated, and hurled down into a dungeon below Tartarus. Very + often they are confounded with the Giants, as has apparently + been done here by Pope. These were a later progeny of the + same parents, and in revenge for what had been done to the + Titans, conspired to dethrone Zeus. In order to scale heaven, + they piled Mount Ossa upon Pelion, and would have succeeded + in their attempt if Zeus had not called in the assistance of + his son Hercules.] + </p> + <p> + <a name="585"><!--Line Note 585--></a> [Line 585: + <b>Appius</b>.—He refers to Dennis (see note to verse + 270) who had published a tragedy called <i>Appius and + Virginia</i>. He retaliated for these remarks by coarse + personalities upon Pope, in his criticism of this poem.] + </p> + <p> + <a name="617"><!--Line Note 617--></a> [Line 617: <b>Durfey's + Tales</b>.—Thomas D'Urfey, the author (in the reign of + Charles II.) of a sequel in five acts of <i>The + Rehearsal</i>, a series of sonnets entitled <i>Pills to Purge + Melancholy</i>, the Tales here alluded to, etc. He was a very + inferior poet, although Addison pleaded for him.] + </p> + <p> + <a name="619"><!--Line Note 619--></a> [Line 619: <b>Garth, + Dr.</b>, afterwards Sir Samuel (born 1660) an eminent + physician and a poet of considerable reputation He is best + known as the author of <i>The Dispensary</i>, a poetical + satire on the apothecaries and physicians who opposed the + project of giving medicine gratuitously to the sick poor. The + poet alludes to a slander current at the time with regard to + the authorship of the poem.] + </p> + <p> + <a name="623"><!--Line Note 623--></a> [Line 623: <b>St + Paul's Churchyard</b>, before the fire of London, was the + headquarters of the booksellers.] + </p> + <p> + <a name="645"><!--Line Note 645--></a> [Lines 645, 646: See + note on line 138.] + </p> + <p> + <a name="648"><!--Line Note 648--></a> [Line 648: <b>The + Maeonian star</b>.—Homer, supposed by some to have been + born in Maeonia, a part of Lydia in Asia Minor, and whose + poems were the chief subject of Aristotle's criticism.] + </p> + <p> + <a name="652"><!--Line Note 652--></a> [Line 652: <b>Who + conquered nature</b>—He wrote, besides his other works, + treatises on Astronomy, Mechanics, Physics, and Natural + History.] + </p> + <p> + <a name="665"><!--Line Note 665--></a> [Line 665: + <b>Dionysius</b>, born at Halicarnassus about 50 B.C., was a + learned critic, historian, and rhetorician at Rome in the + Augustan age.] + </p> + <p> + <a name="667"><!--Line Note 667--></a> [Line 667: + <b>Petronius</b>.—A Roman voluptuary at the court of + Nero whose ambition was to shine as a court exquisite. He is + generally supposed to be the author of certain fragments of a + comic romance called <i>Petronii Arbitri Satyricon</i>.] + </p> + <p> + <a name="669"><!--Line Note 669--></a> [Line 669: + <b>Quintilian</b>, born in Spain 40 A.D. was a celebrated + teacher of rhetoric and oratory at Rome. His greatwork is + <i>De Institutione Oratorica</i>, a complete system of + rhetoric, which is here referred to.] + </p> + <p> + <a name="675"><!--Line Note 675--></a> [Line 675: + <b>Longinus</b>, a Platonic philosopher and famous + rhetorician, born either in Syria or at Athens about 213 + A.D., was probably the best critic of antiquity. From his + immense knowledge, he was called "a living library" and + "walking museum," hence the poet speaks of him as inspired by + <i>all the Nine</i>—Muses that is. These were Clio, the + muse of History, Euterpe, of Music, Thaleia, of Pastoral and + Comic Poetry and Festivals, Melpomene, of Tragedy, + Terpsichore, of Dancing, Erato, of Lyric and Amorous Poetry, + Polyhymnia, of Rhetoric and Singing, Urania, of Astronomy, + Calliope, of Eloquence and Heroic Poetry.] + </p> + <p> + <a name="686"><!--Line Note 686--></a> [Line 686: + <b>Rome</b>.—For this pronunciation (to rhyme with + <i>doom</i>) he has Shakespeare's example as precedent.] + </p> + <p> + <a name="692"><!--Line Note 692--></a> [Line 692: + <b>Goths</b>.—A powerful nation of the Germanic race, + which, originally from the Baltic, first settled near the + Black Sea, and then overran and took an important part in the + subversion of the Roman empire. They were distinguished as + Ostro Goths (Eastern Goths) on the shores of the Black Sea, + the Visi Goths (Western Goths) on the Danube, and the Moeso + Goths, in Moesia ] + </p> + <p> + <a name="693"><!--Line Note 693--></a> [Line 693: + <b>Erasmus</b>.—A Dutchman (1467-1536), and at one time + a Roman Catholic priest, who acted as tutor to Alexander + Stuart, a natural son of James IV. of Scotland as professor + of Greek for a short time at Oxford, and was the most learned + man of his time. His best known work is his <i>Colloquia</i>, + which contains satirical onslaughts on monks, cloister life, + festivals, pilgrimages etc.] + </p> + <p> + <a name="696"><!--Line Note 696--></a> [Line 696: + <b>Vandals</b>.—A race of European barbarians, who + first appear historically about the second century, south of + the Baltic. They overran in succession Gaul, Spain, and + Italy. In 455 they took and plundered Rome, and the way they + mutilated and destroyed the works of art has become a + proverb, hence the monks are compared to them in their + ignorance of art and science.] + </p> + <p> + <a name="697"><!--Line Note 697--></a> [Line 697: + <b>Leo</b>.—Leo X., or the Great (1513-1521), was a + scholar himself, and gave much encouragement to learning and + art.] + </p> + <p> + <a name="704"><!--Line Note 704--></a> [Line 704: + <b>Raphael</b> (1483-1520), an Italian, is almost universally + regarded as the greatest of painters. He received much + encouragement from Leo. <b>Vida</b>—A poet patronised + by Leo. He was the son of poor parents at Cremona (see line + 707), which therefore the poet says, would be next in fame to + Mantua, the birthplace of Virgil as it was next to it in + place. + </p> + <p> + "Mantua vae miserae nimium vicina + Cremona."—Virg.] + </p> + <p> + <a name="714"><!--Line Note 714--></a> [Line 714: + <b>Boileau</b>.—An illustrious French poet (1636-1711), + who wrote a poem on the Art of Poetry, which is copiously + imitated by Pope in this poem.] + </p> + <p> + <a name="723,"><!--Line Note 723,--></a> [Lines 723, 724: + Refers to the Duke of Buckingham's <i>Essay on Poetry</i> + which had been eulogized also by Dryden and Dr. Garth.] + </p> + <p> + <a name="725"><!--Line Note 725--></a> [Line 725: + <b>Roscommon</b>, the Earl of, a poet, who has the honor to + be the first critic who praised Milton's <i>Paradise + Lost</i>, died 1684.] + </p> + <p> + <a name="729"><!--Line Note 729--></a> [Line 729: + <b>Walsh</b>.—An indifferent writer, to whom Pope owed + a good deal, died 1710.] + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of An Essay on Criticism, by Alexander Pope + +*** END OF THIS PROJECT GUTENBERG EBOOK AN ESSAY ON CRITICISM *** + +***** This file should be named 7409-h.htm or 7409-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/7/4/0/7409/ + +Produced by Ted Garvin, David Garcia and the Online +Distributed Proofreading Team. + +Updated editions will replace the previous one--the old editions will +be renamed. + +Creating the works from print editions not protected by U.S. copyright +law means that no one owns a United States copyright in these works, +so the Foundation (and you!) can copy and distribute it in the United +States without permission and without paying copyright +royalties. Special rules, set forth in the General Terms of Use part +of this license, apply to copying and distributing Project +Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm +concept and trademark. Project Gutenberg is a registered trademark, +and may not be used if you charge for the eBooks, unless you receive +specific permission. If you do not charge anything for copies of this +eBook, complying with the rules is very easy. You may use this eBook +for nearly any purpose such as creation of derivative works, reports, +performances and research. They may be modified and printed and given +away--you may do practically ANYTHING in the United States with eBooks +not protected by U.S. copyright law. Redistribution is subject to the +trademark license, especially commercial redistribution. + +START: FULL LICENSE + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full +Project Gutenberg-tm License available with this file or online at +www.gutenberg.org/license. + +Section 1. General Terms of Use and Redistributing Project +Gutenberg-tm electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or +destroy all copies of Project Gutenberg-tm electronic works in your +possession. If you paid a fee for obtaining a copy of or access to a +Project Gutenberg-tm electronic work and you do not agree to be bound +by the terms of this agreement, you may obtain a refund from the +person or entity to whom you paid the fee as set forth in paragraph +1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this +agreement and help preserve free future access to Project Gutenberg-tm +electronic works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the +Foundation" or PGLAF), owns a compilation copyright in the collection +of Project Gutenberg-tm electronic works. Nearly all the individual +works in the collection are in the public domain in the United +States. If an individual work is unprotected by copyright law in the +United States and you are located in the United States, we do not +claim a right to prevent you from copying, distributing, performing, +displaying or creating derivative works based on the work as long as +all references to Project Gutenberg are removed. Of course, we hope +that you will support the Project Gutenberg-tm mission of promoting +free access to electronic works by freely sharing Project Gutenberg-tm +works in compliance with the terms of this agreement for keeping the +Project Gutenberg-tm name associated with the work. You can easily +comply with the terms of this agreement by keeping this work in the +same format with its attached full Project Gutenberg-tm License when +you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are +in a constant state of change. If you are outside the United States, +check the laws of your country in addition to the terms of this +agreement before downloading, copying, displaying, performing, +distributing or creating derivative works based on this work or any +other Project Gutenberg-tm work. The Foundation makes no +representations concerning the copyright status of any work in any +country outside the United States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other +immediate access to, the full Project Gutenberg-tm License must appear +prominently whenever any copy of a Project Gutenberg-tm work (any work +on which the phrase "Project Gutenberg" appears, or with which the +phrase "Project Gutenberg" is associated) is accessed, displayed, +performed, viewed, copied or distributed: + + This eBook is for the use of anyone anywhere in the United States and + most other parts of the world at no cost and with almost no + restrictions whatsoever. You may copy it, give it away or re-use it + under the terms of the Project Gutenberg License included with this + eBook or online at www.gutenberg.org. If you are not located in the + United States, you'll have to check the laws of the country where you + are located before using this ebook. + +1.E.2. If an individual Project Gutenberg-tm electronic work is +derived from texts not protected by U.S. copyright law (does not +contain a notice indicating that it is posted with permission of the +copyright holder), the work can be copied and distributed to anyone in +the United States without paying any fees or charges. If you are +redistributing or providing access to a work with the phrase "Project +Gutenberg" associated with or appearing on the work, you must comply +either with the requirements of paragraphs 1.E.1 through 1.E.7 or +obtain permission for the use of the work and the Project Gutenberg-tm +trademark as set forth in paragraphs 1.E.8 or 1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any +additional terms imposed by the copyright holder. Additional terms +will be linked to the Project Gutenberg-tm License for all works +posted with the permission of the copyright holder found at the +beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including +any word processing or hypertext form. However, if you provide access +to or distribute copies of a Project Gutenberg-tm work in a format +other than "Plain Vanilla ASCII" or other format used in the official +version posted on the official Project Gutenberg-tm web site +(www.gutenberg.org), you must, at no additional cost, fee or expense +to the user, provide a copy, a means of exporting a copy, or a means +of obtaining a copy upon request, of the work in its original "Plain +Vanilla ASCII" or other form. Any alternate format must include the +full Project Gutenberg-tm License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works +provided that + +* You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is owed + to the owner of the Project Gutenberg-tm trademark, but he has + agreed to donate royalties under this paragraph to the Project + Gutenberg Literary Archive Foundation. Royalty payments must be paid + within 60 days following each date on which you prepare (or are + legally required to prepare) your periodic tax returns. Royalty + payments should be clearly marked as such and sent to the Project + Gutenberg Literary Archive Foundation at the address specified in + Section 4, "Information about donations to the Project Gutenberg + Literary Archive Foundation." + +* You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or destroy all + copies of the works possessed in a physical medium and discontinue + all use of and all access to other copies of Project Gutenberg-tm + works. + +* You provide, in accordance with paragraph 1.F.3, a full refund of + any money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days of + receipt of the work. + +* You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project +Gutenberg-tm electronic work or group of works on different terms than +are set forth in this agreement, you must obtain permission in writing +from both the Project Gutenberg Literary Archive Foundation and The +Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm +trademark. Contact the Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +works not protected by U.S. copyright law in creating the Project +Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm +electronic works, and the medium on which they may be stored, may +contain "Defects," such as, but not limited to, incomplete, inaccurate +or corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged disk or +other medium, a computer virus, or computer codes that damage or +cannot be read by your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium +with your written explanation. The person or entity that provided you +with the defective work may elect to provide a replacement copy in +lieu of a refund. If you received the work electronically, the person +or entity providing it to you may choose to give you a second +opportunity to receive the work electronically in lieu of a refund. If +the second copy is also defective, you may demand a refund in writing +without further opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO +OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of +damages. If any disclaimer or limitation set forth in this agreement +violates the law of the state applicable to this agreement, the +agreement shall be interpreted to make the maximum disclaimer or +limitation permitted by the applicable state law. The invalidity or +unenforceability of any provision of this agreement shall not void the +remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in +accordance with this agreement, and any volunteers associated with the +production, promotion and distribution of Project Gutenberg-tm +electronic works, harmless from all liability, costs and expenses, +including legal fees, that arise directly or indirectly from any of +the following which you do or cause to occur: (a) distribution of this +or any Project Gutenberg-tm work, (b) alteration, modification, or +additions or deletions to any Project Gutenberg-tm work, and (c) any +Defect you cause. + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of +computers including obsolete, old, middle-aged and new computers. It +exists because of the efforts of hundreds of volunteers and donations +from people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future +generations. To learn more about the Project Gutenberg Literary +Archive Foundation and how your efforts and donations can help, see +Sections 3 and 4 and the Foundation information page at +www.gutenberg.org + + + +Section 3. Information about the Project Gutenberg Literary Archive Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Contributions to the Project Gutenberg Literary +Archive Foundation are tax deductible to the full extent permitted by +U.S. federal laws and your state's laws. + +The Foundation's principal office is in Fairbanks, Alaska, with the +mailing address: PO Box 750175, Fairbanks, AK 99775, but its +volunteers and employees are scattered throughout numerous +locations. Its business office is located at 809 North 1500 West, Salt +Lake City, UT 84116, (801) 596-1887. Email contact links and up to +date contact information can be found at the Foundation's web site and +official page at www.gutenberg.org/contact + +For additional contact information: + + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To SEND +DONATIONS or determine the status of compliance for any particular +state visit www.gutenberg.org/donate + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. To +donate, please visit: www.gutenberg.org/donate + +Section 5. General Information About Project Gutenberg-tm electronic works. + +Professor Michael S. Hart was the originator of the Project +Gutenberg-tm concept of a library of electronic works that could be +freely shared with anyone. For forty years, he produced and +distributed Project Gutenberg-tm eBooks with only a loose network of +volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as not protected by copyright in +the U.S. unless a copyright notice is included. Thus, we do not +necessarily keep eBooks in compliance with any particular paper +edition. + +Most people start at our Web site which has the main PG search +facility: www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + + +</pre> + +</body> +</html> diff --git a/7409.txt b/7409.txt new file mode 100644 index 0000000..0ee358e --- /dev/null +++ b/7409.txt @@ -0,0 +1,1661 @@ +The Project Gutenberg EBook of An Essay on Criticism, by Alexander Pope + +This eBook is for the use of anyone anywhere in the United States and most +other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms of +the Project Gutenberg License included with this eBook or online at +www.gutenberg.org. If you are not located in the United States, you'll have +to check the laws of the country where you are located before using this ebook. + +Title: An Essay on Criticism + +Author: Alexander Pope + +Posting Date: February 8, 2015 [EBook #7409] +Release Date: February, 2005 +First Posted: April 25, 2003 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK AN ESSAY ON CRITICISM *** + + + + +Produced by Ted Garvin, David Garcia and the Online +Distributed Proofreading Team. + + + + + + + + + + +AN ESSAY ON CRITICISM. + +BY + +ALEXANDER POPE, + +_WITH INTRODUCTORY AND EXPLANATORY NOTES_. + + + +ALEXANDER POPE. + + * * * * * + +This eminent English poet was born in London, May 21, 1688. His parents +were Roman Catholics, and to this faith the poet adhered, thus debarring +himself from public office and employment. His father, a linen merchant, +having saved a moderate competency, withdrew from business, and settled +on a small estate he had purchased in Windsor Forest. He died at +Chiswick, in 1717. His son shortly afterwards took a long lease of a +house and five acres of land at Twickenham, on the banks of the Thames, +whither he retired with his widowed mother, to whom he was tenderly +attached and where he resided till death, cultivating his little domain +with exquisite taste and skill, and embellishing it with a grotto, +temple, wilderness, and other adjuncts poetical and picturesque. In this +famous villa Pope was visited by the most celebrated wits, statesmen and +beauties of the day, himself being the most popular and successful poet +of his age. His early years were spent at Binfield, within the range of +the Royal Forest. He received some education at little Catholic schools, +but was his own instructor after his twelfth year. He never was a +profound or accurate scholar, but he read Latin poets with ease and +delight, and acquired some Greek, French, and Italian. He was a poet +almost from infancy, he "lisped in numbers," and when a mere youth +surpassed all his contemporaries in metrical harmony and correctness. +His pastorals and some translations appeared in 1709, but were written +three or four years earlier. These were followed by the _Essay on +Criticism_, 1711; _Rape of the Lock_ (when completed, the most +graceful, airy, and imaginative of his works), 1712-1714; _Windsor +Forest_, 1713; _Temple of Fame_, 1715. In a collection of his +works printed in 1717 he included the _Epistle of Eloisa_ and +_Elegy on an Unfortunate Lady_, two poems inimitable for pathetic +beauty and finished melodious versification. + +From 1715 till 1726 Pope was chiefly engaged on his translations of the +_Iliad_ and _Odyssey_, which, though wanting in time Homeric +simplicity, naturalness, and grandeur, are splendid poems. In 1728-29 he +published his greatest satire--the _Dunciad_, an attack on all +poetasters and pretended wits, and on all other persons against whom the +sensitive poet had conceived any enmity. In 1737 he gave to the world a +volume of his _Literary Correspondence_, containing some pleasant +gossip and observations, with choice passages of description but it +appears that the correspondence was manufactured for publication not +composed of actual letters addressed to the parties whose names are +given, and the collection was introduced to the public by means of an +elaborate stratagem on the part of the scheming poet. Between the years +1731 and 1739 he issued a series of poetical essays moral and +philosophical, with satires and imitations of Horace, all admirable for +sense, wit, spirit and brilliancy of these delightful productions, the +most celebrated is the _Essay on Man_ to which Bolingbroke is +believed to have contributed the spurious philosophy and false +sentiment, but its merit consists in detached passages, descriptions, +and pictures. A fourth book to the _Dunciad_, containing many +beautiful and striking lines and a general revision of his works, closed +the poet's literary cares and toils. He died on the 30th of May, 1744, +and was buried in the church at Twickenham. + +Pope was of very diminutive stature and deformed from his birth. His +physical infirmity, susceptible temperament, and incessant study +rendered his life one long disease. He was, as his friend Lord +Chesterfield said, "the most irritable of all the _genus irritabile +vatum_, offended with trifles and never forgetting or forgiving +them." His literary stratagems, disguises, assertions, denials, and (we +must add) misrepresentations would fill volumes. Yet when no disturbing +jealousy vanity, or rivalry intervened was generous and affectionate, +and he had a manly, independent spirit. As a poet he was deficient in +originality and creative power, and thus was inferior to his prototype, +Dryden, but as a literary artist, and brilliant declaimer satirist and +moralizer in verse he is still unrivaled. He is the English Horace, and +will as surely descend with honors to the latest posterity. + + + + + + +AN ESSAY ON CRITICISM, + +WRITTEN IN THE YEAR 1709 + + + [The title, _An Essay on Criticism_ hardly indicates all + that is included in the poem. It would have been impossible to + give a full and exact idea of the art of poetical criticism + without entering into the consideration of the art of poetry. + Accordingly Pope has interwoven the precepts of both throughout + the poem which might more properly have been styled an essay on + the Art of Criticism and of Poetry.] + + * * * * * + +PART I. + + 'Tis hard to say if greater want of skill + Appear in writing or in judging ill, + But of the two less dangerous is the offense + To tire our patience than mislead our sense + Some few in that but numbers err in this, + Ten censure wrong for one who writes amiss, + A fool might once himself alone expose, + Now one in verse makes many more in prose. + + 'Tis with our judgments as our watches, none + Go just alike, yet each believes his own + In poets as true genius is but rare + True taste as seldom is the critic share + Both must alike from Heaven derive their light, + These born to judge as well as those to write + Let such teach others who themselves excel, + And censure freely, who have written well + Authors are partial to their wit, 'tis true [17] + But are not critics to their judgment too? + + Yet if we look more closely we shall find + Most have the seeds of judgment in their mind + Nature affords at least a glimmering light + The lines though touched but faintly are drawn right, + But as the slightest sketch if justly traced + Is by ill coloring but the more disgraced + So by false learning is good sense defaced + Some are bewildered in the maze of schools [26] + And some made coxcombs nature meant but fools + In search of wit these lose their common sense + And then turn critics in their own defense + Each burns alike who can or cannot write + Or with a rival's or an eunuch's spite + All fools have still an itching to deride + And fain would be upon the laughing side + If Maevius scribble in Apollo's spite [34] + There are who judge still worse than he can write. + + Some have at first for wits then poets passed + Turned critics next and proved plain fools at last + Some neither can for wits nor critics pass + As heavy mules are neither horse nor ass. + Those half-learned witlings, numerous in our isle, + As half-formed insects on the banks of Nile + Unfinished things one knows not what to call + Their generation is so equivocal + To tell them would a hundred tongues require, + Or one vain wits that might a hundred tire. + + But you who seek to give and merit fame, + And justly bear a critic's noble name, + Be sure yourself and your own reach to know + How far your genius taste and learning go. + Launch not beyond your depth, but be discreet + And mark that point where sense and dullness meet. + + Nature to all things fixed the limits fit + And wisely curbed proud man's pretending wit. + As on the land while here the ocean gains. + In other parts it leaves wide sandy plains + Thus in the soul while memory prevails, + The solid power of understanding fails + Where beams of warm imagination play, + The memory's soft figures melt away + One science only will one genius fit, + So vast is art, so narrow human wit + Not only bounded to peculiar arts, + But oft in those confined to single parts + Like kings, we lose the conquests gained before, + By vain ambition still to make them more + Each might his several province well command, + Would all but stoop to what they understand. + + First follow nature and your judgment frame + By her just standard, which is still the same. + Unerring nature still divinely bright, + One clear, unchanged and universal light, + Life force and beauty, must to all impart, + At once the source and end and test of art + Art from that fund each just supply provides, + Works without show and without pomp presides + In some fair body thus the informing soul + With spirits feeds, with vigor fills the whole, + Each motion guides and every nerve sustains, + Itself unseen, but in the effects remains. + Some, to whom Heaven in wit has been profuse, [80] + Want as much more, to turn it to its use; + For wit and judgment often are at strife, + Though meant each other's aid, like man and wife. + 'Tis more to guide, than spur the muse's steed, + Restrain his fury, than provoke his speed, + The winged courser, like a generous horse, [86] + Shows most true mettle when you check his course. + + Those rules, of old discovered, not devised, + Are nature still, but nature methodized; + Nature, like liberty, is but restrained + By the same laws which first herself ordained. + + Hear how learned Greece her useful rules indites, + When to repress and when indulge our flights. + High on Parnassus' top her sons she showed, [94] + And pointed out those arduous paths they trod; + Held from afar, aloft, the immortal prize, + And urged the rest by equal steps to rise. [97] + Just precepts thus from great examples given, + She drew from them what they derived from Heaven. + The generous critic fanned the poet's fire, + And taught the world with reason to admire. + Then criticism the muse's handmaid proved, + To dress her charms, and make her more beloved: + But following wits from that intention strayed + Who could not win the mistress, wooed the maid + Against the poets their own arms they turned + Sure to hate most the men from whom they learned + So modern pothecaries taught the art + By doctors bills to play the doctor's part. + Bold in the practice of mistaken rules + Prescribe, apply, and call their masters fools. + Some on the leaves of ancient authors prey, + Nor time nor moths e'er spoil so much as they. + Some dryly plain, without invention's aid, + Write dull receipts how poems may be made + These leave the sense their learning to display, + And those explain the meaning quite away. + + You then, whose judgment the right course would steer, + Know well each ancient's proper character, + His fable subject scope in every page, + Religion, country, genius of his age + Without all these at once before your eyes, + Cavil you may, but never criticise. + Be Homers works your study and delight, + Read them by day and meditate by night, + Thence form your judgment thence your maxims bring + And trace the muses upward to their spring. + Still with itself compared, his text peruse, + And let your comment be the Mantuan Muse. [129] + + When first young Maro in his boundless mind, [130] + A work to outlast immortal Rome designed, + Perhaps he seemed above the critic's law + And but from nature's fountain scorned to draw + But when to examine every part he came + Nature and Homer were he found the same + Convinced, amazed, he checks the bold design + And rules as strict his labored work confine + As if the Stagirite o'erlooked each line [138] + Learn hence for ancient rules a just esteem, + To copy nature is to copy them. + + Some beauties yet no precepts can declare, + For there's a happiness as well as care. + Music resembles poetry--in each + Are nameless graces which no methods teach, + And which a master hand alone can reach + If, where the rules not far enough extend + (Since rules were made but to promote their end), + Some lucky license answer to the full + The intent proposed that license is a rule. + Thus Pegasus a nearer way to take + May boldly deviate from the common track + Great wits sometimes may gloriously offend, + And rise to faults true critics dare not mend, + From vulgar bounds with brave disorder part, + And snatch a grace beyond the reach of art, + Which without passing through the judgment gains + The heart and all its end at once attains. + In prospects, thus, some objects please our eyes, + Which out of nature's common order rise, + The shapeless rock or hanging precipice. + But though the ancients thus their rules invade + (As kings dispense with laws themselves have made), + Moderns beware! or if you must offend + Against the precept, ne'er transgress its end, + Let it be seldom, and compelled by need, + And have, at least, their precedent to plead. + The critic else proceeds without remorse, + Seizes your fame, and puts his laws in force. + + I know there are, to whose presumptuous thoughts + Those freer beauties, even in them, seem faults + Some figures monstrous and misshaped appear, + Considered singly, or beheld too near, + Which, but proportioned to their light, or place, + Due distance reconciles to form and grace. + A prudent chief not always must display + His powers in equal ranks and fair array, + But with the occasion and the place comply. + Conceal his force, nay, seem sometimes to fly. + Those oft are stratagems which errors seem, + Nor is it Homer nods, but we that dream. [180] + + Still green with bays each ancient altar stands, + Above the reach of sacrilegious hands, + Secure from flames, from envy's fiercer rage, [183] + Destructive war, and all-involving age. + See, from each clime the learned their incense bring; + Hear, in all tongues consenting Paeans ring! + In praise so just let every voice be joined, + And fill the general chorus of mankind. + Hail! bards triumphant! born in happier days; + Immortal heirs of universal praise! + Whose honors with increase of ages grow, + As streams roll down, enlarging as they flow; + Nations unborn your mighty names shall sound, [193] + And worlds applaud that must not yet be found! + Oh may some spark of your celestial fire, + The last, the meanest of your sons inspire, + (That, on weak wings, from far pursues your flights, + Glows while he reads, but trembles as he writes), + To teach vain wits a science little known, + To admire superior sense, and doubt their own! + + * * * * * + +PART II. + + Of all the causes which conspire to blind + Man's erring judgment and misguide the mind, + What the weak head with strongest bias rules, + Is pride, the never-failing vice of fools. + Whatever nature has in worth denied, + She gives in large recruits of needful pride; + For as in bodies, thus in souls, we find + What wants in blood and spirits, swelled with wind: + Pride where wit fails steps in to our defense, + And fills up all the mighty void of sense. + If once right reason drives that cloud away, + Truth breaks upon us with resistless day + Trust not yourself, but your defects to know, + Make use of every friend--and every foe. + + A little learning is a dangerous thing + Drink deep, or taste not the Pierian spring [216] + There shallow draughts intoxicate the brain, + And drinking largely sobers us again. + Fired at first sight with what the muse imparts, + In fearless youth we tempt the heights of arts + While from the bounded level of our mind + Short views we take nor see the lengths behind + But more advanced behold with strange surprise, + New distant scenes of endless science rise! + So pleased at first the towering Alps we try, + Mount o'er the vales and seem to tread the sky, + The eternal snows appear already passed + And the first clouds and mountains seem the last. + But those attained we tremble to survey + The growing labors of the lengthened way + The increasing prospect tires our wandering eyes, + Hills peep o'er hills and Alps on Alps arise! + + A perfect judge will read each work of wit + With the same spirit that its author writ + Survey the whole nor seek slight faults to find + Where nature moves and rapture warms the mind, + Nor lose for that malignant dull delight + The generous pleasure to be charmed with wit + But in such lays as neither ebb nor flow, + Correctly cold and regularly low + That, shunning faults, one quiet tenor keep; + We cannot blame indeed--but we may sleep. + In wit, as nature, what affects our hearts + Is not the exactness of peculiar parts, + 'Tis not a lip, or eye, we beauty call, + But the joint force and full result of all. + Thus, when we view some well proportioned dome + (The worlds just wonder, and even thine, O Rome!), [248] + No single parts unequally surprise, + All comes united to the admiring eyes; + No monstrous height or breadth, or length, appear; + The whole at once is bold, and regular. + + Whoever thinks a faultless piece to see. + Thinks what ne'er was, nor is, nor e'er shall be. + In every work regard the writer's end, + Since none can compass more than they intend; + And if the means be just, the conduct true, + Applause, in spite of trivial faults, is due. + As men of breeding, sometimes men of wit, + To avoid great errors, must the less commit: + Neglect the rules each verbal critic lays, + For not to know some trifles is a praise. + Most critics, fond of some subservient art, + Still make the whole depend upon a part: + They talk of principles, but notions prize, + And all to one loved folly sacrifice. + + Once on a time La Mancha's knight, they say, [267] + A certain bard encountering on the way, + Discoursed in terms as just, with looks as sage, + As e'er could Dennis, of the Grecian stage; [270] + Concluding all were desperate sots and fools, + Who durst depart from Aristotle's rules + Our author, happy in a judge so nice, + Produced his play, and begged the knight's advice; + Made him observe the subject, and the plot, + The manners, passions, unities, what not? + All which, exact to rule, were brought about, + Were but a combat in the lists left out + "What! leave the combat out?" exclaims the knight. + "Yes, or we must renounce the Stagirite." + "Not so, by heaven!" (he answers in a rage) + "Knights, squires, and steeds must enter on the stage." + "So vast a throng the stage can ne'er contain." + "Then build a new, or act it in a plain." + + Thus critics of less judgment than caprice, + Curious, not knowing, not exact, but nice, + Form short ideas, and offend in arts + (As most in manners) by a love to parts. + + Some to conceit alone their taste confine, + And glittering thoughts struck out at every line; + Pleased with a work where nothing's just or fit; + One glaring chaos and wild heap of wit. + Poets, like painters, thus, unskilled to trace + The naked nature and the living grace, + With gold and jewels cover every part, + And hide with ornaments their want of art. + True wit is nature to advantage dressed; + What oft was thought, but ne'er so well expressed; + Something, whose truth convinced at sight we find + That gives us back the image of our mind. + As shades more sweetly recommend the light, + So modest plainness sets off sprightly wit + For works may have more wit than does them good, + As bodies perish through excess of blood. + + Others for language all their care express, + And value books, as women men, for dress. + Their praise is still--"the style is excellent," + The sense they humbly take upon content [308] + Words are like leaves, and where they most abound + Much fruit of sense beneath is rarely found. + False eloquence, like the prismatic glass. [311] + Its gaudy colors spreads on every place, + The face of nature we no more survey. + All glares alike without distinction gay: + But true expression, like the unchanging sun, + Clears and improves whate'er it shines upon; + It gilds all objects, but it alters none. + Expression is the dress of thought, and still + Appears more decent, as more suitable, + A vile conceit in pompous words expressed, + Is like a clown in regal purple dressed + For different styles with different subjects sort, + As several garbs with country town and court + Some by old words to fame have made pretense, + Ancients in phrase, mere moderns in their sense; + Such labored nothings, in so strange a style, + Amaze the unlearned, and make the learned smile. + Unlucky, as Fungoso in the play, [328] + These sparks with awkward vanity display + What the fine gentleman wore yesterday; + And but so mimic ancient wits at best, + As apes our grandsires in their doublets dressed. + In words as fashions the same rule will hold, + Alike fantastic if too new or old. + Be not the first by whom the new are tried, + Nor yet the last to lay the old aside + + But most by numbers judge a poet's song + And smooth or rough, with them is right or wrong. + In the bright muse though thousand charms conspire, + Her voice is all these tuneful fools admire, + Who haunt Parnassus but to please their ear, + Not mend their minds, as some to church repair, + Not for the doctrine but the music there + These equal syllables alone require, + Though oft the ear the open vowels tire; + While expletives their feeble aid do join; + And ten low words oft creep in one dull line, + While they ring round the same unvaried chimes, + With sure returns of still expected rhymes, + Where'er you find "the cooling western breeze," + In the next line it "whispers through the trees" + If crystal streams "with pleasing murmurs creep" + The reader's threatened (not in vain) with "sleep" + Then, at the last and only couplet fraught + With some unmeaning thing they call a thought, + A needless Alexandrine ends the song [356] + That, like a wounded snake drags its slow length along. + + Leave such to tune their own dull rhymes, and know + What's roundly smooth or languishingly slow; + And praise the easy vigor of a line, + Where Denham's strength, and Waller's sweetness join. [361] + True ease in writing comes from art, not chance, + As those move easiest who have learned to dance + 'Tis not enough no harshness gives offense, + The sound must seem an echo to the sense. + Soft is the strain when Zephyr gently blows, [366] + And the smooth stream in smoother numbers flows, + But when loud surges lash the sounding shore, + The hoarse, rough verse should like the torrent roar, + When Ajax strives some rock's vast weight to throw, + The line too labors, and the words move slow; + Not so, when swift Camilla scours the plain, + Flies o'er the unbending corn, and skims along the main. [373] + Hear how Timotheus' varied lays surprise, [374] + And bid alternate passions fall and rise! + While, at each change, the son of Libyan Jove [376] + Now burns with glory, and then melts with love; + Now his fierce eyes with sparkling fury glow, + Now sighs steal out, and tears begin to flow: + Persians and Greeks like turns of nature found, + And the world's victor stood subdued by sound? [381] + The power of music all our hearts allow, + And what Timotheus was, is Dryden now. + + Avoid extremes, and shun the fault of such, + Who still are pleased too little or too much. + At every trifle scorn to take offense, + That always shows great pride, or little sense: + Those heads, as stomachs, are not sure the best, + Which nauseate all, and nothing can digest. + Yet let not each gay turn thy rapture move; + For fools admire, but men of sense approve: + As things seem large which we through mist descry, + Dullness is ever apt to magnify. [393] + + Some foreign writers, some our own despise, + The ancients only, or the moderns prize. + Thus wit, like faith, by each man is applied + To one small sect, and all are damned beside. + Meanly they seek the blessing to confine, + And force that sun but on a part to shine, + Which not alone the southern wit sublimes, + But ripens spirits in cold northern climes. + Which from the first has shone on ages past, + Enlights the present, and shall warm the last, + Though each may feel increases and decays, + And see now clearer and now darker days. + Regard not then if wit be old or new, + But blame the false, and value still the true. + + Some ne'er advance a judgment of their own, + But catch the spreading notion of the town, + They reason and conclude by precedent, + And own stale nonsense which they ne'er invent. + Some judge of authors names not works, and then + Nor praise nor blame the writing, but the men. + Of all this servile herd the worst is he + That in proud dullness joins with quality + A constant critic at the great man's board, + To fetch and carry nonsense for my lord + What woful stuff this madrigal would be, + In some starved hackney sonnetteer, or me! + But let a lord once own the happy lines, + How the wit brightens! how the style refines! + Before his sacred name flies every fault, + And each exalted stanza teems with thought! + + The vulgar thus through imitation err; + As oft the learned by being singular. + So much they scorn the crowd that if the throng + By chance go right they purposely go wrong: + So schismatics the plain believers quit, + And are but damned for having too much wit. + Some praise at morning what they blame at night, + But always think the last opinion right. + A muse by these is like a mistress used, + This hour she's idolized, the next abused; + While their weak heads, like towns unfortified, + 'Twixt sense and nonsense daily change their side. + Ask them the cause, they're wiser still they say; + And still to-morrow's wiser than to-day. + We think our fathers fools, so wise we grow; + Our wiser sons, no doubt, will think us so. + Once school-divines this zealous isle o'erspread. + Who knew most sentences was deepest read, [441] + Faith, Gospel, all, seemed made to be disputed, + And none had sense enough to be confuted: + Scotists and Thomists now in peace remain, [444] + Amidst their kindred cobwebs in Duck Lane. [445] + If faith itself has different dresses worn, + What wonder modes in wit should take their turn? + Oft, leaving what is natural and fit, + The current folly proves the ready wit; + And authors think their reputation safe, + Which lives as long as fools are pleased to laugh. + + Some valuing those of their own side or mind, + Still make themselves the measure of mankind: + Fondly we think we honor merit then, + When we but praise ourselves in other men. + Parties in wit attend on those of state, + And public faction doubles private hate. + Pride, malice, folly against Dryden rose, + In various shapes of parsons, critics, beaux; [459] + But sense survived, when merry jests were past; + For rising merit will buoy up at last. + Might he return, and bless once more our eyes, + New Blackmores and new Millbourns must arise: [463] + Nay, should great Homer lift his awful head, + Zoilus again would start up from the dead [465] + Envy will merit, as its shade, pursue, + But like a shadow, proves the substance true: + For envied wit, like Sol eclipsed, makes known + The opposing body's grossness, not its own. + When first that sun too powerful beams displays, + It draws up vapors which obscure its rays, + But even those clouds at last adorn its way + Reflect new glories and augment the day + + Be thou the first true merit to befriend + His praise is lost who stays till all commend + Short is the date alas! of modern rhymes + And 'tis but just to let them live betimes + No longer now that golden age appears + When patriarch wits survived a thousand years [479] + Now length of fame (our second life) is lost + And bare threescore is all even that can boast, + Our sons their fathers failing language see + And such as Chaucer is shall Dryden be + So when the faithful pencil has designed + Some bright idea of the master's mind + Where a new world leaps out at his command + And ready nature waits upon his hand + When the ripe colors soften and unite + And sweetly melt into just shade and light + When mellowing years their full perfection give + And each bold figure just begins to live + The treacherous colors the fair art betray + And all the bright creation fades away! + + Unhappy wit, like most mistaken things + Atones not for that envy which it brings + In youth alone its empty praise we boast + But soon the short lived vanity is lost. + Like some fair flower the early spring supplies + That gayly blooms but even in blooming dies + What is this wit, which must our cares employ? + The owner's wife that other men enjoy + Then most our trouble still when most admired + And still the more we give the more required + Whose fame with pains we guard, but lose with ease, + Sure some to vex, but never all to please, + 'Tis what the vicious fear, the virtuous shun, + By fools 'tis hated, and by knaves undone! + + If wit so much from ignorance undergo, + Ah! let not learning too commence its foe! + Of old, those met rewards who could excel, + And such were praised who but endeavored well: + Though triumphs were to generals only due, + Crowns were reserved to grace the soldiers too. + Now they who reach Parnassus' lofty crown, + Employ their pains to spurn some others down; + And, while self-love each jealous writer rules, + Contending wits become the sport of fools: + But still the worst with most regret commend, + For each ill author is as bad a friend + To what base ends, and by what abject ways, + Are mortals urged, through sacred lust of praise! + Ah, ne'er so dire a thirst of glory boast, + Nor in the critic let the man be lost + Good-nature and good sense must ever join; + To err is human, to forgive, divine. + + But if in noble minds some dregs remain, + Not yet purged off, of spleen and sour disdain; + Discharge that rage on more provoking crimes, + Nor fear a dearth in these flagitious times. + No pardon vile obscenity should find, + Though wit and art conspire to move your mind; + But dullness with obscenity must prove + As shameful sure as impotence in love. + In the fat age of pleasure, wealth, and ease, + Sprung the rank weed, and thrived with large increase: + When love was all an easy monarch's care, [536] + Seldom at council, never in a war + Jilts ruled the state, and statesmen farces writ; + Nay, wits had pensions, and young lords had wit: + The fair sat panting at a courtier's play, + And not a mask went unimproved away: [541] + The modest fan was lifted up no more, + And virgins smiled at what they blushed before. + The following license of a foreign reign, [544] + Did all the dregs of bold Socinus drain, [545] + Then unbelieving priests reformed the nation. + And taught more pleasant methods of salvation; + Where Heaven's free subjects might their rights dispute, + Lest God himself should seem too absolute: + Pulpits their sacred satire learned to spare, + And vice admired to find a flatterer there! + Encouraged thus, wit's Titans braved the skies, [552] + And the press groaned with licensed blasphemies. + These monsters, critics! with your darts engage, + Here point your thunder, and exhaust your rage! + Yet shun their fault, who, scandalously nice, + Will needs mistake an author into vice; + All seems infected that the infected spy, + As all looks yellow to the jaundiced eye. + + * * * * * + + +PART III. + + Learn, then, what morals critics ought to show, + For 'tis but half a judge's task to know. + 'Tis not enough, taste, judgment, learning, join; + In all you speak, let truth and candor shine: + That not alone what to your sense is due + All may allow, but seek your friendship too. + + Be silent always, when you doubt your sense; + And speak, though sure, with seeming diffidence: + Some positive persisting fops we know, + Who, if once wrong will needs be always so; + But you, with pleasure, own your errors past, + And make each day a critique on the last. + + 'Tis not enough your counsel still be true; + Blunt truths more mischief than nice falsehoods do; + Men must be taught as if you taught them not, + And things unknown proposed as things forgot. + Without good breeding truth is disapproved; + That only makes superior sense beloved. + + Be niggards of advice on no pretense; + For the worst avarice is that of sense + With mean complacence, ne'er betray your trust, + Nor be so civil as to prove unjust + Fear not the anger of the wise to raise, + Those best can bear reproof who merit praise. + + 'Twere well might critics still this freedom take, + But Appius reddens at each word you speak, [585] + And stares, tremendous with a threatening eye, + Like some fierce tyrant in old tapestry + Fear most to tax an honorable fool + Whose right it is uncensured to be dull + Such, without wit are poets when they please, + As without learning they can take degrees + Leave dangerous truths to unsuccessful satires, + And flattery to fulsome dedicators + Whom, when they praise, the world believes no more, + Than when they promise to give scribbling o'er. + + 'Tis best sometimes your censure to restrain, + And charitably let the dull be vain + Your silence there is better than your spite, + For who can rail so long as they can write? + Still humming on, their drowsy course they keep, + And lashed so long like tops are lashed asleep. + False steps but help them to renew the race, + As after stumbling, jades will mend their pace. + What crowds of these, impenitently bold, + In sounds and jingling syllables grown old, + Still run on poets in a raging vein, + Even to the dregs and squeezing of the brain; + Strain out the last dull droppings of their sense, + And rhyme with all the rage of impotence! + + Such shameless bards we have, and yet, 'tis true, + There are as mad abandoned critics, too + The bookful blockhead ignorantly read, + With loads of learned lumber in his head, + With his own tongue still edifies his ears, + And always listening to himself appears + All books he reads and all he reads assails + From Dryden's Fables down to Durfey's Tales [617] + With him most authors steal their works or buy; + Garth did not write his own Dispensary [619] + Name a new play, and he's the poets friend + Nay, showed his faults--but when would poets mend? + No place so sacred from such fops is barred, + Nor is Paul's Church more safe than Paul's Churchyard: [623] + Nay, fly to altars; there they'll talk you dead, + For fools rush in where angels fear to tread + Distrustful sense with modest caution speaks, + It still looks home, and short excursions makes; + But rattling nonsense in full volleys breaks, + And, never shocked, and never turned aside. + Bursts out, resistless, with a thundering tide, + + But where's the man who counsel can bestow, + Still pleased to teach, and yet not proud to know? + Unbiased, or by favor, or in spite, + Not dully prepossessed, nor blindly right; + Though learned, well-bred, and though well bred, sincere, + Modestly bold, and humanly severe, + Who to a friend his faults can freely show, + And gladly praise the merit of a foe? + Blessed with a taste exact, yet unconfined; + A knowledge both of books and human kind; + Generous converse, a soul exempt from pride; + And love to praise, with reason on his side? + + Such once were critics such the happy few, + Athens and Rome in better ages knew. + The mighty Stagirite first left the shore, [645] + Spread all his sails, and durst the deeps explore; + He steered securely, and discovered far, + Led by the light of the Maeonian star. [648] + Poets, a race long unconfined and free, + Still fond and proud of savage liberty, + Received his laws, and stood convinced 'twas fit, + Who conquered nature, should preside o'er wit. [652] + + Horace still charms with graceful negligence, + And without method talks us into sense; + Will like a friend familiarly convey + The truest notions in the easiest way. + He who supreme in judgment as in wit, + Might boldly censure, as he boldly writ, + Yet judged with coolness though he sung with fire; + His precepts teach but what his works inspire + Our critics take a contrary extreme + They judge with fury, but they write with phlegm: + Nor suffers Horace more in wrong translations + By wits than critics in as wrong quotations. + + See Dionysius Homer's thoughts refine, [665] + And call new beauties forth from every line! + + Fancy and art in gay Petronius please, [667] + The scholar's learning with the courtier's ease. + + In grave Quintilian's copious work we find [669] + The justest rules and clearest method joined: + Thus useful arms in magazines we place, + All ranged in order, and disposed with grace, + But less to please the eye, than arm the hand, + Still fit for use, and ready at command. + + Thee bold Longinus! all the Nine inspire, [675] + And bless their critic with a poet's fire. + An ardent judge, who, zealous in his trust, + With warmth gives sentence, yet is always just: + Whose own example strengthens all his laws; + And is himself that great sublime he draws. + + Thus long succeeding critics justly reigned, + License repressed, and useful laws ordained. + Learning and Rome alike in empire grew; + And arts still followed where her eagles flew, + From the same foes at last, both felt their doom, + And the same age saw learning fall, and Rome. [686] + With tyranny then superstition joined + As that the body, this enslaved the mind; + Much was believed but little understood, + And to be dull was construed to be good; + A second deluge learning thus o'errun, + And the monks finished what the Goths begun. [692] + + At length Erasmus, that great injured name [693] + (The glory of the priesthood and the shame!) + Stemmed the wild torrent of a barbarous age, + And drove those holy Vandals off the stage. [696] + + But see! each muse, in Leo's golden days, [697] + Starts from her trance and trims her withered bays, + Rome's ancient genius o'er its ruins spread + Shakes off the dust, and rears his reverent head + Then sculpture and her sister arts revive, + Stones leaped to form, and rocks began to live; + With sweeter notes each rising temple rung, + A Raphael painted, and a Vida sung [704] + Immortal Vida! on whose honored brow + The poets bays and critic's ivy grow + Cremona now shall ever boast thy name + As next in place to Mantua, next in fame! + + But soon by impious arms from Latium chased, + Their ancient bounds the banished muses passed. + Thence arts o'er all the northern world advance, + But critic-learning flourished most in France, + The rules a nation born to serve, obeys; + And Boileau still in right of Horace sways [714] + But we, brave Britons, foreign laws despised, + And kept unconquered and uncivilized, + Fierce for the liberties of wit and bold, + We still defied the Romans as of old. + Yet some there were, among the sounder few + Of those who less presumed and better knew, + Who durst assert the juster ancient cause, + And here restored wit's fundamental laws. + Such was the muse, whose rule and practice tell + "Nature's chief masterpiece is writing well." + Such was Roscommon, not more learned than good, + With manners generous as his noble blood, + To him the wit of Greece and Rome was known, + And every author's merit, but his own + Such late was Walsh--the muse's judge and friend, + Who justly knew to blame or to commend, + To failings mild, but zealous for desert, + The clearest head, and the sincerest heart, + This humble praise, lamented shade! receive, + This praise at least a grateful muse may give. + The muse whose early voice you taught to sing + Prescribed her heights and pruned her tender wing, + (Her guide now lost) no more attempts to rise, + But in low numbers short excursions tries, + Content if hence the unlearned their wants may view, + The learned reflect on what before they knew + Careless of censure, nor too fond of fame, + Still pleased to praise, yet not afraid to blame, + Averse alike to flatter, or offend, + Not free from faults, nor yet too vain to mend. + + * * * * * + + + + + + +LINE NOTES + + +[Line 17: Wit is used in the poem in a great variety of +meanings (1) Here it seems to mean _genius_ or _fancy_, +(2) in line 36 _a man of fancy_, (3) in line 53 _the +understanding_ or _powers of the mind_, (4) in line 81 it +means _judgment_.] + +[Line 26: Schools--Different systems of doctrine or +philosophy as taught by particular teachers.] + +[Line 34: Maevius--An insignificant poet of the Augustan age, +ridiculed by Virgil in his third Eclogue and by Horace in his tenth +Epode.] + +[Lines 80, 81: There is here a slight inaccuracy or inconsistency, +since "wit" has a different meaning in the two lines: in 80, it means +_fancy,_ in 81, _judgment_.] + +[Line 86: The winged courser.--Pegasus, a winged horse which +sprang from the blood of Medusa when Perseus cut off her head. As soon +as born he left the earth and flew up to heaven, or, according to Ovid, +took up his abode on Mount Helicon, and was always associated with the +Muses.] + +[Line 94: Parnassus.--A mountain of Phocis, which received +its name from Parnassus, the son of Neptune, and was sacred to the +Muses, Apollo and Bacchus.] + +[Line 97: Equal steps.--Steps equal to the undertaking.] + +[Line 129: The Mantuan Muse--Virgil called Maro in the next +line (his full name being, Virgilius Publius Maro) born near Mantua, +70 B.C.] + +[Lines 130-136: It is said that Virgil first intended to write a poem +on the Alban and Roman affairs which he found beyond his powers, and +then he imitated Homer: + + Cum canerem reges et proelia Cynthius aurem + Vellit--_Virg. Ecl. VI_] + +[Line 138: The Stagirite--Aristotle, born at the Greek town of +Stageira on the Strymonic Gulf (Gulf of Contessa, in Turkey) 384 B.C., +whose treatises on Rhetoric and the Art of Poetry were the earliest +development of a Philosophy of Criticism and still continue to be +studied. + +The poet contradicts himself with regard to the principle he is here +laying down in lines 271-272 where he laughs at Dennis for + + Concluding all were desperate sots and fools + Who durst depart from Aristotle's rules.] + +[Line 180: Homer nods--_Quandoque bonus dormitat +Homerus_, 'even the good Homer nods'--Horace, _Epistola ad +Pisones_, 359.] + +[Lines 183, 184: Secure from flames.--The poet probably +alludes to such fires as those in which the Alexandrine and Palatine +Libraries were destroyed. From envy's fiercer rage.--Probably he +alludes to the writings of such men as Maevius (see note to line 34) and +Zoilus, a sophist and grammarian of Amphipolis, who distinguished +himself by his criticism on Isocrates, Plato, and Homer, receiving the +nickname of _Homeromastic_ (chastiser of Homer). Destructive +war--Probably an allusion to the irruption of the barbarians into +the south of Europe. And all-involving age; that is, time. This is +usually explained as an allusion to 'the long reign of ignorance and +superstition in the cloisters,' but it is surely far-fetched, and more +than the language will bear.] + +[Lines 193, 194: + + 'Round the whole world this dreaded name shall sound, + And reach to worlds that must not yet be found,"--COWLEY.] + +[Line 216: The Pierian spring--A fountain in Pieria, a district round +Mount Olympus and the native country of the Muses.] + +[Line 248: And even thine, O Rome.--The dome of St Peter's +Church, designed by Michael Angelo.] + +[Line 267: La Mancha's Knight.--Don Quixote, a fictitious +Spanish knight, the hero of a book written (1605) by Cervantes, a +Spanish writer.] + +[Line 270: Dennis, the son of a saddler in London, born 1657, +was a mediocre writer, and rather better critic of the time, with whom +Pope came a good deal into collision. Addison's tragedy of _Cato_, +for which Pope had written a prologue, had been attacked by Dennis. +Pope, to defend Addison, wrote an imaginary report, pretending to be +written by a notorious quack mad-doctor of the day, entitled _The +Narrative of Dr. Robert Norris on the Frenz of F. D._ Dennis replied +to it by his _Character of Mr. Pope_. Ultimately Pope gave him a +place in his _Dunciad_, and wrote a prologue for his benefit.] + +[Line 308: On content.--On trust, a common use of the word in +Pope's time.] + +[Lines 311, 312: Prismatic glass.--A glass prism by which +light is refracted, and the component rays, which are of different +colors being refracted at different angles show what is called a +spectrum or series of colored bars, in the order violet, indigo, blue, +green, yellow, orange, red.] + +[Line 328: Fungoso--One of the characters in Ben Jonson's +_Every Man out of his Humor_ who assumed the dress and tried to +pass himself off for another.] + +[Line 356: Alexandrine--A line of twelve syllables, so called +from a French poem on the Life of Alexander the Great, written in that +meter. The poet gives a remarkable example in the next line.] + +[Line 361: Sir John Denham, a poet of the time of Charles I. (1615-1668). +His verse is characterized by considerable smoothness and ingenuity of +rhythm, with here and there a passage of some force--Edmund Waller +(1606-1687) is celebrated as one of the refiners of English poetry. +His rank among English poets, however, is very subordinate.] + +[Line 366: Zephyr.--Zephyrus, the west wind personified by the +poets and made the most mild and gentle of the sylvan deities.] + +[Lines 366-373: In this passage the poet obviously intended to make +"the sound seem an echo to the sense". The success of the attempt has +not been very complete except in the second two lines, expressing the +dash and roar of the waves, and in the last two, expressing the skimming, +continuous motion of Camilla. What he refers to is the onomatopoeia of +Homer and Virgil in the passages alluded to. Ajax, the son of +Telamon, was, next to Achilles, the bravest of all the Greeks in the +Trojan war. When the Greeks were challenged by Hector he was chosen +their champion and it was in their encounter that he seized a huge stone +and hurled it at Hector. + +Thus rendered by Pope himself: + + "Then Ajax seized the fragment of a rock + Applied each nerve, and swinging round on high, + With force tempestuous let the ruin fly + The huge stone thundering through his buckler broke." + +Camilla, queen of the Volsci, was brought up in the woods, and, +according to Virgil, was swifter than the winds. She led an army to +assist Turnus against Aeneas. + + "Dura pan, cursuque pedum praevertere ventos. + Illa vel intactae segetis per summa volaret + Gramina nec teneras cursu laesisset aristas; + Vel mare per medium fluctu suspensa tumenti, + Ferret iter, celeres nec tingeret aequore plantas." + _Aen_. vii 807-811. + +Thus rendered by Dryden. + + "Outstripped the winds in speed upon the plain, + Flew o'er the fields, nor hurt the bearded grain; + She swept the seas, and as she skimmed along, + Her flying feet unbathed on billows hung"] + +[Lines 374-381: This passage refers to Dryden's ode, _Alexander's +Feast_, or _The Power of Music_. Timotheus, mentioned in it, was +a musician of Boeotia, a favorite of Alexander's, not the great musician +Timotheus, who died before Alexander was born, unless, indeed, Dryden +have confused the two.] + +[Line 376: The son of Libyan Jove.--A title arrogated to +himself by Alexander.] + +[Line 393: Dullness here 'seems to be incorrectly used. +Ignorance is apt to magnify, but dullness reposes in stolid +indifference.'] + +[Line 441: Sentences--Passages from the Fathers of the Church +who were regarded as decisive authorities on all disputed points of +doctrine.] + +[Line 444: Scotists--The disciples of Duns Scotus, one of the +most famous and influential of the scholastics of the fourteenth +century, who was opposed to Thomas Aquinas (1224-1274), another famous +scholastic, regarding the doctrines of grace and the freedom of the +will, but especially the immaculate conception of the Virgin. The +followers of the latter were called Thomists, between whom and the +Scotists bitter controversies were carried on.] + +[Line 445: Duck Lane.--A place near Smithfield where old +books were sold. The cobwebs were kindred to the works of these +controversialists, because their arguments were intricate and obscure. +Scotus is said to have demolished two hundred objections to the doctrine +of the immaculate conception, and established it by a cloud of proofs.] + +[Line 459: Parsons.--This is an allusion to Jeremy Collier, +the author of _A Short View etc, of the English Stage_. Critics, +beaux.--This to the Duke of Buckingham, the author of _The +Rehearsal_.] + +[Line 463: Blackmore, Sir Richard (1652-1729), one of the +court physicians and the writer of a great deal of worthless poetry. He +attacked the dramatists of the time generally and Dryden individually, +and is the Quack Maurus of Dryden's prologue to _The Secular +Masque_. Millbourn, Rev. Luke, who criticised Dryden; which +criticism, although sneered at by Pope, is allowed to have been judicious +and decisive.] + +[Line 465: Zoilus. See note on line 183.] + +[Line 479: Patriarch wits--Perhaps an allusion to the great +age to which the antediluvian patriarchs of the Bible lived.] + +[Line 536: An easy monarch.--Charles II.] + +[Line 541: At that time ladies went to the theater in masks.] + +[Line 544: A foreign reign.--The reign of the foreigner, +William III.] + +[Line 545: Socinus.--The reaction from the fanaticism of the +Puritans, who held extreme notions of free grace and satisfaction, by +resolving all Christianity into morality, led the way to the +introduction of Socinianism, the most prominent feature of which is the +denial of the existence of the Trinity.] + +[Line 552: Wit's Titans.--The Titans, in Greek mythology, +were the children of Uranus (heaven) and Gaea (earth), and of gigantic +size. They engaged in a conflict with Zeus, the king of heaven, which +lasted ten years. They were completely defeated, and hurled down into a +dungeon below Tartarus. Very often they are confounded with the Giants, +as has apparently been done here by Pope. These were a later progeny of +the same parents, and in revenge for what had been done to the Titans, +conspired to dethrone Zeus. In order to scale heaven, they piled Mount +Ossa upon Pelion, and would have succeeded in their attempt if Zeus had +not called in the assistance of his son Hercules.] + +[Line 585: Appius.--He refers to Dennis (see note to verse +270) who had published a tragedy called _Appius and Virginia_. He +retaliated for these remarks by coarse personalities upon Pope, in his +criticism of this poem.] + +[Line 617: Durfey's Tales.--Thomas D'Urfey, the author (in +the reign of Charles II.) of a sequel in five acts of _The +Rehearsal_, a series of sonnets entitled _Pills to Purge +Melancholy_, the Tales here alluded to, etc. He was a very inferior +poet, although Addison pleaded for him.] + +[Line 619: Garth, Dr., afterwards Sir Samuel (born 1660) an +eminent physician and a poet of considerable reputation He is best known +as the author of _The Dispensary_, a poetical satire on the +apothecaries and physicians who opposed the project of giving medicine +gratuitously to the sick poor. The poet alludes to a slander current at +the time with regard to the authorship of the poem.] + +[Line 623: St Paul's Churchyard, before the fire of London, was +the headquarters of the booksellers.] + +[Lines 645, 646: See note on line 138.] + +[Line 648: The Maeonian star.--Homer, supposed by some to have been +born in Maeonia, a part of Lydia in Asia Minor, and whose poems were the +chief subject of Aristotle's criticism.] + +[Line 652: Who conquered nature--He wrote, besides his other +works, treatises on Astronomy, Mechanics, Physics, and Natural History.] + +[Line 665: Dionysius, born at Halicarnassus about 50 B.C., was +a learned critic, historian, and rhetorician at Rome in the Augustan +age.] + +[Line 667: Petronius.--A Roman voluptuary at the court of +Nero whose ambition was to shine as a court exquisite. He is generally +supposed to be the author of certain fragments of a comic romance called +_Petronii Arbitri Satyricon_.] + +[Line 669: Quintilian, born in Spain 40 A.D. was a celebrated +teacher of rhetoric and oratory at Rome. His greatwork is _De +Institutione Oratorica_, a complete system of rhetoric, which is here +referred to.] + +[Line 675: Longinus, a Platonic philosopher and famous +rhetorician, born either in Syria or at Athens about 213 A.D., was +probably the best critic of antiquity. From his immense knowledge, he +was called "a living library" and "walking museum," hence the poet speaks +of him as inspired by _all the Nine_--Muses that is. These were +Clio, the muse of History, Euterpe, of Music, Thaleia, of Pastoral and +Comic Poetry and Festivals, Melpomene, of Tragedy, Terpsichore, of +Dancing, Erato, of Lyric and Amorous Poetry, Polyhymnia, of Rhetoric and +Singing, Urania, of Astronomy, Calliope, of Eloquence and Heroic +Poetry.] + +[Line 686: Rome.--For this pronunciation (to rhyme with _doom_) +he has Shakespeare's example as precedent.] + +[Line 692: Goths.--A powerful nation of the Germanic race, +which, originally from the Baltic, first settled near the Black Sea, and +then overran and took an important part in the subversion of the Roman +empire. They were distinguished as Ostro Goths (Eastern Goths) on the +shores of the Black Sea, the Visi Goths (Western Goths) on the Danube, +and the Moeso Goths, in Moesia ] + +[Line 693: Erasmus.--A Dutchman (1467-1536), and at one time +a Roman Catholic priest, who acted as tutor to Alexander Stuart, a +natural son of James IV. of Scotland as professor of Greek for a short +time at Oxford, and was the most learned man of his time. His best known +work is his _Colloquia_, which contains satirical onslaughts on +monks, cloister life, festivals, pilgrimages etc.] + +[Line 696: Vandals.--A race of European barbarians, who first +appear historically about the second century, south of the Baltic. They +overran in succession Gaul, Spain, and Italy. In 455 they took and +plundered Rome, and the way they mutilated and destroyed the works of +art has become a proverb, hence the monks are compared to them in their +ignorance of art and science.] + +[Line 697: Leo.--Leo X., or the Great (1513-1521), was a +scholar himself, and gave much encouragement to learning and art.] + +[Line 704: Raphael (1483-1520), an Italian, is almost +universally regarded as the greatest of painters. He received much +encouragement from Leo. Vida--A poet patronised by Leo. He was +the son of poor parents at Cremona (see line 707), which therefore the +poet says, would be next in fame to Mantua, the birthplace of Virgil as +it was next to it in place. + + "Mantua vae miserae nimium vicina Cremona."--Virg.] + +[Line 714: Boileau.--An illustrious French poet (1636-1711), +who wrote a poem on the Art of Poetry, which is copiously imitated by +Pope in this poem.] + +[Lines 723, 724: Refers to the Duke of Buckingham's _Essay on +Poetry_ which had been eulogized also by Dryden and Dr. Garth.] + +[Line 725: Roscommon, the Earl of, a poet, who has the honor +to be the first critic who praised Milton's _Paradise Lost_, died +1684.] + +[Line 729: Walsh.--An indifferent writer, to whom Pope owed a +good deal, died 1710.] + + + + + + + + + + +End of the Project Gutenberg EBook of An Essay on Criticism, by Alexander Pope + +*** END OF THIS PROJECT GUTENBERG EBOOK AN ESSAY ON CRITICISM *** + +***** This file should be named 7409.txt or 7409.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/7/4/0/7409/ + +Produced by Ted Garvin, David Garcia and the Online +Distributed Proofreading Team. + +Updated editions will replace the previous one--the old editions will +be renamed. + +Creating the works from print editions not protected by U.S. copyright +law means that no one owns a United States copyright in these works, +so the Foundation (and you!) can copy and distribute it in the United +States without permission and without paying copyright +royalties. Special rules, set forth in the General Terms of Use part +of this license, apply to copying and distributing Project +Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm +concept and trademark. Project Gutenberg is a registered trademark, +and may not be used if you charge for the eBooks, unless you receive +specific permission. If you do not charge anything for copies of this +eBook, complying with the rules is very easy. You may use this eBook +for nearly any purpose such as creation of derivative works, reports, +performances and research. They may be modified and printed and given +away--you may do practically ANYTHING in the United States with eBooks +not protected by U.S. copyright law. Redistribution is subject to the +trademark license, especially commercial redistribution. + +START: FULL LICENSE + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full +Project Gutenberg-tm License available with this file or online at +www.gutenberg.org/license. + +Section 1. General Terms of Use and Redistributing Project +Gutenberg-tm electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or +destroy all copies of Project Gutenberg-tm electronic works in your +possession. If you paid a fee for obtaining a copy of or access to a +Project Gutenberg-tm electronic work and you do not agree to be bound +by the terms of this agreement, you may obtain a refund from the +person or entity to whom you paid the fee as set forth in paragraph +1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this +agreement and help preserve free future access to Project Gutenberg-tm +electronic works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the +Foundation" or PGLAF), owns a compilation copyright in the collection +of Project Gutenberg-tm electronic works. Nearly all the individual +works in the collection are in the public domain in the United +States. If an individual work is unprotected by copyright law in the +United States and you are located in the United States, we do not +claim a right to prevent you from copying, distributing, performing, +displaying or creating derivative works based on the work as long as +all references to Project Gutenberg are removed. Of course, we hope +that you will support the Project Gutenberg-tm mission of promoting +free access to electronic works by freely sharing Project Gutenberg-tm +works in compliance with the terms of this agreement for keeping the +Project Gutenberg-tm name associated with the work. You can easily +comply with the terms of this agreement by keeping this work in the +same format with its attached full Project Gutenberg-tm License when +you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are +in a constant state of change. If you are outside the United States, +check the laws of your country in addition to the terms of this +agreement before downloading, copying, displaying, performing, +distributing or creating derivative works based on this work or any +other Project Gutenberg-tm work. The Foundation makes no +representations concerning the copyright status of any work in any +country outside the United States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other +immediate access to, the full Project Gutenberg-tm License must appear +prominently whenever any copy of a Project Gutenberg-tm work (any work +on which the phrase "Project Gutenberg" appears, or with which the +phrase "Project Gutenberg" is associated) is accessed, displayed, +performed, viewed, copied or distributed: + + This eBook is for the use of anyone anywhere in the United States and + most other parts of the world at no cost and with almost no + restrictions whatsoever. You may copy it, give it away or re-use it + under the terms of the Project Gutenberg License included with this + eBook or online at www.gutenberg.org. If you are not located in the + United States, you'll have to check the laws of the country where you + are located before using this ebook. + +1.E.2. If an individual Project Gutenberg-tm electronic work is +derived from texts not protected by U.S. copyright law (does not +contain a notice indicating that it is posted with permission of the +copyright holder), the work can be copied and distributed to anyone in +the United States without paying any fees or charges. If you are +redistributing or providing access to a work with the phrase "Project +Gutenberg" associated with or appearing on the work, you must comply +either with the requirements of paragraphs 1.E.1 through 1.E.7 or +obtain permission for the use of the work and the Project Gutenberg-tm +trademark as set forth in paragraphs 1.E.8 or 1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any +additional terms imposed by the copyright holder. Additional terms +will be linked to the Project Gutenberg-tm License for all works +posted with the permission of the copyright holder found at the +beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including +any word processing or hypertext form. However, if you provide access +to or distribute copies of a Project Gutenberg-tm work in a format +other than "Plain Vanilla ASCII" or other format used in the official +version posted on the official Project Gutenberg-tm web site +(www.gutenberg.org), you must, at no additional cost, fee or expense +to the user, provide a copy, a means of exporting a copy, or a means +of obtaining a copy upon request, of the work in its original "Plain +Vanilla ASCII" or other form. Any alternate format must include the +full Project Gutenberg-tm License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works +provided that + +* You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is owed + to the owner of the Project Gutenberg-tm trademark, but he has + agreed to donate royalties under this paragraph to the Project + Gutenberg Literary Archive Foundation. Royalty payments must be paid + within 60 days following each date on which you prepare (or are + legally required to prepare) your periodic tax returns. Royalty + payments should be clearly marked as such and sent to the Project + Gutenberg Literary Archive Foundation at the address specified in + Section 4, "Information about donations to the Project Gutenberg + Literary Archive Foundation." + +* You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or destroy all + copies of the works possessed in a physical medium and discontinue + all use of and all access to other copies of Project Gutenberg-tm + works. + +* You provide, in accordance with paragraph 1.F.3, a full refund of + any money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days of + receipt of the work. + +* You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project +Gutenberg-tm electronic work or group of works on different terms than +are set forth in this agreement, you must obtain permission in writing +from both the Project Gutenberg Literary Archive Foundation and The +Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm +trademark. Contact the Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +works not protected by U.S. copyright law in creating the Project +Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm +electronic works, and the medium on which they may be stored, may +contain "Defects," such as, but not limited to, incomplete, inaccurate +or corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged disk or +other medium, a computer virus, or computer codes that damage or +cannot be read by your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium +with your written explanation. The person or entity that provided you +with the defective work may elect to provide a replacement copy in +lieu of a refund. If you received the work electronically, the person +or entity providing it to you may choose to give you a second +opportunity to receive the work electronically in lieu of a refund. If +the second copy is also defective, you may demand a refund in writing +without further opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO +OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of +damages. If any disclaimer or limitation set forth in this agreement +violates the law of the state applicable to this agreement, the +agreement shall be interpreted to make the maximum disclaimer or +limitation permitted by the applicable state law. The invalidity or +unenforceability of any provision of this agreement shall not void the +remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in +accordance with this agreement, and any volunteers associated with the +production, promotion and distribution of Project Gutenberg-tm +electronic works, harmless from all liability, costs and expenses, +including legal fees, that arise directly or indirectly from any of +the following which you do or cause to occur: (a) distribution of this +or any Project Gutenberg-tm work, (b) alteration, modification, or +additions or deletions to any Project Gutenberg-tm work, and (c) any +Defect you cause. + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of +computers including obsolete, old, middle-aged and new computers. It +exists because of the efforts of hundreds of volunteers and donations +from people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future +generations. To learn more about the Project Gutenberg Literary +Archive Foundation and how your efforts and donations can help, see +Sections 3 and 4 and the Foundation information page at +www.gutenberg.org + + + +Section 3. Information about the Project Gutenberg Literary Archive Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Contributions to the Project Gutenberg Literary +Archive Foundation are tax deductible to the full extent permitted by +U.S. federal laws and your state's laws. + +The Foundation's principal office is in Fairbanks, Alaska, with the +mailing address: PO Box 750175, Fairbanks, AK 99775, but its +volunteers and employees are scattered throughout numerous +locations. Its business office is located at 809 North 1500 West, Salt +Lake City, UT 84116, (801) 596-1887. Email contact links and up to +date contact information can be found at the Foundation's web site and +official page at www.gutenberg.org/contact + +For additional contact information: + + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To SEND +DONATIONS or determine the status of compliance for any particular +state visit www.gutenberg.org/donate + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. To +donate, please visit: www.gutenberg.org/donate + +Section 5. General Information About Project Gutenberg-tm electronic works. + +Professor Michael S. Hart was the originator of the Project +Gutenberg-tm concept of a library of electronic works that could be +freely shared with anyone. For forty years, he produced and +distributed Project Gutenberg-tm eBooks with only a loose network of +volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as not protected by copyright in +the U.S. unless a copyright notice is included. Thus, we do not +necessarily keep eBooks in compliance with any particular paper +edition. + +Most people start at our Web site which has the main PG search +facility: www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + diff --git a/7409.zip b/7409.zip Binary files differnew file mode 100644 index 0000000..3c9c688 --- /dev/null +++ b/7409.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..797512e --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #7409 (https://www.gutenberg.org/ebooks/7409) diff --git a/old/esycr10.txt b/old/esycr10.txt new file mode 100644 index 0000000..ca8705b --- /dev/null +++ b/old/esycr10.txt @@ -0,0 +1,1626 @@ +The Project Gutenberg EBook of An Essay on Criticism, by Alexander Pope +#4 in our series by Alexander Pope + +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: An Essay on Criticism + +Author: Alexander Pope + +Release Date: February, 2005 [EBook #7409] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on April 25, 2003] + +Edition: 10 + +Language: English + +Character set encoding: ASCII + +*** START OF THE PROJECT GUTENBERG EBOOK AN ESSAY ON CRITICISM *** + + + + +Produced by Ted Garvin, David Garcia +and the Online Distributed Proofreading Team. + + + + +AN ESSAY ON CRITICISM. + +BY + +ALEXANDER POPE, + +_WITH INTRODUCTORY AND EXPLANATORY NOTES_. + + + +ALEXANDER POPE. + + * * * * * + +This eminent English poet was born in London, May 21, 1688. His parents +were Roman Catholics, and to this faith the poet adhered, thus debarring +himself from public office and employment. His father, a linen merchant, +having saved a moderate competency, withdrew from business, and settled +on a small estate he had purchased in Windsor Forest. He died at +Chiswick, in 1717. His son shortly afterwards took a long lease of a +house and five acres of land at Twickenham, on the banks of the Thames, +whither he retired with his widowed mother, to whom he was tenderly +attached and where he resided till death, cultivating his little domain +with exquisite taste and skill, and embellishing it with a grotto, +temple, wilderness, and other adjuncts poetical and picturesque. In this +famous villa Pope was visited by the most celebrated wits, statesmen and +beauties of the day, himself being the most popular and successful poet +of his age. His early years were spent at Binfield, within the range of +the Royal Forest. He received some education at little Catholic schools, +but was his own instructor after his twelfth year. He never was a +profound or accurate scholar, but he read Latin poets with ease and +delight, and acquired some Greek, French, and Italian. He was a poet +almost from infancy, he "lisped in numbers," and when a mere youth +surpassed all his contemporaries in metrical harmony and correctness. +His pastorals and some translations appeared in 1709, but were written +three or four years earlier. These were followed by the _Essay on +Criticism_, 1711; _Rape of the Lock_ (when completed, the most +graceful, airy, and imaginative of his works), 1712-1714; _Windsor +Forest_, 1713; _Temple of Fame_, 1715. In a collection of his +works printed in 1717 he included the _Epistle of Eloisa_ and +_Elegy on an Unfortunate Lady_, two poems inimitable for pathetic +beauty and finished melodious versification. + +From 1715 till 1726 Pope was chiefly engaged on his translations of the +_Iliad_ and _Odyssey_, which, though wanting in time Homeric +simplicity, naturalness, and grandeur, are splendid poems. In 1728-29 he +published his greatest satire--the _Dunciad_, an attack on all +poetasters and pretended wits, and on all other persons against whom the +sensitive poet had conceived any enmity. In 1737 he gave to the world a +volume of his _Literary Correspondence_, containing some pleasant +gossip and observations, with choice passages of description but it +appears that the correspondence was manufactured for publication not +composed of actual letters addressed to the parties whose names are +given, and the collection was introduced to the public by means of an +elaborate stratagem on the part of the scheming poet. Between the years +1731 and 1739 he issued a series of poetical essays moral and +philosophical, with satires and imitations of Horace, all admirable for +sense, wit, spirit and brilliancy of these delightful productions, the +most celebrated is the _Essay on Man_ to which Bolingbroke is +believed to have contributed the spurious philosophy and false +sentiment, but its merit consists in detached passages, descriptions, +and pictures. A fourth book to the _Dunciad_, containing many +beautiful and striking lines and a general revision of his works, closed +the poet's literary cares and toils. He died on the 30th of May, 1744, +and was buried in the church at Twickenham. + +Pope was of very diminutive stature and deformed from his birth. His +physical infirmity, susceptible temperament, and incessant study +rendered his life one long disease. He was, as his friend Lord +Chesterfield said, "the most irritable of all the _genus irritabile +vatum_, offended with trifles and never forgetting or forgiving +them." His literary stratagems, disguises, assertions, denials, and (we +must add) misrepresentations would fill volumes. Yet when no disturbing +jealousy vanity, or rivalry intervened was generous and affectionate, +and he had a manly, independent spirit. As a poet he was deficient in +originality and creative power, and thus was inferior to his prototype, +Dryden, but as a literary artist, and brilliant declaimer satirist and +moralizer in verse he is still unrivaled. He is the English Horace, and +will as surely descend with honors to the latest posterity. + + + + + + +AN ESSAY ON CRITICISM, + +WRITTEN IN THE YEAR 1709 + + + [The title, _An Essay on Criticism_ hardly indicates all + that is included in the poem. It would have been impossible to + give a full and exact idea of the art of poetical criticism + without entering into the consideration of the art of poetry. + Accordingly Pope has interwoven the precepts of both throughout + the poem which might more properly have been styled an essay on + the Art of Criticism and of Poetry.] + + * * * * * + +PART I. + + 'Tis hard to say if greater want of skill + Appear in writing or in judging ill, + But of the two less dangerous is the offense + To tire our patience than mislead our sense + Some few in that but numbers err in this, + Ten censure wrong for one who writes amiss, + A fool might once himself alone expose, + Now one in verse makes many more in prose. + + 'Tis with our judgments as our watches, none + Go just alike, yet each believes his own + In poets as true genius is but rare + True taste as seldom is the critic share + Both must alike from Heaven derive their light, + These born to judge as well as those to write + Let such teach others who themselves excel, + And censure freely, who have written well + Authors are partial to their wit, 'tis true [17] + But are not critics to their judgment too? + + Yet if we look more closely we shall find + Most have the seeds of judgment in their mind + Nature affords at least a glimmering light + The lines though touched but faintly are drawn right, + But as the slightest sketch if justly traced + Is by ill coloring but the more disgraced + So by false learning is good sense defaced + Some are bewildered in the maze of schools [26] + And some made coxcombs nature meant but fools + In search of wit these lose their common sense + And then turn critics in their own defense + Each burns alike who can or cannot write + Or with a rival's or an eunuch's spite + All fools have still an itching to deride + And fain would be upon the laughing side + If Maevius scribble in Apollo's spite [34] + There are who judge still worse than he can write. + + Some have at first for wits then poets passed + Turned critics next and proved plain fools at last + Some neither can for wits nor critics pass + As heavy mules are neither horse nor ass. + Those half-learned witlings, numerous in our isle, + As half-formed insects on the banks of Nile + Unfinished things one knows not what to call + Their generation is so equivocal + To tell them would a hundred tongues require, + Or one vain wits that might a hundred tire. + + But you who seek to give and merit fame, + And justly bear a critic's noble name, + Be sure yourself and your own reach to know + How far your genius taste and learning go. + Launch not beyond your depth, but be discreet + And mark that point where sense and dullness meet. + + Nature to all things fixed the limits fit + And wisely curbed proud man's pretending wit. + As on the land while here the ocean gains. + In other parts it leaves wide sandy plains + Thus in the soul while memory prevails, + The solid power of understanding fails + Where beams of warm imagination play, + The memory's soft figures melt away + One science only will one genius fit, + So vast is art, so narrow human wit + Not only bounded to peculiar arts, + But oft in those confined to single parts + Like kings, we lose the conquests gained before, + By vain ambition still to make them more + Each might his several province well command, + Would all but stoop to what they understand. + + First follow nature and your judgment frame + By her just standard, which is still the same. + Unerring nature still divinely bright, + One clear, unchanged and universal light, + Life force and beauty, must to all impart, + At once the source and end and test of art + Art from that fund each just supply provides, + Works without show and without pomp presides + In some fair body thus the informing soul + With spirits feeds, with vigor fills the whole, + Each motion guides and every nerve sustains, + Itself unseen, but in the effects remains. + Some, to whom Heaven in wit has been profuse, [80] + Want as much more, to turn it to its use; + For wit and judgment often are at strife, + Though meant each other's aid, like man and wife. + 'Tis more to guide, than spur the muse's steed, + Restrain his fury, than provoke his speed, + The winged courser, like a generous horse, [86] + Shows most true mettle when you check his course. + + Those rules, of old discovered, not devised, + Are nature still, but nature methodized; + Nature, like liberty, is but restrained + By the same laws which first herself ordained. + + Hear how learned Greece her useful rules indites, + When to repress and when indulge our flights. + High on Parnassus' top her sons she showed, [94] + And pointed out those arduous paths they trod; + Held from afar, aloft, the immortal prize, + And urged the rest by equal steps to rise. [97] + Just precepts thus from great examples given, + She drew from them what they derived from Heaven. + The generous critic fanned the poet's fire, + And taught the world with reason to admire. + Then criticism the muse's handmaid proved, + To dress her charms, and make her more beloved: + But following wits from that intention strayed + Who could not win the mistress, wooed the maid + Against the poets their own arms they turned + Sure to hate most the men from whom they learned + So modern pothecaries taught the art + By doctors bills to play the doctor's part. + Bold in the practice of mistaken rules + Prescribe, apply, and call their masters fools. + Some on the leaves of ancient authors prey, + Nor time nor moths e'er spoil so much as they. + Some dryly plain, without invention's aid, + Write dull receipts how poems may be made + These leave the sense their learning to display, + And those explain the meaning quite away. + + You then, whose judgment the right course would steer, + Know well each ancient's proper character, + His fable subject scope in every page, + Religion, country, genius of his age + Without all these at once before your eyes, + Cavil you may, but never criticise. + Be Homers works your study and delight, + Read them by day and meditate by night, + Thence form your judgment thence your maxims bring + And trace the muses upward to their spring. + Still with itself compared, his text peruse, + And let your comment be the Mantuan Muse. [129] + + When first young Maro in his boundless mind, [130] + A work to outlast immortal Rome designed, + Perhaps he seemed above the critic's law + And but from nature's fountain scorned to draw + But when to examine every part he came + Nature and Homer were he found the same + Convinced, amazed, he checks the bold design + And rules as strict his labored work confine + As if the Stagirite o'erlooked each line [138] + Learn hence for ancient rules a just esteem, + To copy nature is to copy them. + + Some beauties yet no precepts can declare, + For there's a happiness as well as care. + Music resembles poetry--in each + Are nameless graces which no methods teach, + And which a master hand alone can reach + If, where the rules not far enough extend + (Since rules were made but to promote their end), + Some lucky license answer to the full + The intent proposed that license is a rule. + Thus Pegasus a nearer way to take + May boldly deviate from the common track + Great wits sometimes may gloriously offend, + And rise to faults true critics dare not mend, + From vulgar bounds with brave disorder part, + And snatch a grace beyond the reach of art, + Which without passing through the judgment gains + The heart and all its end at once attains. + In prospects, thus, some objects please our eyes, + Which out of nature's common order rise, + The shapeless rock or hanging precipice. + But though the ancients thus their rules invade + (As kings dispense with laws themselves have made), + Moderns beware! or if you must offend + Against the precept, ne'er transgress its end, + Let it be seldom, and compelled by need, + And have, at least, their precedent to plead. + The critic else proceeds without remorse, + Seizes your fame, and puts his laws in force. + + I know there are, to whose presumptuous thoughts + Those freer beauties, even in them, seem faults + Some figures monstrous and misshaped appear, + Considered singly, or beheld too near, + Which, but proportioned to their light, or place, + Due distance reconciles to form and grace. + A prudent chief not always must display + His powers in equal ranks and fair array, + But with the occasion and the place comply. + Conceal his force, nay, seem sometimes to fly. + Those oft are stratagems which errors seem, + Nor is it Homer nods, but we that dream. [180] + + Still green with bays each ancient altar stands, + Above the reach of sacrilegious hands, + Secure from flames, from envy's fiercer rage, [183] + Destructive war, and all-involving age. + See, from each clime the learned their incense bring; + Hear, in all tongues consenting Paeans ring! + In praise so just let every voice be joined, + And fill the general chorus of mankind. + Hail! bards triumphant! born in happier days; + Immortal heirs of universal praise! + Whose honors with increase of ages grow, + As streams roll down, enlarging as they flow; + Nations unborn your mighty names shall sound, [193] + And worlds applaud that must not yet be found! + Oh may some spark of your celestial fire, + The last, the meanest of your sons inspire, + (That, on weak wings, from far pursues your flights, + Glows while he reads, but trembles as he writes), + To teach vain wits a science little known, + To admire superior sense, and doubt their own! + + * * * * * + +PART II. + + Of all the causes which conspire to blind + Man's erring judgment and misguide the mind, + What the weak head with strongest bias rules, + Is pride, the never-failing vice of fools. + Whatever nature has in worth denied, + She gives in large recruits of needful pride; + For as in bodies, thus in souls, we find + What wants in blood and spirits, swelled with wind: + Pride where wit fails steps in to our defense, + And fills up all the mighty void of sense. + If once right reason drives that cloud away, + Truth breaks upon us with resistless day + Trust not yourself, but your defects to know, + Make use of every friend--and every foe. + + A little learning is a dangerous thing + Drink deep, or taste not the Pierian spring [216] + There shallow draughts intoxicate the brain, + And drinking largely sobers us again. + Fired at first sight with what the muse imparts, + In fearless youth we tempt the heights of arts + While from the bounded level of our mind + Short views we take nor see the lengths behind + But more advanced behold with strange surprise, + New distant scenes of endless science rise! + So pleased at first the towering Alps we try, + Mount o'er the vales and seem to tread the sky, + The eternal snows appear already passed + And the first clouds and mountains seem the last. + But those attained we tremble to survey + The growing labors of the lengthened way + The increasing prospect tires our wandering eyes, + Hills peep o'er hills and Alps on Alps arise! + + A perfect judge will read each work of wit + With the same spirit that its author writ + Survey the whole nor seek slight faults to find + Where nature moves and rapture warms the mind, + Nor lose for that malignant dull delight + The generous pleasure to be charmed with wit + But in such lays as neither ebb nor flow, + Correctly cold and regularly low + That, shunning faults, one quiet tenor keep; + We cannot blame indeed--but we may sleep. + In wit, as nature, what affects our hearts + Is not the exactness of peculiar parts, + 'Tis not a lip, or eye, we beauty call, + But the joint force and full result of all. + Thus, when we view some well proportioned dome + (The worlds just wonder, and even thine, O Rome!), [248] + No single parts unequally surprise, + All comes united to the admiring eyes; + No monstrous height or breadth, or length, appear; + The whole at once is bold, and regular. + + Whoever thinks a faultless piece to see. + Thinks what ne'er was, nor is, nor e'er shall be. + In every work regard the writer's end, + Since none can compass more than they intend; + And if the means be just, the conduct true, + Applause, in spite of trivial faults, is due. + As men of breeding, sometimes men of wit, + To avoid great errors, must the less commit: + Neglect the rules each verbal critic lays, + For not to know some trifles is a praise. + Most critics, fond of some subservient art, + Still make the whole depend upon a part: + They talk of principles, but notions prize, + And all to one loved folly sacrifice. + + Once on a time La Mancha's knight, they say, [267] + A certain bard encountering on the way, + Discoursed in terms as just, with looks as sage, + As e'er could Dennis, of the Grecian stage; [270] + Concluding all were desperate sots and fools, + Who durst depart from Aristotle's rules + Our author, happy in a judge so nice, + Produced his play, and begged the knight's advice; + Made him observe the subject, and the plot, + The manners, passions, unities, what not? + All which, exact to rule, were brought about, + Were but a combat in the lists left out + "What! leave the combat out?" exclaims the knight. + "Yes, or we must renounce the Stagirite." + "Not so, by heaven!" (he answers in a rage) + "Knights, squires, and steeds must enter on the stage." + "So vast a throng the stage can ne'er contain." + "Then build a new, or act it in a plain." + + Thus critics of less judgment than caprice, + Curious, not knowing, not exact, but nice, + Form short ideas, and offend in arts + (As most in manners) by a love to parts. + + Some to conceit alone their taste confine, + And glittering thoughts struck out at every line; + Pleased with a work where nothing's just or fit; + One glaring chaos and wild heap of wit. + Poets, like painters, thus, unskilled to trace + The naked nature and the living grace, + With gold and jewels cover every part, + And hide with ornaments their want of art. + True wit is nature to advantage dressed; + What oft was thought, but ne'er so well expressed; + Something, whose truth convinced at sight we find + That gives us back the image of our mind. + As shades more sweetly recommend the light, + So modest plainness sets off sprightly wit + For works may have more wit than does them good, + As bodies perish through excess of blood. + + Others for language all their care express, + And value books, as women men, for dress. + Their praise is still--"the style is excellent," + The sense they humbly take upon content [308] + Words are like leaves, and where they most abound + Much fruit of sense beneath is rarely found. + False eloquence, like the prismatic glass. [311] + Its gaudy colors spreads on every place, + The face of nature we no more survey. + All glares alike without distinction gay: + But true expression, like the unchanging sun, + Clears and improves whate'er it shines upon; + It gilds all objects, but it alters none. + Expression is the dress of thought, and still + Appears more decent, as more suitable, + A vile conceit in pompous words expressed, + Is like a clown in regal purple dressed + For different styles with different subjects sort, + As several garbs with country town and court + Some by old words to fame have made pretense, + Ancients in phrase, mere moderns in their sense; + Such labored nothings, in so strange a style, + Amaze the unlearned, and make the learned smile. + Unlucky, as Fungoso in the play, [328] + These sparks with awkward vanity display + What the fine gentleman wore yesterday; + And but so mimic ancient wits at best, + As apes our grandsires in their doublets dressed. + In words as fashions the same rule will hold, + Alike fantastic if too new or old. + Be not the first by whom the new are tried, + Nor yet the last to lay the old aside + + But most by numbers judge a poet's song + And smooth or rough, with them is right or wrong. + In the bright muse though thousand charms conspire, + Her voice is all these tuneful fools admire, + Who haunt Parnassus but to please their ear, + Not mend their minds, as some to church repair, + Not for the doctrine but the music there + These equal syllables alone require, + Though oft the ear the open vowels tire; + While expletives their feeble aid do join; + And ten low words oft creep in one dull line, + While they ring round the same unvaried chimes, + With sure returns of still expected rhymes, + Where'er you find "the cooling western breeze," + In the next line it "whispers through the trees" + If crystal streams "with pleasing murmurs creep" + The reader's threatened (not in vain) with "sleep" + Then, at the last and only couplet fraught + With some unmeaning thing they call a thought, + A needless Alexandrine ends the song [356] + That, like a wounded snake drags its slow length along. + + Leave such to tune their own dull rhymes, and know + What's roundly smooth or languishingly slow; + And praise the easy vigor of a line, + Where Denham's strength, and Waller's sweetness join. [361] + True ease in writing comes from art, not chance, + As those move easiest who have learned to dance + 'Tis not enough no harshness gives offense, + The sound must seem an echo to the sense. + Soft is the strain when Zephyr gently blows, [366] + And the smooth stream in smoother numbers flows, + But when loud surges lash the sounding shore, + The hoarse, rough verse should like the torrent roar, + When Ajax strives some rock's vast weight to throw, + The line too labors, and the words move slow; + Not so, when swift Camilla scours the plain, + Flies o'er the unbending corn, and skims along the main. [373] + Hear how Timotheus' varied lays surprise, [374] + And bid alternate passions fall and rise! + While, at each change, the son of Libyan Jove [376] + Now burns with glory, and then melts with love; + Now his fierce eyes with sparkling fury glow, + Now sighs steal out, and tears begin to flow: + Persians and Greeks like turns of nature found, + And the world's victor stood subdued by sound? [381] + The power of music all our hearts allow, + And what Timotheus was, is Dryden now. + + Avoid extremes, and shun the fault of such, + Who still are pleased too little or too much. + At every trifle scorn to take offense, + That always shows great pride, or little sense: + Those heads, as stomachs, are not sure the best, + Which nauseate all, and nothing can digest. + Yet let not each gay turn thy rapture move; + For fools admire, but men of sense approve: + As things seem large which we through mist descry, + Dullness is ever apt to magnify. [393] + + Some foreign writers, some our own despise, + The ancients only, or the moderns prize. + Thus wit, like faith, by each man is applied + To one small sect, and all are damned beside. + Meanly they seek the blessing to confine, + And force that sun but on a part to shine, + Which not alone the southern wit sublimes, + But ripens spirits in cold northern climes. + Which from the first has shone on ages past, + Enlights the present, and shall warm the last, + Though each may feel increases and decays, + And see now clearer and now darker days. + Regard not then if wit be old or new, + But blame the false, and value still the true. + + Some ne'er advance a judgment of their own, + But catch the spreading notion of the town, + They reason and conclude by precedent, + And own stale nonsense which they ne'er invent. + Some judge of authors names not works, and then + Nor praise nor blame the writing, but the men. + Of all this servile herd the worst is he + That in proud dullness joins with quality + A constant critic at the great man's board, + To fetch and carry nonsense for my lord + What woful stuff this madrigal would be, + In some starved hackney sonnetteer, or me! + But let a lord once own the happy lines, + How the wit brightens! how the style refines! + Before his sacred name flies every fault, + And each exalted stanza teems with thought! + + The vulgar thus through imitation err; + As oft the learned by being singular. + So much they scorn the crowd that if the throng + By chance go right they purposely go wrong: + So schismatics the plain believers quit, + And are but damned for having too much wit. + Some praise at morning what they blame at night, + But always think the last opinion right. + A muse by these is like a mistress used, + This hour she's idolized, the next abused; + While their weak heads, like towns unfortified, + 'Twixt sense and nonsense daily change their side. + Ask them the cause, they're wiser still they say; + And still to-morrow's wiser than to-day. + We think our fathers fools, so wise we grow; + Our wiser sons, no doubt, will think us so. + Once school-divines this zealous isle o'erspread. + Who knew most sentences was deepest read, [441] + Faith, Gospel, all, seemed made to be disputed, + And none had sense enough to be confuted: + Scotists and Thomists now in peace remain, [444] + Amidst their kindred cobwebs in Duck Lane. [445] + If faith itself has different dresses worn, + What wonder modes in wit should take their turn? + Oft, leaving what is natural and fit, + The current folly proves the ready wit; + And authors think their reputation safe, + Which lives as long as fools are pleased to laugh. + + Some valuing those of their own side or mind, + Still make themselves the measure of mankind: + Fondly we think we honor merit then, + When we but praise ourselves in other men. + Parties in wit attend on those of state, + And public faction doubles private hate. + Pride, malice, folly against Dryden rose, + In various shapes of parsons, critics, beaux; [459] + But sense survived, when merry jests were past; + For rising merit will buoy up at last. + Might he return, and bless once more our eyes, + New Blackmores and new Millbourns must arise: [463] + Nay, should great Homer lift his awful head, + Zoilus again would start up from the dead [465] + Envy will merit, as its shade, pursue, + But like a shadow, proves the substance true: + For envied wit, like Sol eclipsed, makes known + The opposing body's grossness, not its own. + When first that sun too powerful beams displays, + It draws up vapors which obscure its rays, + But even those clouds at last adorn its way + Reflect new glories and augment the day + + Be thou the first true merit to befriend + His praise is lost who stays till all commend + Short is the date alas! of modern rhymes + And 'tis but just to let them live betimes + No longer now that golden age appears + When patriarch wits survived a thousand years [479] + Now length of fame (our second life) is lost + And bare threescore is all even that can boast, + Our sons their fathers failing language see + And such as Chaucer is shall Dryden be + So when the faithful pencil has designed + Some bright idea of the master's mind + Where a new world leaps out at his command + And ready nature waits upon his hand + When the ripe colors soften and unite + And sweetly melt into just shade and light + When mellowing years their full perfection give + And each bold figure just begins to live + The treacherous colors the fair art betray + And all the bright creation fades away! + + Unhappy wit, like most mistaken things + Atones not for that envy which it brings + In youth alone its empty praise we boast + But soon the short lived vanity is lost. + Like some fair flower the early spring supplies + That gayly blooms but even in blooming dies + What is this wit, which must our cares employ? + The owner's wife that other men enjoy + Then most our trouble still when most admired + And still the more we give the more required + Whose fame with pains we guard, but lose with ease, + Sure some to vex, but never all to please, + 'Tis what the vicious fear, the virtuous shun, + By fools 'tis hated, and by knaves undone! + + If wit so much from ignorance undergo, + Ah! let not learning too commence its foe! + Of old, those met rewards who could excel, + And such were praised who but endeavored well: + Though triumphs were to generals only due, + Crowns were reserved to grace the soldiers too. + Now they who reach Parnassus' lofty crown, + Employ their pains to spurn some others down; + And, while self-love each jealous writer rules, + Contending wits become the sport of fools: + But still the worst with most regret commend, + For each ill author is as bad a friend + To what base ends, and by what abject ways, + Are mortals urged, through sacred lust of praise! + Ah, ne'er so dire a thirst of glory boast, + Nor in the critic let the man be lost + Good-nature and good sense must ever join; + To err is human, to forgive, divine. + + But if in noble minds some dregs remain, + Not yet purged off, of spleen and sour disdain; + Discharge that rage on more provoking crimes, + Nor fear a dearth in these flagitious times. + No pardon vile obscenity should find, + Though wit and art conspire to move your mind; + But dullness with obscenity must prove + As shameful sure as impotence in love. + In the fat age of pleasure, wealth, and ease, + Sprung the rank weed, and thrived with large increase: + When love was all an easy monarch's care, [536] + Seldom at council, never in a war + Jilts ruled the state, and statesmen farces writ; + Nay, wits had pensions, and young lords had wit: + The fair sat panting at a courtier's play, + And not a mask went unimproved away: [541] + The modest fan was lifted up no more, + And virgins smiled at what they blushed before. + The following license of a foreign reign, [544] + Did all the dregs of bold Socinus drain, [545] + Then unbelieving priests reformed the nation. + And taught more pleasant methods of salvation; + Where Heaven's free subjects might their rights dispute, + Lest God himself should seem too absolute: + Pulpits their sacred satire learned to spare, + And vice admired to find a flatterer there! + Encouraged thus, wit's Titans braved the skies, [552] + And the press groaned with licensed blasphemies. + These monsters, critics! with your darts engage, + Here point your thunder, and exhaust your rage! + Yet shun their fault, who, scandalously nice, + Will needs mistake an author into vice; + All seems infected that the infected spy, + As all looks yellow to the jaundiced eye. + + * * * * * + + +PART III. + + Learn, then, what morals critics ought to show, + For 'tis but half a judge's task to know. + 'Tis not enough, taste, judgment, learning, join; + In all you speak, let truth and candor shine: + That not alone what to your sense is due + All may allow, but seek your friendship too. + + Be silent always, when you doubt your sense; + And speak, though sure, with seeming diffidence: + Some positive persisting fops we know, + Who, if once wrong will needs be always so; + But you, with pleasure, own your errors past, + And make each day a critique on the last. + + 'Tis not enough your counsel still be true; + Blunt truths more mischief than nice falsehoods do; + Men must be taught as if you taught them not, + And things unknown proposed as things forgot. + Without good breeding truth is disapproved; + That only makes superior sense beloved. + + Be niggards of advice on no pretense; + For the worst avarice is that of sense + With mean complacence, ne'er betray your trust, + Nor be so civil as to prove unjust + Fear not the anger of the wise to raise, + Those best can bear reproof who merit praise. + + 'Twere well might critics still this freedom take, + But Appius reddens at each word you speak, [585] + And stares, tremendous with a threatening eye, + Like some fierce tyrant in old tapestry + Fear most to tax an honorable fool + Whose right it is uncensured to be dull + Such, without wit are poets when they please, + As without learning they can take degrees + Leave dangerous truths to unsuccessful satires, + And flattery to fulsome dedicators + Whom, when they praise, the world believes no more, + Than when they promise to give scribbling o'er. + + 'Tis best sometimes your censure to restrain, + And charitably let the dull be vain + Your silence there is better than your spite, + For who can rail so long as they can write? + Still humming on, their drowsy course they keep, + And lashed so long like tops are lashed asleep. + False steps but help them to renew the race, + As after stumbling, jades will mend their pace. + What crowds of these, impenitently bold, + In sounds and jingling syllables grown old, + Still run on poets in a raging vein, + Even to the dregs and squeezing of the brain; + Strain out the last dull droppings of their sense, + And rhyme with all the rage of impotence! + + Such shameless bards we have, and yet, 'tis true, + There are as mad abandoned critics, too + The bookful blockhead ignorantly read, + With loads of learned lumber in his head, + With his own tongue still edifies his ears, + And always listening to himself appears + All books he reads and all he reads assails + From Dryden's Fables down to Durfey's Tales [617] + With him most authors steal their works or buy; + Garth did not write his own Dispensary [619] + Name a new play, and he's the poets friend + Nay, showed his faults--but when would poets mend? + No place so sacred from such fops is barred, + Nor is Paul's Church more safe than Paul's Churchyard: [623] + Nay, fly to altars; there they'll talk you dead, + For fools rush in where angels fear to tread + Distrustful sense with modest caution speaks, + It still looks home, and short excursions makes; + But rattling nonsense in full volleys breaks, + And, never shocked, and never turned aside. + Bursts out, resistless, with a thundering tide, + + But where's the man who counsel can bestow, + Still pleased to teach, and yet not proud to know? + Unbiased, or by favor, or in spite, + Not dully prepossessed, nor blindly right; + Though learned, well-bred, and though well bred, sincere, + Modestly bold, and humanly severe, + Who to a friend his faults can freely show, + And gladly praise the merit of a foe? + Blessed with a taste exact, yet unconfined; + A knowledge both of books and human kind; + Generous converse, a soul exempt from pride; + And love to praise, with reason on his side? + + Such once were critics such the happy few, + Athens and Rome in better ages knew. + The mighty Stagirite first left the shore, [645] + Spread all his sails, and durst the deeps explore; + He steered securely, and discovered far, + Led by the light of the Maeonian star. [648] + Poets, a race long unconfined and free, + Still fond and proud of savage liberty, + Received his laws, and stood convinced 'twas fit, + Who conquered nature, should preside o'er wit. [652] + + Horace still charms with graceful negligence, + And without method talks us into sense; + Will like a friend familiarly convey + The truest notions in the easiest way. + He who supreme in judgment as in wit, + Might boldly censure, as he boldly writ, + Yet judged with coolness though he sung with fire; + His precepts teach but what his works inspire + Our critics take a contrary extreme + They judge with fury, but they write with phlegm: + Nor suffers Horace more in wrong translations + By wits than critics in as wrong quotations. + + See Dionysius Homer's thoughts refine, [665] + And call new beauties forth from every line! + + Fancy and art in gay Petronius please, [667] + The scholar's learning with the courtier's ease. + + In grave Quintilian's copious work we find [669] + The justest rules and clearest method joined: + Thus useful arms in magazines we place, + All ranged in order, and disposed with grace, + But less to please the eye, than arm the hand, + Still fit for use, and ready at command. + + Thee bold Longinus! all the Nine inspire, [675] + And bless their critic with a poet's fire. + An ardent judge, who, zealous in his trust, + With warmth gives sentence, yet is always just: + Whose own example strengthens all his laws; + And is himself that great sublime he draws. + + Thus long succeeding critics justly reigned, + License repressed, and useful laws ordained. + Learning and Rome alike in empire grew; + And arts still followed where her eagles flew, + From the same foes at last, both felt their doom, + And the same age saw learning fall, and Rome. [686] + With tyranny then superstition joined + As that the body, this enslaved the mind; + Much was believed but little understood, + And to be dull was construed to be good; + A second deluge learning thus o'errun, + And the monks finished what the Goths begun. [692] + + At length Erasmus, that great injured name [693] + (The glory of the priesthood and the shame!) + Stemmed the wild torrent of a barbarous age, + And drove those holy Vandals off the stage. [696] + + But see! each muse, in Leo's golden days, [697] + Starts from her trance and trims her withered bays, + Rome's ancient genius o'er its ruins spread + Shakes off the dust, and rears his reverent head + Then sculpture and her sister arts revive, + Stones leaped to form, and rocks began to live; + With sweeter notes each rising temple rung, + A Raphael painted, and a Vida sung [704] + Immortal Vida! on whose honored brow + The poets bays and critic's ivy grow + Cremona now shall ever boast thy name + As next in place to Mantua, next in fame! + + But soon by impious arms from Latium chased, + Their ancient bounds the banished muses passed. + Thence arts o'er all the northern world advance, + But critic-learning flourished most in France, + The rules a nation born to serve, obeys; + And Boileau still in right of Horace sways [714] + But we, brave Britons, foreign laws despised, + And kept unconquered and uncivilized, + Fierce for the liberties of wit and bold, + We still defied the Romans as of old. + Yet some there were, among the sounder few + Of those who less presumed and better knew, + Who durst assert the juster ancient cause, + And here restored wit's fundamental laws. + Such was the muse, whose rule and practice tell + "Nature's chief masterpiece is writing well." + Such was Roscommon, not more learned than good, + With manners generous as his noble blood, + To him the wit of Greece and Rome was known, + And every author's merit, but his own + Such late was Walsh--the muse's judge and friend, + Who justly knew to blame or to commend, + To failings mild, but zealous for desert, + The clearest head, and the sincerest heart, + This humble praise, lamented shade! receive, + This praise at least a grateful muse may give. + The muse whose early voice you taught to sing + Prescribed her heights and pruned her tender wing, + (Her guide now lost) no more attempts to rise, + But in low numbers short excursions tries, + Content if hence the unlearned their wants may view, + The learned reflect on what before they knew + Careless of censure, nor too fond of fame, + Still pleased to praise, yet not afraid to blame, + Averse alike to flatter, or offend, + Not free from faults, nor yet too vain to mend. + + * * * * * + + + + + + +LINE NOTES + + +[Line 17: Wit is used in the poem in a great variety of +meanings (1) Here it seems to mean _genius_ or _fancy_, +(2) in line 36 _a man of fancy_, (3) in line 53 _the +understanding_ or _powers of the mind_, (4) in line 81 it +means _judgment_.] + +[Line 26: Schools--Different systems of doctrine or +philosophy as taught by particular teachers.] + +[Line 34: Maevius--An insignificant poet of the Augustan age, +ridiculed by Virgil in his third Eclogue and by Horace in his tenth +Epode.] + +[Lines 80, 81: There is here a slight inaccuracy or inconsistency, +since "wit" has a different meaning in the two lines: in 80, it means +_fancy,_ in 81, _judgment_.] + +[Line 86: The winged courser.--Pegasus, a winged horse which +sprang from the blood of Medusa when Perseus cut off her head. As soon +as born he left the earth and flew up to heaven, or, according to Ovid, +took up his abode on Mount Helicon, and was always associated with the +Muses.] + +[Line 94: Parnassus.--A mountain of Phocis, which received +its name from Parnassus, the son of Neptune, and was sacred to the +Muses, Apollo and Bacchus.] + +[Line 97: Equal steps.--Steps equal to the undertaking.] + +[Line 129: The Mantuan Muse--Virgil called Maro in the next +line (his full name being, Virgilius Publius Maro) born near Mantua, +70 B.C.] + +[Lines 130-136: It is said that Virgil first intended to write a poem +on the Alban and Roman affairs which he found beyond his powers, and +then he imitated Homer: + + Cum canerem reges et proelia Cynthius aurem + Vellit--_Virg. Ecl. VI_] + +[Line 138: The Stagirite--Aristotle, born at the Greek town of +Stageira on the Strymonic Gulf (Gulf of Contessa, in Turkey) 384 B.C., +whose treatises on Rhetoric and the Art of Poetry were the earliest +development of a Philosophy of Criticism and still continue to be +studied. + +The poet contradicts himself with regard to the principle he is here +laying down in lines 271-272 where he laughs at Dennis for + + Concluding all were desperate sots and fools + Who durst depart from Aristotle's rules.] + +[Line 180: Homer nods--_Quandoque bonus dormitat +Homerus_, 'even the good Homer nods'--Horace, _Epistola ad +Pisones_, 359.] + +[Lines 183, 184: Secure from flames.--The poet probably +alludes to such fires as those in which the Alexandrine and Palatine +Libraries were destroyed. From envy's fiercer rage.--Probably he +alludes to the writings of such men as Maevius (see note to line 34) and +Zoilus, a sophist and grammarian of Amphipolis, who distinguished +himself by his criticism on Isocrates, Plato, and Homer, receiving the +nickname of _Homeromastic_ (chastiser of Homer). Destructive +war--Probably an allusion to the irruption of the barbarians into +the south of Europe. And all-involving age; that is, time. This is +usually explained as an allusion to 'the long reign of ignorance and +superstition in the cloisters,' but it is surely far-fetched, and more +than the language will bear.] + +[Lines 193, 194: + + 'Round the whole world this dreaded name shall sound, + And reach to worlds that must not yet be found,"--COWLEY.] + +[Line 216: The Pierian spring--A fountain in Pieria, a district round +Mount Olympus and the native country of the Muses.] + +[Line 248: And even thine, O Rome.--The dome of St Peter's +Church, designed by Michael Angelo.] + +[Line 267: La Mancha's Knight.--Don Quixote, a fictitious +Spanish knight, the hero of a book written (1605) by Cervantes, a +Spanish writer.] + +[Line 270: Dennis, the son of a saddler in London, born 1657, +was a mediocre writer, and rather better critic of the time, with whom +Pope came a good deal into collision. Addison's tragedy of _Cato_, +for which Pope had written a prologue, had been attacked by Dennis. +Pope, to defend Addison, wrote an imaginary report, pretending to be +written by a notorious quack mad-doctor of the day, entitled _The +Narrative of Dr. Robert Norris on the Frenz of F. D._ Dennis replied +to it by his _Character of Mr. Pope_. Ultimately Pope gave him a +place in his _Dunciad_, and wrote a prologue for his benefit.] + +[Line 308: On content.--On trust, a common use of the word in +Pope's time.] + +[Lines 311, 312: Prismatic glass.--A glass prism by which +light is refracted, and the component rays, which are of different +colors being refracted at different angles show what is called a +spectrum or series of colored bars, in the order violet, indigo, blue, +green, yellow, orange, red.] + +[Line 328: Fungoso--One of the characters in Ben Jonson's +_Every Man out of his Humor_ who assumed the dress and tried to +pass himself off for another.] + +[Line 356: Alexandrine--A line of twelve syllables, so called +from a French poem on the Life of Alexander the Great, written in that +meter. The poet gives a remarkable example in the next line.] + +[Line 361: Sir John Denham, a poet of the time of Charles I. (1615-1668). +His verse is characterized by considerable smoothness and ingenuity of +rhythm, with here and there a passage of some force--Edmund Waller +(1606-1687) is celebrated as one of the refiners of English poetry. +His rank among English poets, however, is very subordinate.] + +[Line 366: Zephyr.--Zephyrus, the west wind personified by the +poets and made the most mild and gentle of the sylvan deities.] + +[Lines 366-373: In this passage the poet obviously intended to make +"the sound seem an echo to the sense". The success of the attempt has +not been very complete except in the second two lines, expressing the +dash and roar of the waves, and in the last two, expressing the skimming, +continuous motion of Camilla. What he refers to is the onomatopoeia of +Homer and Virgil in the passages alluded to. Ajax, the son of +Telamon, was, next to Achilles, the bravest of all the Greeks in the +Trojan war. When the Greeks were challenged by Hector he was chosen +their champion and it was in their encounter that he seized a huge stone +and hurled it at Hector. + +Thus rendered by Pope himself: + + "Then Ajax seized the fragment of a rock + Applied each nerve, and swinging round on high, + With force tempestuous let the ruin fly + The huge stone thundering through his buckler broke." + +Camilla, queen of the Volsci, was brought up in the woods, and, +according to Virgil, was swifter than the winds. She led an army to +assist Turnus against Aeneas. + + "Dura pan, cursuque pedum praevertere ventos. + Illa vel intactae segetis per summa volaret + Gramina nec teneras cursu laesisset aristas; + Vel mare per medium fluctu suspensa tumenti, + Ferret iter, celeres nec tingeret aequore plantas." + _Aen_. vii 807-811. + +Thus rendered by Dryden. + + "Outstripped the winds in speed upon the plain, + Flew o'er the fields, nor hurt the bearded grain; + She swept the seas, and as she skimmed along, + Her flying feet unbathed on billows hung"] + +[Lines 374-381: This passage refers to Dryden's ode, _Alexander's +Feast_, or _The Power of Music_. Timotheus, mentioned in it, was +a musician of Boeotia, a favorite of Alexander's, not the great musician +Timotheus, who died before Alexander was born, unless, indeed, Dryden +have confused the two.] + +[Line 376: The son of Libyan Jove.--A title arrogated to +himself by Alexander.] + +[Line 393: Dullness here 'seems to be incorrectly used. +Ignorance is apt to magnify, but dullness reposes in stolid +indifference.'] + +[Line 441: Sentences--Passages from the Fathers of the Church +who were regarded as decisive authorities on all disputed points of +doctrine.] + +[Line 444: Scotists--The disciples of Duns Scotus, one of the +most famous and influential of the scholastics of the fourteenth +century, who was opposed to Thomas Aquinas (1224-1274), another famous +scholastic, regarding the doctrines of grace and the freedom of the +will, but especially the immaculate conception of the Virgin. The +followers of the latter were called Thomists, between whom and the +Scotists bitter controversies were carried on.] + +[Line 445: Duck Lane.--A place near Smithfield where old +books were sold. The cobwebs were kindred to the works of these +controversialists, because their arguments were intricate and obscure. +Scotus is said to have demolished two hundred objections to the doctrine +of the immaculate conception, and established it by a cloud of proofs.] + +[Line 459: Parsons.--This is an allusion to Jeremy Collier, +the author of _A Short View etc, of the English Stage_. Critics, +beaux.--This to the Duke of Buckingham, the author of _The +Rehearsal_.] + +[Line 463: Blackmore, Sir Richard (1652-1729), one of the +court physicians and the writer of a great deal of worthless poetry. He +attacked the dramatists of the time generally and Dryden individually, +and is the Quack Maurus of Dryden's prologue to _The Secular +Masque_. Millbourn, Rev. Luke, who criticised Dryden; which +criticism, although sneered at by Pope, is allowed to have been judicious +and decisive.] + +[Line 465: Zoilus. See note on line 183.] + +[Line 479: Patriarch wits--Perhaps an allusion to the great +age to which the antediluvian patriarchs of the Bible lived.] + +[Line 536: An easy monarch.--Charles II.] + +[Line 541: At that time ladies went to the theater in masks.] + +[Line 544: A foreign reign.--The reign of the foreigner, +William III.] + +[Line 545: Socinus.--The reaction from the fanaticism of the +Puritans, who held extreme notions of free grace and satisfaction, by +resolving all Christianity into morality, led the way to the +introduction of Socinianism, the most prominent feature of which is the +denial of the existence of the Trinity.] + +[Line 552: Wit's Titans.--The Titans, in Greek mythology, +were the children of Uranus (heaven) and Gaea (earth), and of gigantic +size. They engaged in a conflict with Zeus, the king of heaven, which +lasted ten years. They were completely defeated, and hurled down into a +dungeon below Tartarus. Very often they are confounded with the Giants, +as has apparently been done here by Pope. These were a later progeny of +the same parents, and in revenge for what had been done to the Titans, +conspired to dethrone Zeus. In order to scale heaven, they piled Mount +Ossa upon Pelion, and would have succeeded in their attempt if Zeus had +not called in the assistance of his son Hercules.] + +[Line 585: Appius.--He refers to Dennis (see note to verse +270) who had published a tragedy called _Appius and Virginia_. He +retaliated for these remarks by coarse personalities upon Pope, in his +criticism of this poem.] + +[Line 617: Durfey's Tales.--Thomas D'Urfey, the author (in +the reign of Charles II.) of a sequel in five acts of _The +Rehearsal_, a series of sonnets entitled _Pills to Purge +Melancholy_, the Tales here alluded to, etc. He was a very inferior +poet, although Addison pleaded for him.] + +[Line 619: Garth, Dr., afterwards Sir Samuel (born 1660) an +eminent physician and a poet of considerable reputation He is best known +as the author of _The Dispensary_, a poetical satire on the +apothecaries and physicians who opposed the project of giving medicine +gratuitously to the sick poor. The poet alludes to a slander current at +the time with regard to the authorship of the poem.] + +[Line 623: St Paul's Churchyard, before the fire of London, was +the headquarters of the booksellers.] + +[Lines 645, 646: See note on line 138.] + +[Line 648: The Maeonian star.--Homer, supposed by some to have been +born in Maeonia, a part of Lydia in Asia Minor, and whose poems were the +chief subject of Aristotle's criticism.] + +[Line 652: Who conquered nature--He wrote, besides his other +works, treatises on Astronomy, Mechanics, Physics, and Natural History.] + +[Line 665: Dionysius, born at Halicarnassus about 50 B.C., was +a learned critic, historian, and rhetorician at Rome in the Augustan +age.] + +[Line 667: Petronius.--A Roman voluptuary at the court of +Nero whose ambition was to shine as a court exquisite. He is generally +supposed to be the author of certain fragments of a comic romance called +_Petronii Arbitri Satyricon_.] + +[Line 669: Quintilian, born in Spain 40 A.D. was a celebrated +teacher of rhetoric and oratory at Rome. His greatwork is _De +Institutione Oratorica_, a complete system of rhetoric, which is here +referred to.] + +[Line 675: Longinus, a Platonic philosopher and famous +rhetorician, born either in Syria or at Athens about 213 A.D., was +probably the best critic of antiquity. From his immense knowledge, he +was called "a living library" and "walking museum," hence the poet speaks +of him as inspired by _all the Nine_--Muses that is. These were +Clio, the muse of History, Euterpe, of Music, Thaleia, of Pastoral and +Comic Poetry and Festivals, Melpomene, of Tragedy, Terpsichore, of +Dancing, Erato, of Lyric and Amorous Poetry, Polyhymnia, of Rhetoric and +Singing, Urania, of Astronomy, Calliope, of Eloquence and Heroic +Poetry.] + +[Line 686: Rome.--For this pronunciation (to rhyme with _doom_) +he has Shakespeare's example as precedent.] + +[Line 692: Goths.--A powerful nation of the Germanic race, +which, originally from the Baltic, first settled near the Black Sea, and +then overran and took an important part in the subversion of the Roman +empire. They were distinguished as Ostro Goths (Eastern Goths) on the +shores of the Black Sea, the Visi Goths (Western Goths) on the Danube, +and the Moeso Goths, in Moesia ] + +[Line 693: Erasmus.--A Dutchman (1467-1536), and at one time +a Roman Catholic priest, who acted as tutor to Alexander Stuart, a +natural son of James IV. of Scotland as professor of Greek for a short +time at Oxford, and was the most learned man of his time. His best known +work is his _Colloquia_, which contains satirical onslaughts on +monks, cloister life, festivals, pilgrimages etc.] + +[Line 696: Vandals.--A race of European barbarians, who first +appear historically about the second century, south of the Baltic. They +overran in succession Gaul, Spain, and Italy. In 455 they took and +plundered Rome, and the way they mutilated and destroyed the works of +art has become a proverb, hence the monks are compared to them in their +ignorance of art and science.] + +[Line 697: Leo.--Leo X., or the Great (1513-1521), was a +scholar himself, and gave much encouragement to learning and art.] + +[Line 704: Raphael (1483-1520), an Italian, is almost +universally regarded as the greatest of painters. He received much +encouragement from Leo. Vida--A poet patronised by Leo. He was +the son of poor parents at Cremona (see line 707), which therefore the +poet says, would be next in fame to Mantua, the birthplace of Virgil as +it was next to it in place. + + "Mantua vae miserae nimium vicina Cremona."--Virg.] + +[Line 714: Boileau.--An illustrious French poet (1636-1711), +who wrote a poem on the Art of Poetry, which is copiously imitated by +Pope in this poem.] + +[Lines 723, 724: Refers to the Duke of Buckingham's _Essay on +Poetry_ which had been eulogized also by Dryden and Dr. Garth.] + +[Line 725: Roscommon, the Earl of, a poet, who has the honor +to be the first critic who praised Milton's _Paradise Lost_, died +1684.] + +[Line 729: Walsh.--An indifferent writer, to whom Pope owed a +good deal, died 1710.] + + + + + +End of the Project Gutenberg EBook of An Essay on Criticism, by Alexander Pope + +*** END OF THE PROJECT GUTENBERG EBOOK AN ESSAY ON CRITICISM *** + +This file should be named esycr10.txt or esycr10.zip +Corrected EDITIONS of our eBooks get a new NUMBER, esycr11.txt +VERSIONS based on separate sources get new LETTER, esycr10a.txt + +Produced by Ted Garvin, David Garcia +and the Online Distributed Proofreading Team. + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. Thus, we usually do not +keep eBooks in compliance with any particular paper edition. + +We are now trying to release all our eBooks one year in advance +of the official release dates, leaving time for better editing. +Please be encouraged to tell us about any error or corrections, +even years after the official publication date. + +Please note neither this listing nor its contents are final til +midnight of the last day of the month of any such announcement. +The official release date of all Project Gutenberg eBooks is at +Midnight, Central Time, of the last day of the stated month. A +preliminary version may often be posted for suggestion, comment +and editing by those who wish to do so. + +Most people start at our Web sites at: +http://gutenberg.net or +http://promo.net/pg + +These Web sites include award-winning information about Project +Gutenberg, including how to donate, how to help produce our new +eBooks, and how to subscribe to our email newsletter (free!). + + +Those of you who want to download any eBook before announcement +can get to them as follows, and just download by date. This is +also a good way to get them instantly upon announcement, as the +indexes our cataloguers produce obviously take a while after an +announcement goes out in the Project Gutenberg Newsletter. + +http://www.ibiblio.org/gutenberg/etext03 or +ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03 + +Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90 + +Just search by the first five letters of the filename you want, +as it appears in our Newsletters. + + +Information about Project Gutenberg (one page) + +We produce about two million dollars for each hour we work. The +time it takes us, a rather conservative estimate, is fifty hours +to get any eBook selected, entered, proofread, edited, copyright +searched and analyzed, the copyright letters written, etc. Our +projected audience is one hundred million readers. If the value +per text is nominally estimated at one dollar then we produce $2 +million dollars per hour in 2002 as we release over 100 new text +files per month: 1240 more eBooks in 2001 for a total of 4000+ +We are already on our way to trying for 2000 more eBooks in 2002 +If they reach just 1-2% of the world's population then the total +will reach over half a trillion eBooks given away by year's end. + +The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks! +This is ten thousand titles each to one hundred million readers, +which is only about 4% of the present number of computer users. + +Here is the briefest record of our progress (* means estimated): + +eBooks Year Month + + 1 1971 July + 10 1991 January + 100 1994 January + 1000 1997 August + 1500 1998 October + 2000 1999 December + 2500 2000 December + 3000 2001 November + 4000 2001 October/November + 6000 2002 December* + 9000 2003 November* +10000 2004 January* + + +The Project Gutenberg Literary Archive Foundation has been created +to secure a future for Project Gutenberg into the next millennium. + +We need your donations more than ever! + +As of February, 2002, contributions are being solicited from people +and organizations in: Alabama, Alaska, Arkansas, Connecticut, +Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois, +Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts, +Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New +Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio, +Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South +Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West +Virginia, Wisconsin, and Wyoming. + +We have filed in all 50 states now, but these are the only ones +that have responded. + +As the requirements for other states are met, additions to this list +will be made and fund raising will begin in the additional states. +Please feel free to ask to check the status of your state. + +In answer to various questions we have received on this: + +We are constantly working on finishing the paperwork to legally +request donations in all 50 states. If your state is not listed and +you would like to know if we have added it since the list you have, +just ask. + +While we cannot solicit donations from people in states where we are +not yet registered, we know of no prohibition against accepting +donations from donors in these states who approach us with an offer to +donate. + +International donations are accepted, but we don't know ANYTHING about +how to make them tax-deductible, or even if they CAN be made +deductible, and don't have the staff to handle it even if there are +ways. + +Donations by check or money order may be sent to: + +Project Gutenberg Literary Archive Foundation +PMB 113 +1739 University Ave. +Oxford, MS 38655-4109 + +Contact us if you want to arrange for a wire transfer or payment +method other than by check or money order. + +The Project Gutenberg Literary Archive Foundation has been approved by +the US Internal Revenue Service as a 501(c)(3) organization with EIN +[Employee Identification Number] 64-622154. Donations are +tax-deductible to the maximum extent permitted by law. As fund-raising +requirements for other states are met, additions to this list will be +made and fund-raising will begin in the additional states. + +We need your donations more than ever! + +You can get up to date donation information online at: + +http://www.gutenberg.net/donation.html + + +*** + +If you can't reach Project Gutenberg, +you can always email directly to: + +Michael S. Hart <hart@pobox.com> + +Prof. Hart will answer or forward your message. + +We would prefer to send you information by email. + + +**The Legal Small Print** + + +(Three Pages) + +***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START*** +Why is this "Small Print!" statement here? You know: lawyers. +They tell us you might sue us if there is something wrong with +your copy of this eBook, even if you got it for free from +someone other than us, and even if what's wrong is not our +fault. So, among other things, this "Small Print!" statement +disclaims most of our liability to you. It also tells you how +you may distribute copies of this eBook if you want to. + +*BEFORE!* YOU USE OR READ THIS EBOOK +By using or reading any part of this PROJECT GUTENBERG-tm +eBook, you indicate that you understand, agree to and accept +this "Small Print!" statement. If you do not, you can receive +a refund of the money (if any) you paid for this eBook by +sending a request within 30 days of receiving it to the person +you got it from. If you received this eBook on a physical +medium (such as a disk), you must return it with your request. + +ABOUT PROJECT GUTENBERG-TM EBOOKS +This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks, +is a "public domain" work distributed by Professor Michael S. Hart +through the Project Gutenberg Association (the "Project"). +Among other things, this means that no one owns a United States copyright +on or for this work, so the Project (and you!) can copy and +distribute it in the United States without permission and +without paying copyright royalties. Special rules, set forth +below, apply if you wish to copy and distribute this eBook +under the "PROJECT GUTENBERG" trademark. + +Please do not use the "PROJECT GUTENBERG" trademark to market +any commercial products without permission. + +To create these eBooks, the Project expends considerable +efforts to identify, transcribe and proofread public domain +works. Despite these efforts, the Project's eBooks and any +medium they may be on may contain "Defects". Among other +things, Defects may take the form of incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged +disk or other eBook medium, a computer virus, or computer +codes that damage or cannot be read by your equipment. + +LIMITED WARRANTY; DISCLAIMER OF DAMAGES +But for the "Right of Replacement or Refund" described below, +[1] Michael Hart and the Foundation (and any other party you may +receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims +all liability to you for damages, costs and expenses, including +legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR +UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, +INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE +OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE +POSSIBILITY OF SUCH DAMAGES. + +If you discover a Defect in this eBook within 90 days of +receiving it, you can receive a refund of the money (if any) +you paid for it by sending an explanatory note within that +time to the person you received it from. If you received it +on a physical medium, you must return it with your note, and +such person may choose to alternatively give you a replacement +copy. If you received it electronically, such person may +choose to alternatively give you a second opportunity to +receive it electronically. + +THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS +TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A +PARTICULAR PURPOSE. + +Some states do not allow disclaimers of implied warranties or +the exclusion or limitation of consequential damages, so the +above disclaimers and exclusions may not apply to you, and you +may have other legal rights. + +INDEMNITY +You will indemnify and hold Michael Hart, the Foundation, +and its trustees and agents, and any volunteers associated +with the production and distribution of Project Gutenberg-tm +texts harmless, from all liability, cost and expense, including +legal fees, that arise directly or indirectly from any of the +following that you do or cause: [1] distribution of this eBook, +[2] alteration, modification, or addition to the eBook, +or [3] any Defect. + +DISTRIBUTION UNDER "PROJECT GUTENBERG-tm" +You may distribute copies of this eBook electronically, or by +disk, book or any other medium if you either delete this +"Small Print!" and all other references to Project Gutenberg, +or: + +[1] Only give exact copies of it. Among other things, this + requires that you do not remove, alter or modify the + eBook or this "small print!" statement. You may however, + if you wish, distribute this eBook in machine readable + binary, compressed, mark-up, or proprietary form, + including any form resulting from conversion by word + processing or hypertext software, but only so long as + *EITHER*: + + [*] The eBook, when displayed, is clearly readable, and + does *not* contain characters other than those + intended by the author of the work, although tilde + (~), asterisk (*) and underline (_) characters may + be used to convey punctuation intended by the + author, and additional characters may be used to + indicate hypertext links; OR + + [*] The eBook may be readily converted by the reader at + no expense into plain ASCII, EBCDIC or equivalent + form by the program that displays the eBook (as is + the case, for instance, with most word processors); + OR + + [*] You provide, or agree to also provide on request at + no additional cost, fee or expense, a copy of the + eBook in its original plain ASCII form (or in EBCDIC + or other equivalent proprietary form). + +[2] Honor the eBook refund and replacement provisions of this + "Small Print!" statement. + +[3] Pay a trademark license fee to the Foundation of 20% of the + gross profits you derive calculated using the method you + already use to calculate your applicable taxes. If you + don't derive profits, no royalty is due. Royalties are + payable to "Project Gutenberg Literary Archive Foundation" + the 60 days following each date you prepare (or were + legally required to prepare) your annual (or equivalent + periodic) tax return. Please contact us beforehand to + let us know your plans and to work out the details. + +WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO? +Project Gutenberg is dedicated to increasing the number of +public domain and licensed works that can be freely distributed +in machine readable form. + +The Project gratefully accepts contributions of money, time, +public domain materials, or royalty free copyright licenses. +Money should be paid to the: +"Project Gutenberg Literary Archive Foundation." + +If you are interested in contributing scanning equipment or +software or other items, please contact Michael Hart at: +hart@pobox.com + +[Portions of this eBook's header and trailer may be reprinted only +when distributed free of all fees. Copyright (C) 2001, 2002 by +Michael S. Hart. Project Gutenberg is a TradeMark and may not be +used in any sales of Project Gutenberg eBooks or other materials be +they hardware or software or any other related product without +express permission.] + +*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END* + diff --git a/old/esycr10.zip b/old/esycr10.zip Binary files differnew file mode 100644 index 0000000..5b7dafc --- /dev/null +++ b/old/esycr10.zip diff --git a/old/esycr10h.htm b/old/esycr10h.htm new file mode 100644 index 0000000..1fcb7c1 --- /dev/null +++ b/old/esycr10h.htm @@ -0,0 +1,2098 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> + <head> + <meta http-equiv="Content-Type" content= + "text/html; charset=us-ascii"> + <title> + The Project Gutenberg eBook of An Essay on Criticism, by Alexander Pope. + </title> + <style type="text/css"> + <!-- + * { font-family: Times;} + P { text-indent: 1em; + margin-top: .75em; + font-size: 14pt; + text-align: justify; + margin-bottom: .75em; } + H1,H2,H3,H4,H5,H6 { text-align: center; } + HR { width: 33%; } + // --> + </style> + </head> + <body> + + +<pre> + +The Project Gutenberg EBook of An Essay on Criticism, by Alexander Pope +#4 in our series by Alexander Pope + +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: An Essay on Criticism + +Author: Alexander Pope + +Release Date: February, 2005 [EBook #7409] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on April 25, 2003] + +Edition: 10 + +Language: English + +Character set encoding: ASCII + +*** START OF THE PROJECT GUTENBERG EBOOK AN ESSAY ON CRITICISM *** + + + + +Produced by Ted Garvin, David Garcia +and the Online Distributed Proofreading Team. +</pre> + + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h1> + AN ESSAY ON CRITICISM. + </h1> + <center> + <b> <br> + BY<br> + <br> + ALEXANDER POPE, <br> + <br> + <i>WITH INTRODUCTORY AND EXPLANATORY NOTES</i>.</b> + </center> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + ALEXANDER POPE. + </h2> + <hr> + <p> + This eminent English poet was born in London, May 21, 1688. + His parents were Roman Catholics, and to this faith the poet + adhered, thus debarring himself from public office and + employment. His father, a linen merchant, having saved a + moderate competency, withdrew from business, and settled on a + small estate he had purchased in Windsor Forest. He died at + Chiswick, in 1717. His son shortly afterwards took a long + lease of a house and five acres of land at Twickenham, on the + banks of the Thames, whither he retired with his widowed + mother, to whom he was tenderly attached and where he resided + till death, cultivating his little domain with exquisite + taste and skill, and embellishing it with a grotto, temple, + wilderness, and other adjuncts poetical and picturesque. In + this famous villa Pope was visited by the most celebrated + wits, statesmen and beauties of the day, himself being the + most popular and successful poet of his age. His early years + were spent at Binfield, within the range of the Royal Forest. + He received some education at little Catholic schools, but + was his own instructor after his twelfth year. He never was a + profound or accurate scholar, but he read Latin poets with + ease and delight, and acquired some Greek, French, and + Italian. He was a poet almost from infancy, he "lisped in + numbers," and when a mere youth surpassed all his + contemporaries in metrical harmony and correctness. His + pastorals and some translations appeared in 1709, but were + written three or four years earlier. These were followed by + the <i>Essay on Criticism</i>, 1711; <i>Rape of the Lock</i> + (when completed, the most graceful, airy, and imaginative of + his works), 1712-1714; <i>Windsor Forest</i>, 1713; <i>Temple + of Fame</i>, 1715. In a collection of his works printed in + 1717 he included the <i>Epistle of Eloisa</i> and <i>Elegy on + an Unfortunate Lady</i>, two poems inimitable for pathetic + beauty and finished melodious versification. + </p> + <p> + From 1715 till 1726 Pope was chiefly engaged on his + translations of the <i>Iliad</i> and <i>Odyssey</i>, which, + though wanting in time Homeric simplicity, naturalness, and + grandeur, are splendid poems. In 1728-29 he published his + greatest satire—the <i>Dunciad</i>, an attack on all + poetasters and pretended wits, and on all other persons + against whom the sensitive poet had conceived any enmity. In + 1737 he gave to the world a volume of his <i>Literary + Correspondence</i>, containing some pleasant gossip and + observations, with choice passages of description but it + appears that the correspondence was manufactured for + publication not composed of actual letters addressed to the + parties whose names are given, and the collection was + introduced to the public by means of an elaborate stratagem + on the part of the scheming poet. Between the years 1731 and + 1739 he issued a series of poetical essays moral and + philosophical, with satires and imitations of Horace, all + admirable for sense, wit, spirit and brilliancy of these + delightful productions, the most celebrated is the <i>Essay + on Man</i> to which Bolingbroke is believed to have + contributed the spurious philosophy and false sentiment, but + its merit consists in detached passages, descriptions, and + pictures. A fourth book to the <i>Dunciad</i>, containing + many beautiful and striking lines and a general revision of + his works, closed the poet's literary cares and toils. He + died on the 30th of May, 1744, and was buried in the church + at Twickenham. + </p> + <p> + Pope was of very diminutive stature and deformed from his + birth. His physical infirmity, susceptible temperament, and + incessant study rendered his life one long disease. He was, + as his friend Lord Chesterfield said, "the most irritable of + all the <i>genus irritabile vatum</i>, offended with trifles + and never forgetting or forgiving them." His literary + stratagems, disguises, assertions, denials, and (we must add) + misrepresentations would fill volumes. Yet when no disturbing + jealousy vanity, or rivalry intervened was generous and + affectionate, and he had a manly, independent spirit. As a + poet he was deficient in originality and creative power, and + thus was inferior to his prototype, Dryden, but as a literary + artist, and brilliant declaimer satirist and moralizer in + verse he is still unrivaled. He is the English Horace, and + will as surely descend with honors to the latest posterity. + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + AN ESSAY ON CRITICISM, + </h2> + <h3> + WRITTEN IN THE YEAR 1709 + </h3> + <p> + [The title, <i>An Essay on Criticism</i> hardly indicates all + that is included in the poem. It would have been impossible + to give a full and exact idea of the art of poetical + criticism without entering into the consideration of the art + of poetry. Accordingly Pope has interwoven the precepts of + both throughout the poem which might more properly have been + styled an essay on the Art of Criticism and of Poetry.] + </p> + <hr> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + PART I. + </h2> + <p> + 'Tis hard to say if greater want of skill<br> + Appear in writing or in judging ill,<br> + But of the two less dangerous is the offense<br> + To tire our patience than mislead our sense<br> + Some few in that but numbers err in this,<br> + Ten censure wrong for one who writes amiss,<br> + A fool might once himself alone expose,<br> + Now one in verse makes many more in prose. + </p> + <p> + 'Tis with our judgments as our watches, none<br> + Go just alike, yet each believes his own<br> + In poets as true genius is but rare<br> + True taste as seldom is the critic share<br> + Both must alike from Heaven derive their light,<br> + These born to judge as well as those to write<br> + Let such teach others who themselves excel,<br> + And censure freely, who have written well<br> + Authors are partial to their wit, 'tis true [<a href= + "#17">17</a>]<br> + But are not critics to their judgment too? + </p> + <p> + Yet if we look more closely we shall find<br> + Most have the seeds of judgment in their mind<br> + Nature affords at least a glimmering light<br> + The lines though touched but faintly are drawn right,<br> + But as the slightest sketch if justly traced<br> + Is by ill coloring but the more disgraced<br> + So by false learning is good sense defaced<br> + Some are bewildered in the maze of schools [<a href= + "#26">26</a>]<br> + And some made coxcombs nature meant but fools<br> + In search of wit these lose their common sense<br> + And then turn critics in their own defense<br> + Each burns alike who can or cannot write<br> + Or with a rival's or an eunuch's spite<br> + All fools have still an itching to deride<br> + And fain would be upon the laughing side<br> + If Maevius scribble in Apollo's spite [<a href= + "#34">34</a>]<br> + There are who judge still worse than he can write. + </p> + <p> + Some have at first for wits then poets passed<br> + Turned critics next and proved plain fools at last<br> + Some neither can for wits nor critics pass<br> + As heavy mules are neither horse nor ass.<br> + Those half-learned witlings, numerous in our isle,<br> + As half-formed insects on the banks of Nile<br> + Unfinished things one knows not what to call<br> + Their generation is so equivocal<br> + To tell them would a hundred tongues require,<br> + Or one vain wits that might a hundred tire. + </p> + <p> + But you who seek to give and merit fame,<br> + And justly bear a critic's noble name,<br> + Be sure yourself and your own reach to know<br> + How far your genius taste and learning go.<br> + Launch not beyond your depth, but be discreet<br> + And mark that point where sense and dullness meet. + </p> + <p> + Nature to all things fixed the limits fit<br> + And wisely curbed proud man's pretending wit.<br> + As on the land while here the ocean gains.<br> + In other parts it leaves wide sandy plains<br> + Thus in the soul while memory prevails,<br> + The solid power of understanding fails<br> + Where beams of warm imagination play,<br> + The memory's soft figures melt away<br> + One science only will one genius fit,<br> + So vast is art, so narrow human wit<br> + Not only bounded to peculiar arts,<br> + But oft in those confined to single parts<br> + Like kings, we lose the conquests gained before,<br> + By vain ambition still to make them more<br> + Each might his several province well command,<br> + Would all but stoop to what they understand. + </p> + <p> + First follow nature and your judgment frame<br> + By her just standard, which is still the same.<br> + Unerring nature still divinely bright,<br> + One clear, unchanged and universal light,<br> + Life force and beauty, must to all impart,<br> + At once the source and end and test of art<br> + Art from that fund each just supply provides,<br> + Works without show and without pomp presides<br> + In some fair body thus the informing soul<br> + With spirits feeds, with vigor fills the whole,<br> + Each motion guides and every nerve sustains,<br> + Itself unseen, but in the effects remains.<br> + Some, to whom Heaven in wit has been profuse, [<a href= + "#80">80</a>]<br> + Want as much more, to turn it to its use;<br> + For wit and judgment often are at strife,<br> + Though meant each other's aid, like man and wife.<br> + 'Tis more to guide, than spur the muse's steed,<br> + Restrain his fury, than provoke his speed,<br> + The winged courser, like a generous horse, [<a href= + "#86">86</a>]<br> + Shows most true mettle when you check his course. + </p> + <p> + Those rules, of old discovered, not devised,<br> + Are nature still, but nature methodized;<br> + Nature, like liberty, is but restrained<br> + By the same laws which first herself ordained. + </p> + <p> + Hear how learned Greece her useful rules indites,<br> + When to repress and when indulge our flights.<br> + High on Parnassus' top her sons she showed, [<a href= + "#94">94</a>]<br> + And pointed out those arduous paths they trod;<br> + Held from afar, aloft, the immortal prize,<br> + And urged the rest by equal steps to rise. [<a href= + "#97">97</a>]<br> + Just precepts thus from great examples given,<br> + She drew from them what they derived from Heaven.<br> + The generous critic fanned the poet's fire,<br> + And taught the world with reason to admire.<br> + Then criticism the muse's handmaid proved,<br> + To dress her charms, and make her more beloved:<br> + But following wits from that intention strayed<br> + Who could not win the mistress, wooed the maid<br> + Against the poets their own arms they turned<br> + Sure to hate most the men from whom they learned<br> + So modern pothecaries taught the art<br> + By doctors bills to play the doctor's part.<br> + Bold in the practice of mistaken rules<br> + Prescribe, apply, and call their masters fools.<br> + Some on the leaves of ancient authors prey,<br> + Nor time nor moths e'er spoil so much as they.<br> + Some dryly plain, without invention's aid,<br> + Write dull receipts how poems may be made<br> + These leave the sense their learning to display,<br> + And those explain the meaning quite away. + </p> + <p> + You then, whose judgment the right course would steer,<br> + Know well each ancient's proper character,<br> + His fable subject scope in every page,<br> + Religion, country, genius of his age<br> + Without all these at once before your eyes,<br> + Cavil you may, but never criticise.<br> + Be Homers works your study and delight,<br> + Read them by day and meditate by night,<br> + Thence form your judgment thence your maxims bring<br> + And trace the muses upward to their spring.<br> + Still with itself compared, his text peruse,<br> + And let your comment be the Mantuan Muse. [<a href= + "#129">129</a>] + </p> + <p> + When first young Maro in his boundless mind, + [<a href="#130">130</a>]<br> + A work to outlast immortal Rome designed,<br> + Perhaps he seemed above the critic's law<br> + And but from nature's fountain scorned to draw<br> + But when to examine every part he came<br> + Nature and Homer were he found the same<br> + Convinced, amazed, he checks the bold design<br> + And rules as strict his labored work confine<br> + As if the Stagirite o'erlooked each line [<a href= + "#138">138</a>]<br> + Learn hence for ancient rules a just esteem,<br> + To copy nature is to copy them. + </p> + <p> + Some beauties yet no precepts can declare,<br> + For there's a happiness as well as care.<br> + Music resembles poetry—in each<br> + Are nameless graces which no methods teach,<br> + And which a master hand alone can reach<br> + If, where the rules not far enough extend<br> + (Since rules were made but to promote their end),<br> + Some lucky license answer to the full<br> + The intent proposed that license is a rule.<br> + Thus Pegasus a nearer way to take<br> + May boldly deviate from the common track<br> + Great wits sometimes may gloriously offend,<br> + And rise to faults true critics dare not mend,<br> + From vulgar bounds with brave disorder part,<br> + And snatch a grace beyond the reach of art,<br> + Which without passing through the judgment gains<br> + The heart and all its end at once attains.<br> + In prospects, thus, some objects please our eyes,<br> + Which out of nature's common order rise,<br> + The shapeless rock or hanging precipice.<br> + But though the ancients thus their rules invade<br> + (As kings dispense with laws themselves have made),<br> + Moderns beware! or if you must offend<br> + Against the precept, ne'er transgress its end,<br> + Let it be seldom, and compelled by need,<br> + And have, at least, their precedent to plead.<br> + The critic else proceeds without remorse,<br> + Seizes your fame, and puts his laws in force. + </p> + <p> + I know there are, to whose presumptuous thoughts<br> + Those freer beauties, even in them, seem faults<br> + Some figures monstrous and misshaped appear,<br> + Considered singly, or beheld too near,<br> + Which, but proportioned to their light, or place,<br> + Due distance reconciles to form and grace.<br> + A prudent chief not always must display<br> + His powers in equal ranks and fair array,<br> + But with the occasion and the place comply.<br> + Conceal his force, nay, seem sometimes to fly.<br> + Those oft are stratagems which errors seem,<br> + Nor is it Homer nods, but we that dream. [<a href= + "#180">180</a>] + </p> + <p> + Still green with bays each ancient altar stands,<br> + Above the reach of sacrilegious hands,<br> + Secure from flames, from envy's fiercer rage, [<a href= + "#183">183</a>]<br> + Destructive war, and all-involving age.<br> + See, from each clime the learned their incense bring;<br> + Hear, in all tongues consenting Paeans ring!<br> + In praise so just let every voice be joined,<br> + And fill the general chorus of mankind.<br> + Hail! bards triumphant! born in happier days;<br> + Immortal heirs of universal praise!<br> + Whose honors with increase of ages grow,<br> + As streams roll down, enlarging as they flow;<br> + Nations unborn your mighty names shall sound, [<a href= + "#193">193</a>]<br> + And worlds applaud that must not yet be found!<br> + Oh may some spark of your celestial fire,<br> + The last, the meanest of your sons inspire,<br> + (That, on weak wings, from far pursues your flights,<br> + Glows while he reads, but trembles as he writes),<br> + To teach vain wits a science little known,<br> + To admire superior sense, and doubt their own! + </p> + <hr> + + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + PART II. + </h2> + + <p> + Of all the causes which conspire to blind<br> + Man's erring judgment and misguide the mind,<br> + What the weak head with strongest bias rules,<br> + Is pride, the never-failing vice of fools.<br> + Whatever nature has in worth denied,<br> + She gives in large recruits of needful pride;<br> + For as in bodies, thus in souls, we find<br> + What wants in blood and spirits, swelled with wind:<br> + Pride where wit fails steps in to our defense,<br> + And fills up all the mighty void of sense.<br> + If once right reason drives that cloud away,<br> + Truth breaks upon us with resistless day<br> + Trust not yourself, but your defects to know,<br> + Make use of every friend—and every foe. + </p> + <p> + A little learning is a dangerous thing<br> + Drink deep, or taste not the Pierian spring [<a href= + "#216">216</a>]<br> + There shallow draughts intoxicate the brain,<br> + And drinking largely sobers us again.<br> + Fired at first sight with what the muse imparts,<br> + In fearless youth we tempt the heights of arts<br> + While from the bounded level of our mind<br> + Short views we take nor see the lengths behind<br> + But more advanced behold with strange surprise,<br> + New distant scenes of endless science rise!<br> + So pleased at first the towering Alps we try,<br> + Mount o'er the vales and seem to tread the sky,<br> + The eternal snows appear already passed<br> + And the first clouds and mountains seem the last.<br> + But those attained we tremble to survey<br> + The growing labors of the lengthened way<br> + The increasing prospect tires our wandering eyes,<br> + Hills peep o'er hills and Alps on Alps arise! + </p> + <p> + A perfect judge will read each work of wit<br> + With the same spirit that its author writ<br> + Survey the whole nor seek slight faults to find<br> + Where nature moves and rapture warms the mind,<br> + Nor lose for that malignant dull delight<br> + The generous pleasure to be charmed with wit<br> + But in such lays as neither ebb nor flow,<br> + Correctly cold and regularly low<br> + That, shunning faults, one quiet tenor keep;<br> + We cannot blame indeed—but we may sleep.<br> + In wit, as nature, what affects our hearts<br> + Is not the exactness of peculiar parts,<br> + 'Tis not a lip, or eye, we beauty call,<br> + But the joint force and full result of all.<br> + Thus, when we view some well proportioned dome<br> + (The worlds just wonder, and even thine, O Rome!), + [<a href="#248">248</a>]<br> + No single parts unequally surprise,<br> + All comes united to the admiring eyes;<br> + No monstrous height or breadth, or length, appear;<br> + The whole at once is bold, and regular. + </p> + <p> + Whoever thinks a faultless piece to see.<br> + Thinks what ne'er was, nor is, nor e'er shall be.<br> + In every work regard the writer's end,<br> + Since none can compass more than they intend;<br> + And if the means be just, the conduct true,<br> + Applause, in spite of trivial faults, is due.<br> + As men of breeding, sometimes men of wit,<br> + To avoid great errors, must the less commit:<br> + Neglect the rules each verbal critic lays,<br> + For not to know some trifles is a praise.<br> + Most critics, fond of some subservient art,<br> + Still make the whole depend upon a part:<br> + They talk of principles, but notions prize,<br> + And all to one loved folly sacrifice. + </p> + <p> + Once on a time La Mancha's knight, they say, + [<a href="#267">267</a>]<br> + A certain bard encountering on the way,<br> + Discoursed in terms as just, with looks as sage,<br> + As e'er could Dennis, of the Grecian stage; [<a href= + "#270">270</a>]<br> + Concluding all were desperate sots and fools,<br> + Who durst depart from Aristotle's rules<br> + Our author, happy in a judge so nice,<br> + Produced his play, and begged the knight's advice;<br> + Made him observe the subject, and the plot,<br> + The manners, passions, unities, what not?<br> + All which, exact to rule, were brought about,<br> + Were but a combat in the lists left out<br> + "What! leave the combat out?" exclaims the knight.<br> + "Yes, or we must renounce the Stagirite."<br> + "Not so, by heaven!" (he answers in a rage)<br> + "Knights, squires, and steeds must enter on the stage."<br> + "So vast a throng the stage can ne'er contain."<br> + "Then build a new, or act it in a plain." + </p> + <p> + Thus critics of less judgment than caprice,<br> + Curious, not knowing, not exact, but nice,<br> + Form short ideas, and offend in arts<br> + (As most in manners) by a love to parts. + </p> + <p> + Some to conceit alone their taste confine,<br> + And glittering thoughts struck out at every line;<br> + Pleased with a work where nothing's just or fit;<br> + One glaring chaos and wild heap of wit.<br> + Poets, like painters, thus, unskilled to trace<br> + The naked nature and the living grace,<br> + With gold and jewels cover every part,<br> + And hide with ornaments their want of art.<br> + True wit is nature to advantage dressed;<br> + What oft was thought, but ne'er so well expressed;<br> + Something, whose truth convinced at sight we find<br> + That gives us back the image of our mind.<br> + As shades more sweetly recommend the light,<br> + So modest plainness sets off sprightly wit<br> + For works may have more wit than does them good,<br> + As bodies perish through excess of blood. + </p> + <p> + Others for language all their care express,<br> + And value books, as women men, for dress.<br> + Their praise is still—"the style is excellent,"<br> + The sense they humbly take upon content [<a href= + "#308">308</a>]<br> + Words are like leaves, and where they most abound<br> + Much fruit of sense beneath is rarely found.<br> + False eloquence, like the prismatic glass. [<a href= + "#311">311</a>]<br> + Its gaudy colors spreads on every place,<br> + The face of nature we no more survey.<br> + All glares alike without distinction gay:<br> + But true expression, like the unchanging sun,<br> + Clears and improves whate'er it shines upon;<br> + It gilds all objects, but it alters none.<br> + Expression is the dress of thought, and still<br> + Appears more decent, as more suitable,<br> + A vile conceit in pompous words expressed,<br> + Is like a clown in regal purple dressed<br> + For different styles with different subjects sort,<br> + As several garbs with country town and court<br> + Some by old words to fame have made pretense,<br> + Ancients in phrase, mere moderns in their sense;<br> + Such labored nothings, in so strange a style,<br> + Amaze the unlearned, and make the learned smile.<br> + Unlucky, as Fungoso in the play, [<a href="#328">328</a>]<br> + These sparks with awkward vanity display<br> + What the fine gentleman wore yesterday;<br> + And but so mimic ancient wits at best,<br> + As apes our grandsires in their doublets dressed.<br> + In words as fashions the same rule will hold,<br> + Alike fantastic if too new or old.<br> + Be not the first by whom the new are tried,<br> + Nor yet the last to lay the old aside + </p> + <p> + But most by numbers judge a poet's song<br> + And smooth or rough, with them is right or wrong.<br> + In the bright muse though thousand charms conspire,<br> + Her voice is all these tuneful fools admire,<br> + Who haunt Parnassus but to please their ear,<br> + Not mend their minds, as some to church repair,<br> + Not for the doctrine but the music there<br> + These equal syllables alone require,<br> + Though oft the ear the open vowels tire;<br> + While expletives their feeble aid do join;<br> + And ten low words oft creep in one dull line,<br> + While they ring round the same unvaried chimes,<br> + With sure returns of still expected rhymes,<br> + Where'er you find "the cooling western breeze,"<br> + In the next line it "whispers through the trees"<br> + If crystal streams "with pleasing murmurs creep"<br> + The reader's threatened (not in vain) with "sleep"<br> + Then, at the last and only couplet fraught<br> + With some unmeaning thing they call a thought,<br> + A needless Alexandrine ends the song [<a href= + "#356">356</a>]<br> + That, like a wounded snake drags its slow length along. + </p> + <p> + Leave such to tune their own dull rhymes, and know<br> + What's roundly smooth or languishingly slow;<br> + And praise the easy vigor of a line,<br> + Where Denham's strength, and Waller's sweetness join. + [<a href="#361">361</a>]<br> + True ease in writing comes from art, not chance,<br> + As those move easiest who have learned to dance<br> + 'Tis not enough no harshness gives offense,<br> + The sound must seem an echo to the sense.<br> + Soft is the strain when Zephyr gently blows, [<a href= + "#366">366</a>]<br> + And the smooth stream in smoother numbers flows,<br> + But when loud surges lash the sounding shore,<br> + The hoarse, rough verse should like the torrent roar,<br> + When Ajax strives some rock's vast weight to throw,<br> + The line too labors, and the words move slow;<br> + Not so, when swift Camilla scours the plain,<br> + Flies o'er the unbending corn, and skims along the main. + [<a href="#373">373</a>]<br> + Hear how Timotheus' varied lays surprise, [<a href= + "#374">374</a>]<br> + And bid alternate passions fall and rise!<br> + While, at each change, the son of Libyan Jove [<a href= + "#376">376</a>]<br> + Now burns with glory, and then melts with love;<br> + Now his fierce eyes with sparkling fury glow,<br> + Now sighs steal out, and tears begin to flow:<br> + Persians and Greeks like turns of nature found,<br> + And the world's victor stood subdued by sound? [<a href= + "#381">381</a>]<br> + The power of music all our hearts allow,<br> + And what Timotheus was, is Dryden now. + </p> + <p> + Avoid extremes, and shun the fault of such,<br> + Who still are pleased too little or too much.<br> + At every trifle scorn to take offense,<br> + That always shows great pride, or little sense:<br> + Those heads, as stomachs, are not sure the best,<br> + Which nauseate all, and nothing can digest.<br> + Yet let not each gay turn thy rapture move;<br> + For fools admire, but men of sense approve:<br> + As things seem large which we through mist descry,<br> + Dullness is ever apt to magnify. [<a href="#393">393</a>] + </p> + <p> + Some foreign writers, some our own despise,<br> + The ancients only, or the moderns prize.<br> + Thus wit, like faith, by each man is applied<br> + To one small sect, and all are damned beside.<br> + Meanly they seek the blessing to confine,<br> + And force that sun but on a part to shine,<br> + Which not alone the southern wit sublimes,<br> + But ripens spirits in cold northern climes.<br> + Which from the first has shone on ages past,<br> + Enlights the present, and shall warm the last,<br> + Though each may feel increases and decays,<br> + And see now clearer and now darker days.<br> + Regard not then if wit be old or new,<br> + But blame the false, and value still the true. + </p> + <p> + Some ne'er advance a judgment of their own,<br> + But catch the spreading notion of the town,<br> + They reason and conclude by precedent,<br> + And own stale nonsense which they ne'er invent.<br> + Some judge of authors names not works, and then<br> + Nor praise nor blame the writing, but the men.<br> + Of all this servile herd the worst is he<br> + That in proud dullness joins with quality<br> + A constant critic at the great man's board,<br> + To fetch and carry nonsense for my lord<br> + What woful stuff this madrigal would be,<br> + In some starved hackney sonnetteer, or me!<br> + But let a lord once own the happy lines,<br> + How the wit brightens! how the style refines!<br> + Before his sacred name flies every fault,<br> + And each exalted stanza teems with thought! + </p> + <p> + The vulgar thus through imitation err;<br> + As oft the learned by being singular.<br> + So much they scorn the crowd that if the throng<br> + By chance go right they purposely go wrong:<br> + So schismatics the plain believers quit,<br> + And are but damned for having too much wit.<br> + Some praise at morning what they blame at night,<br> + But always think the last opinion right.<br> + A muse by these is like a mistress used,<br> + This hour she's idolized, the next abused;<br> + While their weak heads, like towns unfortified,<br> + 'Twixt sense and nonsense daily change their side.<br> + Ask them the cause, they're wiser still they say;<br> + And still to-morrow's wiser than to-day.<br> + We think our fathers fools, so wise we grow;<br> + Our wiser sons, no doubt, will think us so.<br> + Once school-divines this zealous isle o'erspread.<br> + Who knew most sentences was deepest read, [<a href= + "#441">441</a>]<br> + Faith, Gospel, all, seemed made to be disputed,<br> + And none had sense enough to be confuted:<br> + Scotists and Thomists now in peace remain, [<a href= + "#444">444</a>]<br> + Amidst their kindred cobwebs in Duck Lane. [<a href= + "#445">445</a>]<br> + If faith itself has different dresses worn,<br> + What wonder modes in wit should take their turn?<br> + Oft, leaving what is natural and fit,<br> + The current folly proves the ready wit;<br> + And authors think their reputation safe,<br> + Which lives as long as fools are pleased to laugh. + </p> + <p> + Some valuing those of their own side or mind,<br> + Still make themselves the measure of mankind:<br> + Fondly we think we honor merit then,<br> + When we but praise ourselves in other men.<br> + Parties in wit attend on those of state,<br> + And public faction doubles private hate.<br> + Pride, malice, folly against Dryden rose,<br> + In various shapes of parsons, critics, beaux; [<a href= + "#459">459</a>]<br> + But sense survived, when merry jests were past;<br> + For rising merit will buoy up at last.<br> + Might he return, and bless once more our eyes,<br> + New Blackmores and new Millbourns must arise: [<a href= + "#463">463</a>]<br> + Nay, should great Homer lift his awful head,<br> + Zoilus again would start up from the dead [<a href= + "#465">465</a>]<br> + Envy will merit, as its shade, pursue,<br> + But like a shadow, proves the substance true:<br> + For envied wit, like Sol eclipsed, makes known<br> + The opposing body's grossness, not its own.<br> + When first that sun too powerful beams displays,<br> + It draws up vapors which obscure its rays,<br> + But even those clouds at last adorn its way<br> + Reflect new glories and augment the day + </p> + <p> + Be thou the first true merit to befriend<br> + His praise is lost who stays till all commend<br> + Short is the date alas! of modern rhymes<br> + And 'tis but just to let them live betimes<br> + No longer now that golden age appears<br> + When patriarch wits survived a thousand years [<a href= + "#479">479</a>]<br> + Now length of fame (our second life) is lost<br> + And bare threescore is all even that can boast,<br> + Our sons their fathers failing language see<br> + And such as Chaucer is shall Dryden be<br> + So when the faithful pencil has designed<br> + Some bright idea of the master's mind<br> + Where a new world leaps out at his command<br> + And ready nature waits upon his hand<br> + When the ripe colors soften and unite<br> + And sweetly melt into just shade and light<br> + When mellowing years their full perfection give<br> + And each bold figure just begins to live<br> + The treacherous colors the fair art betray<br> + And all the bright creation fades away! + </p> + <p> + Unhappy wit, like most mistaken things<br> + Atones not for that envy which it brings<br> + In youth alone its empty praise we boast<br> + But soon the short lived vanity is lost.<br> + Like some fair flower the early spring supplies<br> + That gayly blooms but even in blooming dies<br> + What is this wit, which must our cares employ?<br> + The owner's wife that other men enjoy<br> + Then most our trouble still when most admired<br> + And still the more we give the more required<br> + Whose fame with pains we guard, but lose with ease,<br> + Sure some to vex, but never all to please,<br> + 'Tis what the vicious fear, the virtuous shun,<br> + By fools 'tis hated, and by knaves undone! + </p> + <p> + If wit so much from ignorance undergo,<br> + Ah! let not learning too commence its foe!<br> + Of old, those met rewards who could excel,<br> + And such were praised who but endeavored well:<br> + Though triumphs were to generals only due,<br> + Crowns were reserved to grace the soldiers too.<br> + Now they who reach Parnassus' lofty crown,<br> + Employ their pains to spurn some others down;<br> + And, while self-love each jealous writer rules,<br> + Contending wits become the sport of fools:<br> + But still the worst with most regret commend,<br> + For each ill author is as bad a friend<br> + To what base ends, and by what abject ways,<br> + Are mortals urged, through sacred lust of praise!<br> + Ah, ne'er so dire a thirst of glory boast,<br> + Nor in the critic let the man be lost<br> + Good-nature and good sense must ever join;<br> + To err is human, to forgive, divine. + </p> + <p> + But if in noble minds some dregs remain,<br> + Not yet purged off, of spleen and sour disdain;<br> + Discharge that rage on more provoking crimes,<br> + Nor fear a dearth in these flagitious times.<br> + No pardon vile obscenity should find,<br> + Though wit and art conspire to move your mind;<br> + But dullness with obscenity must prove<br> + As shameful sure as impotence in love.<br> + In the fat age of pleasure, wealth, and ease,<br> + Sprung the rank weed, and thrived with large increase:<br> + When love was all an easy monarch's care, [<a href= + "#536">536</a>]<br> + Seldom at council, never in a war<br> + Jilts ruled the state, and statesmen farces writ;<br> + Nay, wits had pensions, and young lords had wit:<br> + The fair sat panting at a courtier's play,<br> + And not a mask went unimproved away: [<a href= + "#541">541</a>]<br> + The modest fan was lifted up no more,<br> + And virgins smiled at what they blushed before.<br> + The following license of a foreign reign, [<a href= + "#544">544</a>]<br> + Did all the dregs of bold Socinus drain, [<a href= + "#545">545</a>]<br> + Then unbelieving priests reformed the nation.<br> + And taught more pleasant methods of salvation;<br> + Where Heaven's free subjects might their rights dispute,<br> + Lest God himself should seem too absolute:<br> + Pulpits their sacred satire learned to spare,<br> + And vice admired to find a flatterer there!<br> + Encouraged thus, wit's Titans braved the skies, [<a href= + "#552">552</a>]<br> + And the press groaned with licensed blasphemies.<br> + These monsters, critics! with your darts engage,<br> + Here point your thunder, and exhaust your rage!<br> + Yet shun their fault, who, scandalously nice,<br> + Will needs mistake an author into vice;<br> + All seems infected that the infected spy,<br> + As all looks yellow to the jaundiced eye. + </p> + <hr> + + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + PART III. + </h2> + + <p> + Learn, then, what morals critics ought to show,<br> + For 'tis but half a judge's task to know.<br> + 'Tis not enough, taste, judgment, learning, join;<br> + In all you speak, let truth and candor shine:<br> + That not alone what to your sense is due<br> + All may allow, but seek your friendship too. + </p> + <p> + Be silent always, when you doubt your sense;<br> + And speak, though sure, with seeming diffidence:<br> + Some positive persisting fops we know,<br> + Who, if once wrong will needs be always so;<br> + But you, with pleasure, own your errors past,<br> + And make each day a critique on the last. + </p> + <p> + 'Tis not enough your counsel still be true;<br> + Blunt truths more mischief than nice falsehoods do;<br> + Men must be taught as if you taught them not,<br> + And things unknown proposed as things forgot.<br> + Without good breeding truth is disapproved;<br> + That only makes superior sense beloved. + </p> + <p> + Be niggards of advice on no pretense;<br> + For the worst avarice is that of sense<br> + With mean complacence, ne'er betray your trust,<br> + Nor be so civil as to prove unjust<br> + Fear not the anger of the wise to raise,<br> + Those best can bear reproof who merit praise. + </p> + <p> + 'Twere well might critics still this freedom take,<br> + But Appius reddens at each word you speak, [<a href= + "#585">585</a>]<br> + And stares, tremendous with a threatening eye,<br> + Like some fierce tyrant in old tapestry<br> + Fear most to tax an honorable fool<br> + Whose right it is uncensured to be dull<br> + Such, without wit are poets when they please,<br> + As without learning they can take degrees<br> + Leave dangerous truths to unsuccessful satires,<br> + And flattery to fulsome dedicators<br> + Whom, when they praise, the world believes no more,<br> + Than when they promise to give scribbling o'er. + </p> + <p> + 'Tis best sometimes your censure to restrain,<br> + And charitably let the dull be vain<br> + Your silence there is better than your spite,<br> + For who can rail so long as they can write?<br> + Still humming on, their drowsy course they keep,<br> + And lashed so long like tops are lashed asleep.<br> + False steps but help them to renew the race,<br> + As after stumbling, jades will mend their pace.<br> + What crowds of these, impenitently bold,<br> + In sounds and jingling syllables grown old,<br> + Still run on poets in a raging vein,<br> + Even to the dregs and squeezing of the brain;<br> + Strain out the last dull droppings of their sense,<br> + And rhyme with all the rage of impotence! + </p> + <p> + Such shameless bards we have, and yet, 'tis true,<br> + There are as mad abandoned critics, too<br> + The bookful blockhead ignorantly read,<br> + With loads of learned lumber in his head,<br> + With his own tongue still edifies his ears,<br> + And always listening to himself appears<br> + All books he reads and all he reads assails<br> + From Dryden's Fables down to Durfey's Tales [<a href= + "#617">617</a>]<br> + With him most authors steal their works or buy;<br> + Garth did not write his own Dispensary [<a href= + "#619">619</a>]<br> + Name a new play, and he's the poets friend<br> + Nay, showed his faults—but when would poets mend?<br> + No place so sacred from such fops is barred,<br> + Nor is Paul's Church more safe than Paul's Churchyard: + [<a href="#623">623</a>]<br> + Nay, fly to altars; there they'll talk you dead,<br> + For fools rush in where angels fear to tread<br> + Distrustful sense with modest caution speaks,<br> + It still looks home, and short excursions makes;<br> + But rattling nonsense in full volleys breaks,<br> + And, never shocked, and never turned aside.<br> + Bursts out, resistless, with a thundering tide, + </p> + <p> + But where's the man who counsel can bestow,<br> + Still pleased to teach, and yet not proud to know?<br> + Unbiased, or by favor, or in spite,<br> + Not dully prepossessed, nor blindly right;<br> + Though learned, well-bred, and though well bred, sincere,<br> + Modestly bold, and humanly severe,<br> + Who to a friend his faults can freely show,<br> + And gladly praise the merit of a foe?<br> + Blessed with a taste exact, yet unconfined;<br> + A knowledge both of books and human kind;<br> + Generous converse, a soul exempt from pride;<br> + And love to praise, with reason on his side? + </p> + <p> + Such once were critics such the happy few,<br> + Athens and Rome in better ages knew.<br> + The mighty Stagirite first left the shore, [<a href= + "#645">645</a>]<br> + Spread all his sails, and durst the deeps explore;<br> + He steered securely, and discovered far,<br> + Led by the light of the Maeonian star. [<a href= + "#648">648</a>]<br> + Poets, a race long unconfined and free,<br> + Still fond and proud of savage liberty,<br> + Received his laws, and stood convinced 'twas fit,<br> + Who conquered nature, should preside o'er wit. [<a href= + "#652">652</a>] + </p> + <p> + Horace still charms with graceful negligence,<br> + And without method talks us into sense;<br> + Will like a friend familiarly convey<br> + The truest notions in the easiest way.<br> + He who supreme in judgment as in wit,<br> + Might boldly censure, as he boldly writ,<br> + Yet judged with coolness though he sung with fire;<br> + His precepts teach but what his works inspire<br> + Our critics take a contrary extreme<br> + They judge with fury, but they write with phlegm:<br> + Nor suffers Horace more in wrong translations<br> + By wits than critics in as wrong quotations. + </p> + <p> + See Dionysius Homer's thoughts refine, + [<a href="#665">665</a>]<br> + And call new beauties forth from every line! + </p> + <p> + Fancy and art in gay Petronius please, + [<a href="#667">667</a>]<br> + The scholar's learning with the courtier's ease. + </p> + <p> + In grave Quintilian's copious work we find + [<a href="#669">669</a>]<br> + The justest rules and clearest method joined:<br> + Thus useful arms in magazines we place,<br> + All ranged in order, and disposed with grace,<br> + But less to please the eye, than arm the hand,<br> + Still fit for use, and ready at command. + </p> + <p> + Thee bold Longinus! all the Nine inspire, + [<a href="#675">675</a>]<br> + And bless their critic with a poet's fire.<br> + An ardent judge, who, zealous in his trust,<br> + With warmth gives sentence, yet is always just:<br> + Whose own example strengthens all his laws;<br> + And is himself that great sublime he draws. + </p> + <p> + Thus long succeeding critics justly reigned,<br> + License repressed, and useful laws ordained.<br> + Learning and Rome alike in empire grew;<br> + And arts still followed where her eagles flew,<br> + From the same foes at last, both felt their doom,<br> + And the same age saw learning fall, and Rome. [<a href= + "#686">686</a>]<br> + With tyranny then superstition joined<br> + As that the body, this enslaved the mind;<br> + Much was believed but little understood,<br> + And to be dull was construed to be good;<br> + A second deluge learning thus o'errun,<br> + And the monks finished what the Goths begun. [<a href= + "#692">692</a>] + </p> + <p> + At length Erasmus, that great injured name + [<a href="#693">693</a>]<br> + (The glory of the priesthood and the shame!)<br> + Stemmed the wild torrent of a barbarous age,<br> + And drove those holy Vandals off the stage. [<a href= + "#696">696</a>] + </p> + <p> + But see! each muse, in Leo's golden days, + [<a href="#697">697</a>]<br> + Starts from her trance and trims her withered bays,<br> + Rome's ancient genius o'er its ruins spread<br> + Shakes off the dust, and rears his reverent head<br> + Then sculpture and her sister arts revive,<br> + Stones leaped to form, and rocks began to live;<br> + With sweeter notes each rising temple rung,<br> + A Raphael painted, and a Vida sung [<a href= + "#704">704</a>]<br> + Immortal Vida! on whose honored brow<br> + The poets bays and critic's ivy grow<br> + Cremona now shall ever boast thy name<br> + As next in place to Mantua, next in fame! + </p> + <p> + But soon by impious arms from Latium chased,<br> + Their ancient bounds the banished muses passed.<br> + Thence arts o'er all the northern world advance,<br> + But critic-learning flourished most in France,<br> + The rules a nation born to serve, obeys;<br> + And Boileau still in right of Horace sways [<a href= + "#714">714</a>]<br> + But we, brave Britons, foreign laws despised,<br> + And kept unconquered and uncivilized,<br> + Fierce for the liberties of wit and bold,<br> + We still defied the Romans as of old.<br> + Yet some there were, among the sounder few<br> + Of those who less presumed and better knew,<br> + Who durst assert the juster ancient cause,<br> + And here restored wit's fundamental laws.<br> + Such was the muse, whose rule and practice tell<br> + "Nature's chief masterpiece is writing well."<br> + Such was Roscommon, not more learned than good,<br> + With manners generous as his noble blood,<br> + To him the wit of Greece and Rome was known,<br> + And every author's merit, but his own<br> + Such late was Walsh—the muse's judge and friend,<br> + Who justly knew to blame or to commend,<br> + To failings mild, but zealous for desert,<br> + The clearest head, and the sincerest heart,<br> + This humble praise, lamented shade! receive,<br> + This praise at least a grateful muse may give.<br> + The muse whose early voice you taught to sing<br> + Prescribed her heights and pruned her tender wing,<br> + (Her guide now lost) no more attempts to rise,<br> + But in low numbers short excursions tries,<br> + Content if hence the unlearned their wants may view,<br> + The learned reflect on what before they knew<br> + Careless of censure, nor too fond of fame,<br> + Still pleased to praise, yet not afraid to blame,<br> + Averse alike to flatter, or offend,<br> + Not free from faults, nor yet too vain to mend. + </p> + <hr> + + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <h2> + LINE NOTES + </h2> + + <p> + <a name="17"><!--Line Note 17--></a> [Line 17: <b>Wit</b> is + used in the poem in a great variety of meanings (1) Here it + seems to mean <i>genius</i> or <i>fancy</i>, (2) in line 36 + <i>a man of fancy</i>, (3) in line 53 <i>the + understanding</i> or <i>powers of the mind</i>, (4) in line + 81 it means <i>judgment</i>.] + </p> + <p> + <a name="26"><!--Line Note 26--></a> [Line 26: + <b>Schools</b>—Different systems of doctrine or + philosophy as taught by particular teachers.] + </p> + <p> + <a name="34"><!--Line Note 34--></a> [Line 34: + <b>Maevius</b>—An insignificant poet of the Augustan + age, ridiculed by Virgil in his third Eclogue and by Horace + in his tenth Epode.] + </p> + <p> + <a name="80"><!--Line Note 80--></a> [Lines 80, 81: There is + here a slight inaccuracy or inconsistency, since "wit" has a + different meaning in the two lines: in 80, it means + <i>fancy,</i> in 81, <i>judgment</i>.] + </p> + <p> + <a name="86"><!--Line Note 86--></a> [Line 86: <b>The winged + courser</b>.—Pegasus, a winged horse which sprang from + the blood of Medusa when Perseus cut off her head. As soon as + born he left the earth and flew up to heaven, or, according + to Ovid, took up his abode on Mount Helicon, and was always + associated with the Muses.] + </p> + <p> + <a name="94"><!--Line Note 94--></a> [Line 94: + <b>Parnassus</b>.—A mountain of Phocis, which received + its name from Parnassus, the son of Neptune, and was sacred + to the Muses, Apollo and Bacchus.] + </p> + <p> + <a name="97"><!--Line Note 97--></a> [Line 97: <b>Equal + steps</b>.—Steps equal to the undertaking.] + </p> + <p> + <a name="129"><!--Line Note 129--></a> [Line 129: <b>The + Mantuan Muse</b>—Virgil called Maro in the next line + (his full name being, Virgilius Publius Maro) born near + Mantua, 70 B.C.] + </p> + <p> + <a name="130"><!--Line Note 130-136--></a> <a name="136"> + <!--Line Note 130-136--></a> [Lines 130-136: It is said that + Virgil first intended to write a poem on the Alban and Roman + affairs which he found beyond his powers, and then he + imitated Homer: + </p> + <p> + Cum canerem reges et proelia Cynthius aurem<br> + Vellit—<i>Virg. Ecl. VI</i>] + </p> + <p> + <a name="138"><!--Line Note 138--></a> [Line 138: <b>The + Stagirite</b>—Aristotle, born at the Greek town of + Stageira on the Strymonic Gulf (Gulf of Contessa, in Turkey) + 384 B.C., whose treatises on Rhetoric and the Art of Poetry + were the earliest development of a Philosophy of Criticism + and still continue to be studied. + </p> + <p> + The poet contradicts himself with regard to the principle he + is here laying down in lines 271-272 where he laughs at + Dennis for + </p> + <p> + Concluding all were desperate sots and fools<br> + Who durst depart from Aristotle's rules.] + </p> + <p> + <a name="180"><!--Line Note 180--></a> [Line 180: <b>Homer + nods</b>—<i>Quandoque bonus dormitat Homerus</i>, 'even + the good Homer nods'—Horace, <i>Epistola ad + Pisones</i>, 359.] + </p> + <p> + <a name="183"><!--Line Note 183--></a> [Lines 183, 184: + <b>Secure from flames</b>.—The poet probably alludes to + such fires as those in which the Alexandrine and Palatine + Libraries were destroyed. <b>From envy's fiercer + rage</b>.—Probably he alludes to the writings of such + men as Maevius (see note to line 34) and Zoilus, a sophist + and grammarian of Amphipolis, who distinguished himself by + his criticism on Isocrates, Plato, and Homer, receiving the + nickname of <i>Homeromastic</i> (chastiser of Homer). + <b>Destructive war</b>—Probably an allusion to the + irruption of the barbarians into the south of Europe. <b>And + all-involving age</b>; that is, time. This is usually + explained as an allusion to 'the long reign of ignorance and + superstition in the cloisters,' but it is surely far-fetched, + and more than the language will bear.] + </p> + <p> + <a name="193"><!--Line Note 193--></a> [Lines 193, 194: + </p> + <p> + 'Round the whole world this dreaded name shall + sound,<br> + And reach to worlds that must not yet be + found,"—COWLEY.] + </p> + <p> + <a name="216"><!--Line Note 216--></a> [Line 216: <b>The + Pierian spring</b>—A fountain in Pieria, a district + round Mount Olympus and the native country of the Muses.] + </p> + <p> + <a name="248"><!--Line Note 248--></a> [Line 248: <b>And even + thine, O Rome.</b>—The dome of St Peter's Church, + designed by Michael Angelo.] + </p> + <p> + <a name="267"><!--Line Note 267--></a> [Line 267: <b>La + Mancha's Knight</b>.—Don Quixote, a fictitious Spanish + knight, the hero of a book written (1605) by Cervantes, a + Spanish writer.] + </p> + <p> + <a name="270"><!--Line Note 270--></a> [Line 270: + <b>Dennis,</b> the son of a saddler in London, born 1657, was + a mediocre writer, and rather better critic of the time, with + whom Pope came a good deal into collision. Addison's tragedy + of <i>Cato</i>, for which Pope had written a prologue, had + been attacked by Dennis. Pope, to defend Addison, wrote an + imaginary report, pretending to be written by a notorious + quack mad-doctor of the day, entitled <i>The Narrative of Dr. + Robert Norris on the Frenz of F. D.</i> Dennis replied to it + by his <i>Character of Mr. Pope</i>. Ultimately Pope gave him + a place in his <i>Dunciad</i>, and wrote a prologue for his + benefit.] + </p> + <p> + <a name="308"><!--Line Note 308--></a> [Line 308: <b>On + content</b>.—On trust, a common use of the word in + Pope's time.] + </p> + <p> + <a name="311"><!--Line Note 311--></a> [Lines 311, 312: + <b>Prismatic glass</b>.—A glass prism by which light is + refracted, and the component rays, which are of different + colors being refracted at different angles show what is + called a spectrum or series of colored bars, in the order + violet, indigo, blue, green, yellow, orange, red.] + </p> + <p> + <a name="328"><!--Line Note 328--></a> [Line 328: + <b>Fungoso</b>—One of the characters in Ben Jonson's + <i>Every Man out of his Humor</i> who assumed the dress and + tried to pass himself off for another.] + </p> + <p> + <a name="356"><!--Line Note 356--></a> [Line 356: + <b>Alexandrine</b>—A line of twelve syllables, so + called from a French poem on the Life of Alexander the Great, + written in that meter. The poet gives a remarkable example in + the next line.] + </p> + <p> + <a name="361"><!--Line Note 361--></a> [Line 361: Sir John + Denham, a poet of the time of Charles I. (1615-1668). His + verse is characterized by considerable smoothness and + ingenuity of rhythm, with here and there a passage of some + force—Edmund Waller (1606-1687) is celebrated as one of + the refiners of English poetry. His rank among English poets, + however, is very subordinate.] + </p> + <p> + <a name="366"><!--Line Note 366--></a> [Line 366: + <b>Zephyr</b>.—Zephyrus, the west wind personified by + the poets and made the most mild and gentle of the sylvan + deities.] + </p> + <p> + [Lines 366-373: In this passage + the poet obviously intended to make "the sound seem an echo + to the sense". The success of the attempt has not been very + complete except in the second two lines, expressing the dash + and roar of the waves, and in the last two, expressing the + skimming, continuous motion of Camilla. What he refers to is + the onomatopoeia of Homer and Virgil in the passages alluded + to. <b>Ajax</b>, the son of Telamon, was, next to Achilles, + the bravest of all the Greeks in the Trojan war. When the + Greeks were challenged by Hector he was chosen their champion + and it was in their encounter that he seized a huge stone and + hurled it at Hector. + </p> + <p> + Thus rendered by Pope himself: + </p> + <p> + "Then Ajax seized the fragment of a rock<br> + Applied each nerve, and swinging round on + high,<br> + With force tempestuous let the ruin fly<br> + The huge stone thundering through his buckler + broke." + </p> + <p> + <b>Camilla</b>, queen of the Volsci, was brought up in the + woods, and, according to Virgil, was swifter than the winds. + She led an army to assist Turnus against Aeneas. + </p> + <p> + "Dura pan, cursuque pedum praevertere + ventos.<br> + Illa vel intactae segetis per summa + volaret<br> + Gramina nec teneras cursu laesisset + aristas;<br> + Vel mare per medium fluctu suspensa + tumenti,<br> + Ferret iter, celeres nec tingeret aequore + plantas."<br> + + + + + <i>Aen</i>. vii 807-811. + </p> + <p> + Thus rendered by Dryden. + </p> + <p> + "Outstripped the winds in speed upon the + plain,<br> + Flew o'er the fields, nor hurt the bearded + grain;<br> + She swept the seas, and as she skimmed + along,<br> + Her flying feet unbathed on billows hung"] + </p> + <p> + <a name="374"><!--Line Note 374-381--></a> <a name="381"> + <!--Line Note 374-381--></a> [Lines 374-381: This passage + refers to Dryden's ode, <i>Alexander's Feast</i>, or <i>The + Power of Music</i>. Timotheus, mentioned in it, was a + musician of Boeotia, a favorite of Alexander's, not the great + musician Timotheus, who died before Alexander was born, + unless, indeed, Dryden have confused the two.] + </p> + <p> + <a name="376"><!--Line Note 376--></a> [Line 376: <b>The son + of Libyan Jove</b>.—A title arrogated to himself by + Alexander.] + </p> + <p> + <a name="393"><!--Line Note 393--></a> [Line 393: + <b>Dullness</b> here 'seems to be incorrectly used. Ignorance + is apt to magnify, but dullness reposes in stolid + indifference.'] + </p> + <p> + <a name="441"><!--Line Note 441--></a> [Line 441: + <b>Sentences</b>—Passages from the Fathers of the + Church who were regarded as decisive authorities on all + disputed points of doctrine.] + </p> + <p> + <a name="444"><!--Line Note 444--></a> [Line 444: + <b>Scotists</b>—The disciples of Duns Scotus, one of + the most famous and influential of the scholastics of the + fourteenth century, who was opposed to Thomas Aquinas + (1224-1274), another famous scholastic, regarding the + doctrines of grace and the freedom of the will, but + especially the immaculate conception of the Virgin. The + followers of the latter were called Thomists, between whom + and the Scotists bitter controversies were carried on.] + </p> + <p> + <a name="445"><!--Line Note 445--></a> [Line 445: <b>Duck + Lane</b>.—A place near Smithfield where old books were + sold. The cobwebs were kindred to the works of these + controversialists, because their arguments were intricate and + obscure. Scotus is said to have demolished two hundred + objections to the doctrine of the immaculate conception, and + established it by a cloud of proofs.] + </p> + <p> + <a name="459"><!--Line Note 459--></a> [Line 459: + <b>Parsons</b>.—This is an allusion to Jeremy Collier, + the author of <i>A Short View etc, of the English Stage</i>. + <b>Critics, beaux</b>.—This to the Duke of Buckingham, + the author of <i>The Rehearsal</i>.] + </p> + <p> + <a name="463"><!--Line Note 463--></a> [Line 463: + <b>Blackmore</b>, Sir Richard (1652-1729), one of the court + physicians and the writer of a great deal of worthless + poetry. He attacked the dramatists of the time generally and + Dryden individually, and is the Quack Maurus of Dryden's + prologue to <i>The Secular Masque</i>. <b>Millbourn</b>, Rev. + Luke, who criticised Dryden; which criticism, although + sneered at by Pope, is allowed to have been judicious and + decisive.] + </p> + <p> + <a name="465"><!--Line Note 465--></a> [Line 465: + <b>Zoilus</b>. See note on line 183.] + </p> + <p> + <a name="479"><!--Line Note 479--></a> [Line 479: + <b>Patriarch wits</b>—Perhaps an allusion to the great + age to which the antediluvian patriarchs of the Bible lived.] + </p> + <p> + <a name="536"><!--Line Note 536--></a> [Line 536: <b>An easy + monarch</b>.—Charles II.] + </p> + <p> + <a name="541"><!--Line Note 541--></a> [Line 541: At that + time ladies went to the theater in masks.] + </p> + <p> + <a name="544"><!--Line Note 544--></a> [Line 544: <b>A + foreign reign</b>.—The reign of the foreigner, William + III.] + </p> + <p> + <a name="545"><!--Line Note 545--></a> [Line 545: + <b>Socinus</b>.—The reaction from the fanaticism of the + Puritans, who held extreme notions of free grace and + satisfaction, by resolving all Christianity into morality, + led the way to the introduction of Socinianism, the most + prominent feature of which is the denial of the existence of + the Trinity.] + </p> + <p> + <a name="552"><!--Line Note 552--></a> [Line 552: <b>Wit's + Titans</b>.—The Titans, in Greek mythology, were the + children of Uranus (heaven) and Gaea (earth), and of gigantic + size. They engaged in a conflict with Zeus, the king of + heaven, which lasted ten years. They were completely + defeated, and hurled down into a dungeon below Tartarus. Very + often they are confounded with the Giants, as has apparently + been done here by Pope. These were a later progeny of the + same parents, and in revenge for what had been done to the + Titans, conspired to dethrone Zeus. In order to scale heaven, + they piled Mount Ossa upon Pelion, and would have succeeded + in their attempt if Zeus had not called in the assistance of + his son Hercules.] + </p> + <p> + <a name="585"><!--Line Note 585--></a> [Line 585: + <b>Appius</b>.—He refers to Dennis (see note to verse + 270) who had published a tragedy called <i>Appius and + Virginia</i>. He retaliated for these remarks by coarse + personalities upon Pope, in his criticism of this poem.] + </p> + <p> + <a name="617"><!--Line Note 617--></a> [Line 617: <b>Durfey's + Tales</b>.—Thomas D'Urfey, the author (in the reign of + Charles II.) of a sequel in five acts of <i>The + Rehearsal</i>, a series of sonnets entitled <i>Pills to Purge + Melancholy</i>, the Tales here alluded to, etc. He was a very + inferior poet, although Addison pleaded for him.] + </p> + <p> + <a name="619"><!--Line Note 619--></a> [Line 619: <b>Garth, + Dr.</b>, afterwards Sir Samuel (born 1660) an eminent + physician and a poet of considerable reputation He is best + known as the author of <i>The Dispensary</i>, a poetical + satire on the apothecaries and physicians who opposed the + project of giving medicine gratuitously to the sick poor. The + poet alludes to a slander current at the time with regard to + the authorship of the poem.] + </p> + <p> + <a name="623"><!--Line Note 623--></a> [Line 623: <b>St + Paul's Churchyard</b>, before the fire of London, was the + headquarters of the booksellers.] + </p> + <p> + <a name="645"><!--Line Note 645--></a> [Lines 645, 646: See + note on line 138.] + </p> + <p> + <a name="648"><!--Line Note 648--></a> [Line 648: <b>The + Maeonian star</b>.—Homer, supposed by some to have been + born in Maeonia, a part of Lydia in Asia Minor, and whose + poems were the chief subject of Aristotle's criticism.] + </p> + <p> + <a name="652"><!--Line Note 652--></a> [Line 652: <b>Who + conquered nature</b>—He wrote, besides his other works, + treatises on Astronomy, Mechanics, Physics, and Natural + History.] + </p> + <p> + <a name="665"><!--Line Note 665--></a> [Line 665: + <b>Dionysius</b>, born at Halicarnassus about 50 B.C., was a + learned critic, historian, and rhetorician at Rome in the + Augustan age.] + </p> + <p> + <a name="667"><!--Line Note 667--></a> [Line 667: + <b>Petronius</b>.—A Roman voluptuary at the court of + Nero whose ambition was to shine as a court exquisite. He is + generally supposed to be the author of certain fragments of a + comic romance called <i>Petronii Arbitri Satyricon</i>.] + </p> + <p> + <a name="669"><!--Line Note 669--></a> [Line 669: + <b>Quintilian</b>, born in Spain 40 A.D. was a celebrated + teacher of rhetoric and oratory at Rome. His greatwork is + <i>De Institutione Oratorica</i>, a complete system of + rhetoric, which is here referred to.] + </p> + <p> + <a name="675"><!--Line Note 675--></a> [Line 675: + <b>Longinus</b>, a Platonic philosopher and famous + rhetorician, born either in Syria or at Athens about 213 + A.D., was probably the best critic of antiquity. From his + immense knowledge, he was called "a living library" and + "walking museum," hence the poet speaks of him as inspired by + <i>all the Nine</i>—Muses that is. These were Clio, the + muse of History, Euterpe, of Music, Thaleia, of Pastoral and + Comic Poetry and Festivals, Melpomene, of Tragedy, + Terpsichore, of Dancing, Erato, of Lyric and Amorous Poetry, + Polyhymnia, of Rhetoric and Singing, Urania, of Astronomy, + Calliope, of Eloquence and Heroic Poetry.] + </p> + <p> + <a name="686"><!--Line Note 686--></a> [Line 686: + <b>Rome</b>.—For this pronunciation (to rhyme with + <i>doom</i>) he has Shakespeare's example as precedent.] + </p> + <p> + <a name="692"><!--Line Note 692--></a> [Line 692: + <b>Goths</b>.—A powerful nation of the Germanic race, + which, originally from the Baltic, first settled near the + Black Sea, and then overran and took an important part in the + subversion of the Roman empire. They were distinguished as + Ostro Goths (Eastern Goths) on the shores of the Black Sea, + the Visi Goths (Western Goths) on the Danube, and the Moeso + Goths, in Moesia ] + </p> + <p> + <a name="693"><!--Line Note 693--></a> [Line 693: + <b>Erasmus</b>.—A Dutchman (1467-1536), and at one time + a Roman Catholic priest, who acted as tutor to Alexander + Stuart, a natural son of James IV. of Scotland as professor + of Greek for a short time at Oxford, and was the most learned + man of his time. His best known work is his <i>Colloquia</i>, + which contains satirical onslaughts on monks, cloister life, + festivals, pilgrimages etc.] + </p> + <p> + <a name="696"><!--Line Note 696--></a> [Line 696: + <b>Vandals</b>.—A race of European barbarians, who + first appear historically about the second century, south of + the Baltic. They overran in succession Gaul, Spain, and + Italy. In 455 they took and plundered Rome, and the way they + mutilated and destroyed the works of art has become a + proverb, hence the monks are compared to them in their + ignorance of art and science.] + </p> + <p> + <a name="697"><!--Line Note 697--></a> [Line 697: + <b>Leo</b>.—Leo X., or the Great (1513-1521), was a + scholar himself, and gave much encouragement to learning and + art.] + </p> + <p> + <a name="704"><!--Line Note 704--></a> [Line 704: + <b>Raphael</b> (1483-1520), an Italian, is almost universally + regarded as the greatest of painters. He received much + encouragement from Leo. <b>Vida</b>—A poet patronised + by Leo. He was the son of poor parents at Cremona (see line + 707), which therefore the poet says, would be next in fame to + Mantua, the birthplace of Virgil as it was next to it in + place. + </p> + <p> + "Mantua vae miserae nimium vicina + Cremona."—Virg.] + </p> + <p> + <a name="714"><!--Line Note 714--></a> [Line 714: + <b>Boileau</b>.—An illustrious French poet (1636-1711), + who wrote a poem on the Art of Poetry, which is copiously + imitated by Pope in this poem.] + </p> + <p> + <a name="723,"><!--Line Note 723,--></a> [Lines 723, 724: + Refers to the Duke of Buckingham's <i>Essay on Poetry</i> + which had been eulogized also by Dryden and Dr. Garth.] + </p> + <p> + <a name="725"><!--Line Note 725--></a> [Line 725: + <b>Roscommon</b>, the Earl of, a poet, who has the honor to + be the first critic who praised Milton's <i>Paradise + Lost</i>, died 1684.] + </p> + <p> + <a name="729"><!--Line Note 729--></a> [Line 729: + <b>Walsh</b>.—An indifferent writer, to whom Pope owed + a good deal, died 1710.] + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + <p> + + </p> + + + + + + + +<pre> +End of the Project Gutenberg EBook of An Essay on Criticism, by Alexander Pope + +*** END OF THE PROJECT GUTENBERG EBOOK AN ESSAY ON CRITICISM *** + +This file should be named esycr10h.htm or esycr10h.zip +Corrected EDITIONS of our eBooks get a new NUMBER, esycr11h.htm +VERSIONS based on separate sources get new LETTER, esycr10ah.htm + +Produced by Ted Garvin, David Garcia +and the Online Distributed Proofreading Team. + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. Thus, we usually do not +keep eBooks in compliance with any particular paper edition. + +We are now trying to release all our eBooks one year in advance +of the official release dates, leaving time for better editing. +Please be encouraged to tell us about any error or corrections, +even years after the official publication date. + +Please note neither this listing nor its contents are final til +midnight of the last day of the month of any such announcement. +The official release date of all Project Gutenberg eBooks is at +Midnight, Central Time, of the last day of the stated month. A +preliminary version may often be posted for suggestion, comment +and editing by those who wish to do so. + +Most people start at our Web sites at: +http://gutenberg.net or +http://promo.net/pg + +These Web sites include award-winning information about Project +Gutenberg, including how to donate, how to help produce our new +eBooks, and how to subscribe to our email newsletter (free!). + + +Those of you who want to download any eBook before announcement +can get to them as follows, and just download by date. This is +also a good way to get them instantly upon announcement, as the +indexes our cataloguers produce obviously take a while after an +announcement goes out in the Project Gutenberg Newsletter. + +http://www.ibiblio.org/gutenberg/etext03 or +ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03 + +Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90 + +Just search by the first five letters of the filename you want, +as it appears in our Newsletters. + + +Information about Project Gutenberg (one page) + +We produce about two million dollars for each hour we work. The +time it takes us, a rather conservative estimate, is fifty hours +to get any eBook selected, entered, proofread, edited, copyright +searched and analyzed, the copyright letters written, etc. Our +projected audience is one hundred million readers. If the value +per text is nominally estimated at one dollar then we produce $2 +million dollars per hour in 2002 as we release over 100 new text +files per month: 1240 more eBooks in 2001 for a total of 4000+ +We are already on our way to trying for 2000 more eBooks in 2002 +If they reach just 1-2% of the world's population then the total +will reach over half a trillion eBooks given away by year's end. + +The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks! +This is ten thousand titles each to one hundred million readers, +which is only about 4% of the present number of computer users. + +Here is the briefest record of our progress (* means estimated): + +eBooks Year Month + + 1 1971 July + 10 1991 January + 100 1994 January + 1000 1997 August + 1500 1998 October + 2000 1999 December + 2500 2000 December + 3000 2001 November + 4000 2001 October/November + 6000 2002 December* + 9000 2003 November* +10000 2004 January* + + +The Project Gutenberg Literary Archive Foundation has been created +to secure a future for Project Gutenberg into the next millennium. + +We need your donations more than ever! + +As of February, 2002, contributions are being solicited from people +and organizations in: Alabama, Alaska, Arkansas, Connecticut, +Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois, +Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts, +Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New +Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio, +Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South +Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West +Virginia, Wisconsin, and Wyoming. + +We have filed in all 50 states now, but these are the only ones +that have responded. + +As the requirements for other states are met, additions to this list +will be made and fund raising will begin in the additional states. +Please feel free to ask to check the status of your state. + +In answer to various questions we have received on this: + +We are constantly working on finishing the paperwork to legally +request donations in all 50 states. If your state is not listed and +you would like to know if we have added it since the list you have, +just ask. + +While we cannot solicit donations from people in states where we are +not yet registered, we know of no prohibition against accepting +donations from donors in these states who approach us with an offer to +donate. + +International donations are accepted, but we don't know ANYTHING about +how to make them tax-deductible, or even if they CAN be made +deductible, and don't have the staff to handle it even if there are +ways. + +Donations by check or money order may be sent to: + +Project Gutenberg Literary Archive Foundation +PMB 113 +1739 University Ave. +Oxford, MS 38655-4109 + +Contact us if you want to arrange for a wire transfer or payment +method other than by check or money order. + +The Project Gutenberg Literary Archive Foundation has been approved by +the US Internal Revenue Service as a 501(c)(3) organization with EIN +[Employee Identification Number] 64-622154. Donations are +tax-deductible to the maximum extent permitted by law. As fund-raising +requirements for other states are met, additions to this list will be +made and fund-raising will begin in the additional states. + +We need your donations more than ever! + +You can get up to date donation information online at: + +http://www.gutenberg.net/donation.html + + +*** + +If you can't reach Project Gutenberg, +you can always email directly to: + +Michael S. Hart hart@pobox.com + +Prof. Hart will answer or forward your message. + +We would prefer to send you information by email. + + +**The Legal Small Print** + + +(Three Pages) + +***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START*** +Why is this "Small Print!" statement here? You know: lawyers. +They tell us you might sue us if there is something wrong with +your copy of this eBook, even if you got it for free from +someone other than us, and even if what's wrong is not our +fault. So, among other things, this "Small Print!" statement +disclaims most of our liability to you. It also tells you how +you may distribute copies of this eBook if you want to. + +*BEFORE!* YOU USE OR READ THIS EBOOK +By using or reading any part of this PROJECT GUTENBERG-tm +eBook, you indicate that you understand, agree to and accept +this "Small Print!" statement. If you do not, you can receive +a refund of the money (if any) you paid for this eBook by +sending a request within 30 days of receiving it to the person +you got it from. If you received this eBook on a physical +medium (such as a disk), you must return it with your request. + +ABOUT PROJECT GUTENBERG-TM EBOOKS +This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks, +is a "public domain" work distributed by Professor Michael S. Hart +through the Project Gutenberg Association (the "Project"). +Among other things, this means that no one owns a United States copyright +on or for this work, so the Project (and you!) can copy and +distribute it in the United States without permission and +without paying copyright royalties. Special rules, set forth +below, apply if you wish to copy and distribute this eBook +under the "PROJECT GUTENBERG" trademark. + +Please do not use the "PROJECT GUTENBERG" trademark to market +any commercial products without permission. + +To create these eBooks, the Project expends considerable +efforts to identify, transcribe and proofread public domain +works. Despite these efforts, the Project's eBooks and any +medium they may be on may contain "Defects". Among other +things, Defects may take the form of incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged +disk or other eBook medium, a computer virus, or computer +codes that damage or cannot be read by your equipment. + +LIMITED WARRANTY; DISCLAIMER OF DAMAGES +But for the "Right of Replacement or Refund" described below, +[1] Michael Hart and the Foundation (and any other party you may +receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims +all liability to you for damages, costs and expenses, including +legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR +UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, +INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE +OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE +POSSIBILITY OF SUCH DAMAGES. + +If you discover a Defect in this eBook within 90 days of +receiving it, you can receive a refund of the money (if any) +you paid for it by sending an explanatory note within that +time to the person you received it from. If you received it +on a physical medium, you must return it with your note, and +such person may choose to alternatively give you a replacement +copy. If you received it electronically, such person may +choose to alternatively give you a second opportunity to +receive it electronically. + +THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS +TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A +PARTICULAR PURPOSE. + +Some states do not allow disclaimers of implied warranties or +the exclusion or limitation of consequential damages, so the +above disclaimers and exclusions may not apply to you, and you +may have other legal rights. + +INDEMNITY +You will indemnify and hold Michael Hart, the Foundation, +and its trustees and agents, and any volunteers associated +with the production and distribution of Project Gutenberg-tm +texts harmless, from all liability, cost and expense, including +legal fees, that arise directly or indirectly from any of the +following that you do or cause: [1] distribution of this eBook, +[2] alteration, modification, or addition to the eBook, +or [3] any Defect. + +DISTRIBUTION UNDER "PROJECT GUTENBERG-tm" +You may distribute copies of this eBook electronically, or by +disk, book or any other medium if you either delete this +"Small Print!" and all other references to Project Gutenberg, +or: + +[1] Only give exact copies of it. Among other things, this + requires that you do not remove, alter or modify the + eBook or this "small print!" statement. You may however, + if you wish, distribute this eBook in machine readable + binary, compressed, mark-up, or proprietary form, + including any form resulting from conversion by word + processing or hypertext software, but only so long as + *EITHER*: + + [*] The eBook, when displayed, is clearly readable, and + does *not* contain characters other than those + intended by the author of the work, although tilde + (~), asterisk (*) and underline (_) characters may + be used to convey punctuation intended by the + author, and additional characters may be used to + indicate hypertext links; OR + + [*] The eBook may be readily converted by the reader at + no expense into plain ASCII, EBCDIC or equivalent + form by the program that displays the eBook (as is + the case, for instance, with most word processors); + OR + + [*] You provide, or agree to also provide on request at + no additional cost, fee or expense, a copy of the + eBook in its original plain ASCII form (or in EBCDIC + or other equivalent proprietary form). + +[2] Honor the eBook refund and replacement provisions of this + "Small Print!" statement. + +[3] Pay a trademark license fee to the Foundation of 20% of the + gross profits you derive calculated using the method you + already use to calculate your applicable taxes. If you + don't derive profits, no royalty is due. Royalties are + payable to "Project Gutenberg Literary Archive Foundation" + the 60 days following each date you prepare (or were + legally required to prepare) your annual (or equivalent + periodic) tax return. Please contact us beforehand to + let us know your plans and to work out the details. + +WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO? +Project Gutenberg is dedicated to increasing the number of +public domain and licensed works that can be freely distributed +in machine readable form. + +The Project gratefully accepts contributions of money, time, +public domain materials, or royalty free copyright licenses. +Money should be paid to the: +"Project Gutenberg Literary Archive Foundation." + +If you are interested in contributing scanning equipment or +software or other items, please contact Michael Hart at: +hart@pobox.com + +[Portions of this eBook's header and trailer may be reprinted only +when distributed free of all fees. Copyright (C) 2001, 2002 by +Michael S. Hart. Project Gutenberg is a TradeMark and may not be +used in any sales of Project Gutenberg eBooks or other materials be +they hardware or software or any other related product without +express permission.] + +*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END* + + + +</pre> + + </body> +</html> diff --git a/old/esycr10h.zip b/old/esycr10h.zip Binary files differnew file mode 100644 index 0000000..3821521 --- /dev/null +++ b/old/esycr10h.zip |