Analysis of Alexander Pope’s Imitations of Horace By Nasrullah Mambrol on July 12, 2020 • ( 0 ) The Epistle to Dr Arbuthnot offers an autobiographical image of the platform from which the critique of society in Epistles to Several Persons is launched; but in his poetry of the 1730s Pope increasingly utilised the Roman satirist Horace as mentor, sounding board and model. Leave such to trifle with more grace and ease, The Female Scold’s Protection in Offence. Who but must laugh, this Bully when he sees, F. Indeed The Case is alter’d – you may then proceed. In all debates where critics bear a part. That might simply remark the mistrust and disdain for the audience in Horace but in Pope it assumes again a political connotation, in which the unskilled writer is just taken as a pretext and metaphor to criticise the unprofessional and unskilled George II. In days of ease, when now the weary sword. .... Quin's ... Oldfield's ...: James Quin and Mrs. Oldfield, most popular comic actor and actress of the time. This variation in tone, in which moral urgency is protected from overbalancing into pomposity by a comic sense of self, pervades the Horatian poems, though the balance is different in each instance. As ’tis to libel those who cannot write. What seas you travers'd! A literary analogy, specifically relevant for Pope’s works, could also be detected, but in terms of cultural and social satisfaction, unfortunately, the 18th Century poet faced a reality which of Augustan had nothing but the name. If none do yet return th’intended Blow; Pope and Lady Mary had once been friends. liberty. Call for the farce, the bear, or the black-joke. by R.J. Johnston, Derek Gregory, Geraldine Pratt and Micheal Watts, (Oxford: Wiley-Blackwell, 4th Edition, 2000), pp. i, 27), picking up a suggestion that he go and see him with a backhanded compliment precisely drawn from Walpole’s private life,where he is ‘uncumber’d with the Venal tribe’ and can ‘win without a Bribe’ (Epil. And with the Emblem of thy crooked Mind, [110] with Horace’s Latin on the left-hand page (the verso) of every And to thy Books shall ope their Eyes no more, Unwhipt, unblanketed, unkick’d, unslain, A detailed analysis of each Horatian poem explores the complex and subtle intertextual relationship between Pope's Imitations of Horace and their originals which are printed alongside. Motley, “mingled" or “confused.” Since jesters traditionally wore motley-colored clothes, the word is often associated with them. The trace of Macbeth’s ‘poor player, that struts and frets his hour upon the stage, and then is heard no more’, casts an ominous shadow across this most inward of the Horatian poems. Think of those authors, Sir, who would rely. What pert, low dialogue has Farqu'ar writ! the Careless Husband: one of Cibber's successful comedies. That it is made to rhyme with ‘Hectors’, a cantname for bullies ironically derived from the most stalwart of the Trojan heroes, indicates something of the allusive stimulus embedded in apparently off-the-cuff remarks. [80] Finds envy never conquer'd, but by death. Orellius, (Editionem Minorem Sextam post Io. Pope often refers to the South Sea Bubble. Hence the equivalent of the modern curtain. "From Plays to Opera, and from Operas to Pantomimes" (Warburton). Pageants on pageants, in long order drawn. Whilst none thy crabbed Numbers can endure; 2.i, 373). Our wives read Milton, and our daughters plays. You’re welcome to use it for non-exclusive and nonprofit purposes. the Sequel of the Sentence dread, Free resources to assist you with your university studies! How, when you nodded, o'er the land and deep. Without distinction, as gross Love enjoys: Edward: Edward III. Pope points out (with a customary barb) that his satire is not all negative: ‘Godknows, I praise a Courtier where I can’ (Epil. Eusden: Laurence Eusden (1688-1730), Poet Laureate in 1718 after Rhodes' death, a person often attacked by Pope. This gradually mutates into a discussion of what poetry can be under a royal family who ‘scarce can bear their Laureate twice a Year’ (Sat. Could she behold us tumbling through a hoop. "[Pope] Nothing was less true than this particular: But the whole paragraph has a mixture of irony, and must not altogether be taken for Horace's own judgment, only the common chatt of the pretenders to criticism; in some things right, in others wrong: as he tells us in his answer. ii, 106) as much as he berates the‘spur-gall’d Hackney’ and ‘new-pension’d Sycophant’ who write indefence of Walpole (Epil. Suddenly poetry is a Jove-like assault on the world, carried out by an untainted satirist who outstrips his models (Horace, Boileau, even Dryden, 111–14) by being ‘Un-plac’d, un-pension’d, no Man’s Heir, or Slave?’ (Sat. But Pope’s parting shot is poised between a hopeful innocence about satire and a devious bamboozling of his lawyer: P. Libels and Satires! But, as thou hate’st be hated by Mankind There follows a series of exchanges between the prudential lawyer (Pope’s friend William Fortescue, a courtinsider and confidant of Walpole), who advises rest, sleep, drugs, sex –anything to take the mind off writing – and the wheedling poet, who, it seems, just can’t keep his mouth shut. (Sat. 4. The fretful porpentine is a The central section of the poem (45–100) quietly shifts gear: Pope takes centre stage, initially defending poetry as no more than a personal amusement, like drinking or eating, then as a form of self-expression, before swivelling round to a startling revision of the standard metaphor of satire as social mirror: In me what Spots (for Spots I have) appear, With the concept of time-space distanciation in mind, it’s easier to jump flexibly from one time to the other, from Rome to England and follow the thread that society weaves across the lines of the Epistle. Verse cheers their leisure, verse assists their work. Some doubt, if equal pains, or equal fire. shalt bruise his heel.”. Pope, of course, is playing on his name as well. Her trade supported, and supplied her laws; "The rights a court attack'd, a poet sav'd.". Epistle to Arbuthnot 213 ("Who but must laugh, if ii, 74–5), and Pope resists the courtly requirement for ‘random Praise’ (Epil. Than in five acres now of rented land. Reminding Augustus that Kings depend on poets for the transmission of their image to posterity, Pope for a moment does a very good impersonation (with help from Horace) of straight forward royal panegyric: Oh! Such as Sir Robert would approve – But for the wits of either Charles's days. Teasingly pointing out the foibles of non-dramatic poets (going on too long, moaning about lack of appreciation, writing epistles to the King, and so on, 356–71), Pope amuses himself by casting himself as potential (but impossible) poet laureate, ‘T’ enroll your triumphs o’er the seas and land’ (Ep. Cf. An allusion to God’s punishment of the 2.ii, 52–5, 58–61, 64–7). Pope renounces this dramatic ground (as Horace had), but claims its emotional force. Taken as a whole the series selects the values of retirement, friendship, independence,and poetry itself from Horace’s oeuvre, and conspicuously ditches Horace’s imperial panegyric and ‘insider’ status: the only patron Pope cancome up with to match Horace’s Maecenas is Bolingbroke, the ‘Patriot’ outsider in permanent internal exile. Pope was very short 2.i, 105–6). Study for free with our range of university lectures! But while Horace was genuinely in contact with the court of Augustus, and could celebrate a ruler whose powers included literary appreciation, Pope had no chance at all of addressing George II, who was notoriously dismissive of literary culture. By 1737 George II had become sufficiently unpopular that it was safe 3. But oh! And beastly Skelton heads of houses quote: A Scot will fight for Christ's Kirk o' the Green: He swears the Muses met him at the Devil. Living and writing in an era in which culture was flourishing and “poetry was not simply a pastime”[1], must have been a dream to Alexander Pope: such was the Augustan age in Latin literature (27 BC – AD 14), which under the reign of the emperor Augustus provided not only for a serene social environment for the thriving of liberal arts, but also concerned about its good management by the close advisor Maecenas, responsible of the patronage of the artistic talent. Late, very late, correctness grew our care. 2.i, 141), approved by the lawyer, albeit with the caution that ‘Laws are explain’d by Men – so have a care’ (Sat. Democritus: A Greek atomist and philosopher (460 B.C. The stage how loosely does Astr{ae}ea tread. ’Tis the gross Lust of Hate, that still annoys, [30] It is not quite straight-faced, and Pope goes on to evince some characteristic sharp practice. Upon the angry little Monster smile. Unskilled writers were emerging and the public was enjoying them with ‘incertos oculos et gaudia vana’ (line 188, Horace). The poets learn'd to please, and not to wound: Most warp'd to flatt'ry's side; but some, more nice. This is Pope wrong-footing criticism, since there was everything for the Court to ‘see’ if it looked hard enough. The Reason is, not that the World wants Eyes, ’Twixt them and thee be everlasting War. "[Pope] The Siege of Rhodes (1656) by Sir William Davenant, the first opera sung in England.". Scarce to wise Peter complaisant enough, This brings us down to earth. Wander like him, accursed through the Land.

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