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About this poet

In the Spring of 1688, Alexander Pope was born an only child to Alexander and Edith Pope. The elder Pope, a linen-draper and recent convert to Catholicism, soon moved his family from London to Binfield, Berkshire in the face of repressive, anti-Catholic legislation from Parliament. Described by his biographer, John Spence, as "a child of a particularly sweet temper," and with a voice so melodious as to be nicknamed the "Little Nightingale," the child Pope bears little resemblance to the irascible and outspoken moralist of the later poems. Barred from attending public school or university because of his religion, Pope was largely self-educated. He taught himself French, Italian, Latin, and Greek, and read widely, discovering Homer at the age of six.

At twelve, Pope composed his earliest extant work, Ode to Solitude; the same year saw the onset of the debilitating bone deformity that would plague Pope until the end of his life. Originally attributed to the severity of his studies, the illness is now commonly accepted as Pott's disease, a form of tuberculosis affecting the spine that stunted his growth—Pope's height never exceeded four and a half feet—and rendered him hunchbacked, asthmatic, frail, and prone to violent headaches. His physical appearance would make him an easy target for his many literary enemies in later years, who would refer to the poet as a "hump-backed toad."

Pope's Pastorals, which he claimed to have written at sixteen, were published in Jacob Tonson's Poetical Miscellanies of 1710 and brought him swift recognition. Essay on Criticism, published anonymously the year after, established the heroic couplet as Pope's principal measure and attracted the attention of Jonathan Swift and John Gay, who would become Pope's lifelong friends and collaborators. Together they formed the Scriblerus Club, a congregation of writers endeavoring to satirize ignorance and poor taste through the invented figure of Martinus Scriblerus, who would serve as a precursor to the dunces in Pope's late masterpiece, the Dunciad.

1712 saw the first appearance of the The Rape of the Lock, Pope's best-known work and the one that secured his fame. Its mundane subject—the true account of a squabble between two prominent Catholic families over the theft of a lock of hair—is transformed by Pope into a mock-heroic send-up of classical epic poetry.

Turning from satire to scholarship, Pope in 1713 began work on his six-volume translation of Homer's Iliad. He arranged for the work to be available by subscription, with a single volume being released each year for six years, a model that garnered Pope enough money to be able to live off his work alone, one of the few English poets in history to have been able to do so.

In 1719, following the death of his father, Pope moved to an estate at Twickenham, where he would live for the remainder of his life. Here he constructed his famous grotto, and went on to translate the Odyssey—which he brought out under the same subscription model as the Iliad—and to compile a heavily-criticized edition of Shakespeare, in which Pope "corrected" the Bard's meter and made several alterations to the text, while leaving corruptions in earlier editions intact.

Critic and scholar Lewis Theobald's repudiation of Pope's Shakespeare provided the catalyst for his Dunciad, a vicious, four-book satire in which Pope lampoons the witless critics and scholars of his day, presenting their "abuses of learning" as a mock-Aeneid, with the dunces in service to the goddess Dulness; Theobald served as its hero.

Though published anonymously, there was little question as to its authorship. Reaction to the Dunciad from its victims and sympathizers was more hostile than that of any of his previous works; Pope reportedly would not leave his house without two loaded pistols in his pocket. "I wonder he is not thrashed," wrote William Broome, Pope's former collaborator on the Odyssey who found himself lambasted in the Dunciad, "but his littleness is his protection; no man shoots a wren."

Pope published Essay on Man in 1734, and the following year a scandal broke out when an apparently unauthorized and heavily sanitized edition of Pope's letters was released by the notoriously reprobate publisher Edmund Curll (collections of correspondence were rare during the period). Unbeknownst to the public, Pope had edited his letters and delivered them to Curll in secret.

Pope's output slowed after 1738 as his health, never good, began to fail. He revised and completed the Dunciad, this time substituting the famously inept Colley Cibber—at that time, the country's poet laureate—for Theobald in the role of chief dunce. He began work on an epic in blank verse entitled Brutus, which he quickly abandoned; only a handful of lines survive. Alexander Pope died at Twickenham, surrounded by friends, on May 25th, 1744.

Since his death, Pope has been in a constant state of reevaluation. His high artifice, strict prosody, and, at times, the sheer cruelty of his satire were an object of derision for the Romantic poets of the nineteenth century, and it was not until the 1930s that his reputation was revived. Pope is now considered the dominant poetic voice of his century, a model of prosodic elegance, biting wit, and an enduring, demanding moral force.

Essay on Man, Epistle II

Alexander Pope, 1688 - 1744
 I.  Know, then, thyself, presume not God to scan;
The proper study of mankind is man.
Placed on this isthmus of a middle state,
A being darkly wise, and rudely great:
With too much knowledge for the sceptic side,
With too much weakness for the stoic’s pride,
He hangs between; in doubt to act, or rest;
In doubt to deem himself a god, or beast;
In doubt his mind or body to prefer;
Born but to die, and reasoning but to err;
Alike in ignorance, his reason such,
Whether he thinks too little, or too much:
Chaos of thought and passion, all confused;
Still by himself abused, or disabused;
Created half to rise, and half to fall;
Great lord of all things, yet a prey to all;
Sole judge of truth, in endless error hurled:
The glory, jest, and riddle of the world!
   Go, wondrous creature! mount where science guides,
Go, measure earth, weigh air, and state the tides;
Instruct the planets in what orbs to run,
Correct old time, and regulate the sun;
Go, soar with Plato to th’ empyreal sphere,
To the first good, first perfect, and first fair;
Or tread the mazy round his followers trod,
And quitting sense call imitating God;
As Eastern priests in giddy circles run,
And turn their heads to imitate the sun.
Go, teach Eternal Wisdom how to rule—
Then drop into thyself, and be a fool!
   Superior beings, when of late they saw
A mortal man unfold all Nature’s law,
Admired such wisdom in an earthly shape
And showed a Newton as we show an ape.
   Could he, whose rules the rapid comet bind,
Describe or fix one movement of his mind?
Who saw its fires here rise, and there descend,
Explain his own beginning, or his end?
Alas, what wonder! man’s superior part
Unchecked may rise, and climb from art to art;
But when his own great work is but begun,
What reason weaves, by passion is undone.
Trace Science, then, with Modesty thy guide;
First strip off all her equipage of pride;
Deduct what is but vanity or dress,
Or learning’s luxury, or idleness;
Or tricks to show the stretch of human brain,
Mere curious pleasure, or ingenious pain;
Expunge the whole, or lop th’ excrescent parts
Of all our vices have created arts;
Then see how little the remaining sum,
Which served the past, and must the times to come!

II.  Two principles in human nature reign;
Self-love to urge, and reason, to restrain;
Nor this a good, nor that a bad we call,
Each works its end, to move or govern all
And to their proper operation still,
Ascribe all good; to their improper, ill.
Self-love, the spring of motion, acts the soul;
Reason’s comparing balance rules the whole.
Man, but for that, no action could attend,
And but for this, were active to no end:
Fixed like a plant on his peculiar spot,
To draw nutrition, propagate, and rot;
Or, meteor-like, flame lawless through the void,
Destroying others, by himself destroyed.
Most strength the moving principle requires;
Active its task, it prompts, impels, inspires.
Sedate and quiet the comparing lies,
Formed but to check, deliberate, and advise.
Self-love still stronger, as its objects nigh;
Reason’s at distance, and in prospect lie:
That sees immediate good by present sense;
Reason, the future and the consequence.
Thicker than arguments, temptations throng.
At best more watchful this, but that more strong.
The action of the stronger to suspend,
Reason still use, to reason still attend.
Attention, habit and experience gains;
Each strengthens reason, and self-love restrains.
Let subtle schoolmen teach these friends to fight,
More studious to divide than to unite;
And grace and virtue, sense and reason split,
With all the rash dexterity of wit.
Wits, just like fools, at war about a name,
Have full as oft no meaning, or the same.
Self-love and reason to one end aspire,
Pain their aversion, pleasure their desire;
But greedy that, its object would devour,
This taste the honey, and not wound the flower:
Pleasure, or wrong or rightly understood,
Our greatest evil, or our greatest good.

III.  Modes of self-love the passions we may call;
’Tis real good, or seeming, moves them all:
But since not every good we can divide,
And reason bids us for our own provide;
Passions, though selfish, if their means be fair,
List under Reason, and deserve her care;
Those, that imparted, court a nobler aim,
Exalt their kind, and take some virtue’s name.
   In lazy apathy let stoics boast
Their virtue fixed; ’tis fixed as in a frost;
Contracted all, retiring to the breast;
But strength of mind is exercise, not rest:
The rising tempest puts in act the soul,
Parts it may ravage, but preserves the whole.
On life’s vast ocean diversely we sail,
Reason the card, but passion is the gale;
Nor God alone in the still calm we find,
He mounts the storm, and walks upon the wind.
   Passions, like elements, though born to fight,
Yet, mixed and softened, in his work unite:
These, ’tis enough to temper and employ;
But what composes man, can man destroy?
Suffice that Reason keep to Nature’s road,
Subject, compound them, follow her and God.
Love, hope, and joy, fair pleasure’s smiling train,
Hate, fear, and grief, the family of pain,
These mixed with art, and to due bounds confined,
Make and maintain the balance of the mind;
The lights and shades, whose well-accorded strife
Gives all the strength and colour of our life.
Pleasures are ever in our hands or eyes;
And when in act they cease, in prospect rise:
Present to grasp, and future still to find,
The whole employ of body and of mind.
All spread their charms, but charm not all alike;
On different senses different objects strike;
Hence different passions more or less inflame,
As strong or weak, the organs of the frame;
And hence once master passion in the breast,
Like Aaron’s serpent, swallows up the rest.
   As man, perhaps, the moment of his breath
Receives the lurking principle of death;
The young disease that must subdue at length,
Grows with his growth, and strengthens with his strength:
So, cast and mingled with his very frame,
The mind’s disease, its ruling passion came;
Each vital humour which should feed the whole,
Soon flows to this, in body and in soul:
Whatever warms the heart, or fills the head,
As the mind opens, and its functions spread,
Imagination plies her dangerous art,
And pours it all upon the peccant part.
   Nature its mother, habit is its nurse;
Wit, spirit, faculties, but make it worse;
Reason itself but gives it edge and power;
As Heaven’s blest beam turns vinegar more sour.
   We, wretched subjects, though to lawful sway,
In this weak queen some favourite still obey:
Ah! if she lend not arms, as well as rules,
What can she more than tell us we are fools?
Teach us to mourn our nature, not to mend,
A sharp accuser, but a helpless friend!
Or from a judge turn pleader, to persuade
The choice we make, or justify it made;
Proud of an easy conquest all along,
She but removes weak passions for the strong;
So, when small humours gather to a gout,
The doctor fancies he has driven them out.
   Yes, Nature’s road must ever be preferred;
Reason is here no guide, but still a guard:
’Tis hers to rectify, not overthrow,
And treat this passion more as friend than foe:
A mightier power the strong direction sends,
And several men impels to several ends:
Like varying winds, by other passions tossed,
This drives them constant to a certain coast.
Let power or knowledge, gold or glory, please,
Or (oft more strong than all) the love of ease;
Through life ’tis followed, even at life’s expense;
The merchant’s toil, the sage’s indolence,
The monk’s humility, the hero’s pride,
All, all alike, find reason on their side.
   The eternal art, educing good from ill,
Grafts on this passion our best principle:
’Tis thus the mercury of man is fixed,
Strong grows the virtue with his nature mixed;
The dross cements what else were too refined,
And in one interest body acts with mind.
   As fruits, ungrateful to the planter’s care,
On savage stocks inserted, learn to bear;
The surest virtues thus from passions shoot,
Wild nature’s vigour working at the root.
What crops of wit and honesty appear
From spleen, from obstinacy, hate, or fear!
See anger, zeal and fortitude supply;
Even avarice, prudence; sloth, philosophy;
Lust, through some certain strainers well refined,
Is gentle love, and charms all womankind;
Envy, to which th’ ignoble mind’s a slave,
Is emulation in the learned or brave;
Nor virtue, male or female, can we name,
But what will grow on pride, or grow on shame.
   Thus Nature gives us (let it check our pride)
The virtue nearest to our vice allied:
Reason the bias turns to good from ill
And Nero reigns a Titus, if he will.
The fiery soul abhorred in Catiline,
In Decius charms, in Curtius is divine:
The same ambition can destroy or save,
And makes a patriot as it makes a knave.
   This light and darkness in our chaos joined,
What shall divide?  The God within the mind.
   Extremes in nature equal ends produce,
In man they join to some mysterious use;
Though each by turns the other’s bound invade,
As, in some well-wrought picture, light and shade,
And oft so mix, the difference is too nice
Where ends the virtue or begins the vice.
   Fools! who from hence into the notion fall,
That vice or virtue there is none at all.
If white and black blend, soften, and unite
A thousand ways, is there no black or white?
Ask your own heart, and nothing is so plain;
’Tis to mistake them, costs the time and pain.
   Vice is a monster of so frightful mien,
As, to be hated, needs but to be seen;
Yet seen too oft, familiar with her face,
We first endure, then pity, then embrace.
But where th’ extreme of vice, was ne’er agreed:
Ask where’s the north? at York, ’tis on the Tweed;
In Scotland, at the Orcades; and there,
At Greenland, Zembla, or the Lord knows where.
No creature owns it in the first degree,
But thinks his neighbour farther gone than he;
Even those who dwell beneath its very zone,
Or never feel the rage, or never own;
What happier nations shrink at with affright,
The hard inhabitant contends is right.
   Virtuous and vicious every man must be,
Few in th’ extreme, but all in the degree,
The rogue and fool by fits is fair and wise;
And even the best, by fits, what they despise.
’Tis but by parts we follow good or ill;
For, vice or virtue, self directs it still;
Each individual seeks a several goal;
But Heaven’s great view is one, and that the whole.
That counter-works each folly and caprice;
That disappoints th’ effect of every vice;
That, happy frailties to all ranks applied,
Shame to the virgin, to the matron pride,
Fear to the statesman, rashness to the chief,
To kings presumption, and to crowds belief:
That, virtue’s ends from vanity can raise,
Which seeks no interest, no reward but praise;
And build on wants, and on defects of mind,
The joy, the peace, the glory of mankind.
   Heaven forming each on other to depend,
A master, or a servant, or a friend,
Bids each on other for assistance call,
Till one man’s weakness grows the strength of all.
Wants, frailties, passions, closer still ally
The common interest, or endear the tie.
To these we owe true friendship, love sincere,
Each home-felt joy that life inherits here;
Yet from the same we learn, in its decline,
Those joys, those loves, those interests to resign;
Taught half by reason, half by mere decay,
To welcome death, and calmly pass away.
   Whate’er the passion, knowledge, fame, or pelf,
Not one will change his neighbour with himself.
The learned is happy nature to explore,
The fool is happy that he knows no more;
The rich is happy in the plenty given,
The poor contents him with the care of Heaven.
See the blind beggar dance, the cripple sing,
The sot a hero, lunatic a king;
The starving chemist in his golden views
Supremely blest, the poet in his muse.
   See some strange comfort every state attend,
And pride bestowed on all, a common friend;
See some fit passion every age supply,
Hope travels through, nor quits us when we die.
   Behold the child, by Nature’s kindly law,
Pleased with a rattle, tickled with a straw:
Some livelier plaything gives his youth delight,
A little louder, but as empty quite:
Scarves, garters, gold, amuse his riper stage,
And beads and prayer-books are the toys of age:
Pleased with this bauble still, as that before;
Till tired he sleeps, and life’s poor play is o’er.
   Meanwhile opinion gilds with varying rays
Those painted clouds that beautify our days;
Each want of happiness by hope supplied,
And each vacuity of sense by pride:
These build as fast as knowledge can destroy;
In folly’s cup still laughs the bubble, joy;
One prospect lost, another still we gain;
And not a vanity is given in vain;
Even mean self-love becomes, by force divine,
The scale to measure others’ wants by thine.
See! and confess, one comfort still must rise,
’Tis this, though man’s a fool, yet God is wise.

This poem is in the public domain.

Alexander Pope

Alexander Pope

Born in 1688, Alexander Pope's poetry often used satire to comment on society and politics

by this poet

poem
In these deep solitudes and awful cells,
Where heav'nly-pensive contemplation dwells,
And ever-musing melancholy reigns;
What means this tumult in a vestal's veins?
Why rove my thoughts beyond this last retreat?
Why feels my heart its long-forgotten heat?
Yet, yet I love! — From Abelard it came,
And Eloisa yet
poem
But most by Numbers judge a Poet's song;
And smooth or rough, with them, is right or wrong:
In the bright Muse tho' 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
poem
P.     Shut, shut the door, good John! fatigu'd, I said,
Tie up the knocker, say I'm sick, I'm dead.
The Dog-star rages! nay't is past a doubt,
All Bedlam, or Parnassus, is let out:
Fire in each eye, and papers in each hand,                        
They rave, recite, and madden round the land.

What walls can