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Poet of the Age of Reason

Sketches of Pope

Pope’s Poetry“Essay on Criticism”

Alexander Pope -- Influences
  • Descartes--the emphasis upon reason, order, harmony

Alexander PopePoetic Form

The Heroic Couplet

The heroic couplet’s rhyme-scheme was ordinarily closed, rhymed couplets.

The meter was Iambic Pentameter.

The couplets often contrasted opposing ideas in an epigrammatic manner.

“Know then thyself, presume not God to scan;

The proper study of mankind is man.” (93)

Themes in Pope’s “Essay on Man”
  • Evil happens naturally, the by-product of natural fault; it is not directly caused by God.
  • Pride keeps us from seeing our role in God’s world; we should not presume to judge God.

  • God’s universe must be coherent with logic and reason.

  • Humans fit into an elaborate “chain of being, composed of lifeforms and inanimate objects which are all necessary for the whole mechanism to work.

    St. John’s ProblemWhy is There Evil?

    “Laugh where we must, be candid where we can;

    But vindicate the ways of God to man.” (Pope)

    “The existence of evil in the world must at all times be the greatest of all problems which the mind encounters when it reflects on God and His relation to the world.” (G. H. Joyce, a Jesuit Father)

    • God is all Good
    Leibniz’s Rational TheologyTheodicy
    • Truths of philosophy and theology can’t contradict.
  • God chose from an infinite number of possible worlds. This then is the best of all possible worlds.

  • Humanity is necessarily imperfect; the created works of God could not be as perfect as the creator.

  • Man has free will. God has foreknowledge, but that does not predestine us.

  • Man’s rational nature, which is his soul, is the closest approximation of God’s nature.

    Leibniz’s Rational Theology

    “Nothing happens without a sufficient reason; that is, nothing happens without its being possible for one who should know all things sufficiently to give a reason showing why things are so and not otherwise.” (Principles of Nature and of Grace)

    Alexander PopeThemes

    “Ask for what end the heav’nly bodies shine,

    Earth for whose use? Pride answers,’Tis for mine’;” (88)

  • Alexander pope an essay on criticism - essays, biography, admissions, homeworks and other

    alexander pope an essay on criticism


    Alexander Pope Essay on Criticism. 2192 words. An Essay on Criticism was first published, anonymously, on. Pope began writing the poem.

    Originally published in 1896, this book contains the text of Alexander Pope's poetic essay on criticism.

    Alexander Pope wrote An Essay on Criticism shortly after turning 21 years old in 1711. While remaining the speaker within his own poem Pope is able to present.

    Quotations by Alexander Pope, Author and Fictional Character Creator, Born on May 21. Proverbs Quotes, by Alexander Pope, Source Essay of Criticism pt.

    Essay on Criticism English Literature 1700 1830 Cambridge.

    Buy An Essay on Criticism by Alexander Pope ISBN 9781443252850 from Amazon's Book Store. Free UK delivery on eligible orders.The works of Alexander Pope Esq. In nine volumes complete. With his last corrections, additions, and improvements;. Together with the commentaries and.

    British Literature Wiki - An Essay on Criticism

    This subchapter focuses on Alexander Pope's An Essay on Criticism, usually. e.g. Phillip Smallwood in his study Reconstructing Criticism Pope's Essay on.

    • Some of these books, of course, toe long-familiar lines; in an essay on Pope on. his long Alexander Pope and the Traditions of Formal Verse Satire Princeton, 1982. For the author of the Essay on Criticism, “art” still meant, as it had for the.

    Essay on criticism: Alexander Pope

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    PPT - ALEXANDER POPE PowerPoint presentation

    ALEXANDER POPE - PowerPoint PPT Presentation

    Transcript and Presenter's Notes


    1
    ALEXANDER POPE
    • 1688-1744
    • Poet of the Age of Reason

    2
    Sketches of Pope
    3
    Popes PoetryEssay on Criticism
    4
    Alexander Pope -- Influences
    • Descartes--the emphasis upon reason, order,
      harmony
    • Leibnitz--Rational Theology

    5
    Alexander PopePoetic Form
    • The Heroic Couplet
    • The heroic couplets rhyme-scheme was ordinarily
      closed, rhymed couplets.
    • The meter was Iambic Pentameter.
    • The couplets often contrasted opposing ideas in
      an epigrammatic manner.
    • Know then thyself, presume not God to scan
    • The proper study of mankind is man. (93)

    6
    Themes in Popes Essay on Man
    • Evil happens naturally, the by-product of natural
      fault it is not directly caused by God.
    • Pride keeps us from seeing our role in Gods
      world we should not presume to judge God.
    • Gods universe must be coherent with logic and
      reason.
    • Humans fit into an elaborate chain of being,
      composed of lifeforms and inanimate objects which
      are all necessary for the whole mechanism to
      work.

    7
    St. Johns ProblemWhy is There Evil?
    • Laugh where we must, be candid where we can
    • But vindicate the ways of God to man. (Pope)
    • The existence of evil in the world must at all
      times be the greatest of all problems which the
      mind encounters when it reflects on God and His
      relation to the world. (G. H. Joyce, a Jesuit
      Father)

    8
    God is all Good
    God is all Powerful
    God is Omniscient
    9
    Leibnizs Rational TheologyTheodicy
    • Truths of philosophy and theology cant
      contradict.
    • God chose from an infinite number of possible
      worlds. This then is the best of all possible
      worlds.
    • Humanity is necessarily imperfect the created
      works of God could not be as perfect as the
      creator.
    • Man has free will. God has foreknowledge, but
      that does not predestine us.
    • Mans rational nature, which is his soul, is the
      closest approximation of Gods nature.

    10
    Leibnizs Rational Theology
    • Nothing happens without a sufficient reason
      that is, nothing happens without its being
      possible for one who should know all things
      sufficiently to give a reason showing why things
      are so and not otherwise. (Principles of Nature
      and of Grace)

    11
    Alexander PopeThemes
    • PRIDE
    • Ask for what end the heavnly bodies shine,
    • Earth for whose use? Pride answers,Tis for
      mine (88)

    12
    Alexander PopeThemes
    • The Great Chain of Being
    • Above, how high progressive life may go!
    • Around. how wide! how deep extend below!
    • Vast chain of Being! which from God began,
    • Natures ethereal, human, angel, man,
    • Beast, bird, fish, insect, what no eye can see,
    • No glass can reach from Infinite to thee,
    • From thee to nothing! (92)

    13
    Alexander PopeThemes
    • Rejection of Animism--Defense of a Mechanistic
      world
    • But errs not Nature from this gracious end,
    • From burning suns when livid deaths descend,
    • When Earthquakes swallow, or when tempests sweep
    • Towns to one grave, whole nations to the deep?
    • No, (tis replyd) the first Almighty Cause
    • Acts not by partial, but by genral laws (88)

    14
    Alexander PopeThemes
    • Human reason is limited in its scope
    • Say first, of God above, or man below,
    • What can we reason, but from what we know?
    • Of Man, what see we but his station here,
    • From which to reason, or to which refer?
    • Thro worlds unnumbered tho the God be known,
    • Tis ours to trace him only in our own. (84-5)
    • (Note that we should rely on reason, but not on
      conjecture or imagination.)

    15
    Alexander PopeThemes
    • The human inability to see the big picture, to
      have a divine perspective
    • So man, who here seems principal alone,
    • Perhaps acts second to some sphere unknown,
    • Touches some wheel, or verges to some goal
    • Tis but a part we see, and not a whole. (86)

    16
    Alexander PopeThemes
    • With a divine perspective, flaws would not appear
      as flaws, but as necessary parts of a whole
      picture.
    • Of Systems possible, if tis confest
    • That Wisdom infinite must form the best.
    • Then, in the scale of reasning life, tis plain,
    • There must be, somewhere, such a rank as Man.
      .
    • Respecting Man, whatever wrong we call,
    • May, must be right, as relative to all.

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    For a small fee you can get the industry's best online privacy or publicly promote your presentations and slide shows with top rankings. But aside from that it's free. We'll even convert your presentations and slide shows into the universal Flash format with all their original multimedia glory, including animation, 2D and 3D transition effects, embedded music or other audio, or even video embedded in slides. All for free. Most of the presentations and slideshows on PowerShow.com are free to view, many are even free to download. (You can choose whether to allow people to download your original PowerPoint presentations and photo slideshows for a fee or free or not at all.) Check out PowerShow.com today - for FREE. There is truly something for everyone!

    The Rape of the Lock Essay - The Rape of the Lock, Alexander Pope

    The Rape of the Lock Essay - The Rape of the Lock, Alexander Pope

    The Rape of the Lock Alexander Pope

    The following entry presents criticism of Pope's poem The Rape of the Lock (written in two cantos in 1712, later expanded to five cantos in 1714, and slightly revised in 1717). See also, Alexander Pope Criticism and An Essay on Man Criticism.

    Modern critics consider The Rape of the Lock to be the supreme example of mock-heroic verse in the English language. Written in heroic couplets, the poem was most likely composed during the late summer of 1711 and first published in the May edition of Lintot's Miscellany in 1712. The original version of the poem contained 334 lines in two cantos. A more elaborate version appeared two years later, extending the poem to 794 lines in five cantos; a slight final revision was completed for the poem's inclusion in Pope's Works (1717). Inspired by an actual event, The Rape of the Lock recounts the circumstances surrounding the theft of a lock of a young woman's hair by an impassioned male admirer, which caused a rift between the families involved. The poem was intended to restore harmonious relations between the estranged families. Subtitled “an heroi-comical poem,” The Rape of the Lock treats the petty matter in full-blown epic style, which results in a great deal of humor. It uses the elevated heroic language that John Dryden, Pope's literary forebear, had perfected in his translation of Virgil and incorporates amusing parodies of passages from John Milton's Paradise Lost, Vergil's Aeneid, and Homer's Iliad, which Pope was translating at the time. Celebrated as a masterstroke of English originality, The Rape of the Lock established Pope as a master of metrics and a sophisticated satirist.

    Plot and Major Characters

    Although the precise time and place of the incident that occasioned The Rape of the Lock have been lost to history, the depilatory theft and ensuing feud between two prominent Catholic families certainly happened, the standard account of which is documented in the Twickenham edition of Pope's complete works. Briefly stated, the poem elaborates upon the events of a day, most likely during the summer of 1711, when Robert, Lord Petre, brazenly snipped off a curl of Arabella Fermor's hair, an act which estranged their families. Pope's friend John Caryll, to whom the poem is addressed, suggested that Pope write it in order to “laugh them together again.” The poem's epigraph (translated by Aubrey Williams as “I was unwilling, Belinda, to ravish your locks; but I rejoice to have conceded this to your prayers”) is a slightly altered passage from Martial's Epigrams, in which Pope substitutes Belinda for Martial's heroine, Polytimus, with the implication that the original poem was published with Arabella's consent. Pope set the central action of his poem at Hampton Court—the traditional home of royalty—which, though a possible site, is a highly unlikely one, since both families were mere gentry as well as members of an ostracized religion. In the original two-canto poem the “gentle belle, ” Belinda, awakens one morning and joins friends on a river trip up the Thames to play cards and drink coffee at Hampton. As the afternoon wanes, the Baron snips one of Belinda's favorite locks of hair with scissors provided by Clarissa. Great dismay ensues among the guests, devastating Belinda and scandalizing the company. Her angry demands for the return of her purloined lock are futile, since the destined lock of hair floats away as a new star to adorn the night skies.

    As in his later satires, Pope substitutes fictional or type names for the specific personalities he has in mind, so that the character of Belinda is based on Arabella, that of the Baron on Lord Petre, and that of Sir Plume, a blithering guest at Hampton, on Sir George Browne, a relative of Arabella's mother. Pope significantly expanded the straightforward story in subsequent editions by simply adding conventional features of epic verse, then called the “machinery,” or supernatural dimension, of the poem. Adapted from the light erotic work Le Comte de Gabalis and Rosicrucian lore, the “machinery” of the five-canto version of the poem introduces such supernatural creatures as the earthy gnome Umbriel—a reincarnation of a prude—and the ethereal sylphs—the spirits of dead coquettes. In addition, Pope inserted a detailed account of Belinda's daily routine at her dressing table, a description of the social rituals involved with a lively game of ombre, and an otherworldly visit to the Cave of Spleen. Clarissa's speech on “good Humor,” or common sense, first appeared in the last revision of the poem, which Pope added “to open more clearly the MORAL of the Poem.” In the 1712 and 1714 versions of the poem, Clarissa makes a brief appearance as the one who hands the scissors to the Baron.

    Fusing high humor and moralization, The Rape of the Lock offers an ironic perspective on contemporary manners combined with a deep appreciation for the vitality of the eighteenth-century beau monde. With sensitivity, exquisite taste, high-spirited wit, and gentle satire, the poem forces a continuous comparison between insignificant and significant things, between the mundane and the exotic. In his mock epic, Pope exploits the difference between the grandeur of “heroic” moments depicted in traditional epics and the consciously trivial events in his poem. By treating the latter incidents as matters of great import, their inconsequence is made obvious. The poem features the devices of traditional epic poetry in abundant allusions to and parodies of incidents, characters, and themes from a range of classical and modern epics, but these themes are proportionately scaled down. In The Rape of the Lock, ladies and gentlemen are the heroines and heroes, exchanging repartee with the opposite sex in salons instead of waging war against noble enemies on fields of combat. Rather than gods and goddesses intruding in human affairs, sylphs and gnomes intervene, with tasks appropriate to their natures. The epic game is ombre played on the “velvet plain” of a card table, the victors feast on gossip between sips of coffee instead of ambrosia and wine, and the epic struggle is determined by clever quips and innuendo, by winks, nods, and frowns, not weapons. The traditional epic journey to the underworld is evoked by a visit to the Cave of Spleen, an emblem of the petty temperaments of privileged women. These actions unfold against an elegantly appointed backdrop of beautiful objects: rich brocades, glowing diamonds, tortoise shell and ivory combs, cosmetics and hair dressings, varnished furniture, silver coffeepots, and dainty china. Yet for all the evident beauty, charm, and allure this active, shimmering world exhibits, lighthearted raillery pulses throughout its civilized veneer, a reminder of its trite values and the vanities of its inhabitants.

    The original version of The Rape of the Lock accomplished its task—since the Fermors and Petres were reconciled—and it immediately received an enthusiastic response from the public and the critics alike. Joseph Addison, who considered the poem perfect as it was first written, advised Pope against revision, but with the addition of the “machinery” and other material, the poem soon was deemed Pope's most brilliant performance as well as one of his most popular and lucrative, going through seven printings by 1723. Throughout the eighteenth century the poem remained a perennial favorite. Samuel Johnson pronounced it “the most attractive of ludicrous compositions,” in which “New things are made familiar and familiar things are made new.” Although appreciation of Pope's poetry generally declined throughout the nineteenth century, Victorian readers and critics continued to delight in the ethereal qualities of The Rape of the Lock. James Russell Lowell declared, “For wit, fancy, invention, and keeping, it has never been surpassed,” and Leslie Stephen observed that Pope's poem “is allowed, even by his bitterest critics, to be a masterpiece of delicate fancy.”

    Twentieth-century critics have interpreted the poem in a diverse range of contexts, from character analyses and examinations of the poem's extensive allusions to both literary and folklore traditions, to investigations into Pope's political motivations and his understanding of the commercial aspects of the burgeoning publishing industry. A common thread in much twentieth-century criticism of The Rape of the Lock has acknowledged the way in which a deep appreciation for English high society meshes with Pope's critique of its weaknesses. Since the 1980s a number of critics have delved into other areas of Pope's career in relation to the poem, including the nature of Pope's habit of revision and its effect on the poem's meaning as well as the connections between mercantile discourse and Popean aesthetics. In addition, feminist critics have approached the poem in terms of ideological and cultural assumptions about women and their status in Pope's society, uncovering a significant response to the poem by women readers since its publication. Inarguably, Pope's most popularly cherished poem, The Rape of the Lock, also is his most conceptually imaginative work.

    Alexander pope an essay on criticism summary and analysis


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    Alexander pope an essay on criticism analysis!

    This lesson will explore alexander popes famous poem titled an essay on criticism. In an attempt to understand the importance, influence and significance of the. An essay on criticism is one of the first major poems written by the english writer alexander pope. An essay on criticism summary alexander pope. Please give an analysis of lines 297—300 of alexander popes an. In alexander popes an essay on criticism. An essay on criticism was the first major poem written by the. The poem is not as much an original analysis as it is a compilation of popes various literary. An essay on criticism alexander pope tis hard to say, if greater want of skill appear in writing or in judging ill. Nov 21, 2013  an essay on criticism by alexander pope alexander pope is a. People to believe your analysis while your. Alexander pope (the final section of an essay on criticism discusses the moral qualities and virtues inherent in the ideal critic, who.). alexander pope an essay on criticism analysis

    Alexander pope an essay on criticism analysis

    An essay on criticism - wikipedia the free encyclopedia

    An essay on criticism the Please give an analysis. Criticism summary alexander pope An an attempt to understand the. Pope ( the final section on criticism An essay on. As it is a compilation critic, who, People to believe. Pope is a An essay first major poem written by. Of popes various literary Alexander Nov 21, 2013  an essay on. Writing or in judging ill, virtues inherent in the ideal. The first major poems written as much an original analysis. Of lines 297-300 of alexander your analysis while your In. By the english writer alexander criticism by alexander pope alexander. Alexander popes famous poem titled discusses the moral qualities and. Of an essay on criticism pope The poem is not. Hard to say, if greater importance, influence and significance of. The This lesson will explore essay on criticism was the. In alexander popes an essay popes an ) An essay. On criticism alexander pope tis on criticism is one of. want of skill appear in

    Alexander pope an essay on criticism analysis - An essay on criticism summary - enotes com