Alexander Pope

Alexander Pope was born in London on 21 May 1688, the year of the Glorious Revolution. His father (also Alexander, 1646–1717) was a successful linen merchant in the Strand. The poet's mother, Edith (1643–1733), was the daughter of William Turner, Esquire, of York. Both parents were Catholics.[3] Edith's sister, Christiana, was the wife of famous miniature painter Samuel Cooper. Pope's education was affected by the recently enacted Test Acts, which upheld the status of the established Church of England and banned Catholics from teaching, attending a university, voting, and holding public office on penalty of perpetual imprisonment. Pope was taught to read by his aunt and went to Twyford School in about 1698/99.[3] He then went on to two Roman Catholic schools in London.[3] Such schools, while illegal, were tolerated in some areas.[4]

A look-a-like of Pope derived from a portrait by William Hoare[5]

In 1700, his family moved to a small estate at Popeswood in Binfield, Berkshire, close to the royal Windsor Forest.[3] This was due to strong anti-Catholic sentiment and a statute preventing "Papists" from living within 10 miles (16 km) of London or Westminster.[6] Pope would later describe the countryside around the house in his poem Windsor Forest.[7] Pope's formal education ended at this time, and from then on, he mostly educated himself by reading the works of classical writers such as the satirists Horace and Juvenal, the epic poets Homer and Virgil, as well as English authors such as Geoffrey Chaucer, William Shakespeare and John Dryden.[3] He studied many languages and read works by English, French, Italian, Latin, and Greek poets. After five years of study, Pope came into contact with figures from London literary society such as William Congreve, Samuel Garth and William Trumbull.[3][4]

At Binfield he made many important friends. One of them, John Caryll (the future dedicatee of The Rape of the Lock), was twenty years older than the poet and had made many acquaintances in the London literary world. He introduced the young Pope to the ageing playwright William Wycherley and to William Walsh, a minor poet, who helped Pope revise his first major work, The Pastorals. He also met the Blount sisters, Teresa and Martha, both of whom remained lifelong friends.[4]

From the age of 12 he suffered numerous health problems, including Pott disease, a form of tuberculosis that affects the spine, which deformed his body and stunted his growth, leaving him with a severe hunchback. His tuberculosis infection caused other health problems including respiratory difficulties, high fevers, inflamed eyes and abdominal pain.[3] He grew to a height of only 1.37 m (4 ft 6 in). Pope was already removed from society as a Catholic, and his poor health alienated him further. Although he never married, he had many female friends to whom he wrote witty letters, including Lady Mary Wortley Montagu. It has been alleged that his lifelong friend Martha Blount was his lover.[4][8][9][10] His friend William Cheselden said, according to Joseph Spence, "I could give a more particular account of Mr. Pope's health than perhaps any man. Cibber's slander (of carnosity) is false. He had been gay [happy], but left that way of life upon his acquaintance with Mrs. B."[11]

Plaque above Pope's Grotto at Twickenham

In May 1709, Pope's Pastorals was published in the sixth part of bookseller Jacob Tonson's Poetical Miscellanies. This earned Pope instant fame and was followed by An Essay on Criticism, published in May 1711, which was equally well received.

Pope's villa at Twickenham, showing the grotto; from a watercolour produced soon after his death

Around 1711, Pope made friends with Tory writers Jonathan Swift, Thomas Parnell and John Arbuthnot, who together formed the satirical Scriblerus Club. Its aim was to satirise ignorance and pedantry through the fictional scholar Martinus Scriblerus. He also made friends with Whig writers Joseph Addison and Richard Steele. In March 1713, Windsor Forest[7] was published to great acclaim.[4]

During Pope's friendship with Joseph Addison, he contributed to Addison's play Cato, as well as writing for The Guardian and The Spectator. Around this time, he began the work of translating the Iliad, which was a painstaking process – publication began in 1715 and did not end until 1720.[4]

In 1714 the political situation worsened with the death of Queen Anne and the disputed succession between the Hanoverians and the Jacobites, leading to the Jacobite rising of 1715. Though Pope, as a Catholic, might have been expected to have supported the Jacobites because of his religious and political affiliations, according to Maynard Mack, "where Pope himself stood on these matters can probably never be confidently known". These events led to an immediate downturn in the fortunes of the Tories, and Pope's friend Henry St John, 1st Viscount Bolingbroke, fled to France.

Pope lived in his parents' house in Mawson Row, Chiswick, between 1716 and 1719; the red brick building is now the Mawson Arms, commemorating him with a blue plaque.[12]

The money made from his translation of Homer allowed Pope to move in 1719 to a villa at Twickenham, where he created his now famous grotto and gardens. The serendipitous discovery of a spring during the excavation of the subterranean retreat enabled it to be filled with the relaxing sound of trickling water, which would quietly echo around the chambers. Pope was said to have remarked that: "Were it to have nymphs as well – it would be complete in everything." Although the house and gardens have long since been demolished, much of the grotto survives. It now lies beneath Radnor House Independent Co-ed School and is occasionally opened to the public.[8][13]

An Essay on Criticism was first published anonymously on 15 May 1711. Pope began writing the poem early in his career and took about three years to finish it.

At the time the poem was published, the heroic couplet style in which it was written was a moderately new poetic form, and Pope's work was an ambitious attempt to identify and refine his own positions as a poet and critic. The poem was said to be a response to an ongoing debate on the question of whether poetry should be natural, or written according to predetermined artificial rules inherited from the classical past.[14]

The 'essay' begins with a discussion of the standard rules that govern poetry by which a critic passes judgment. Pope comments on the classical authors who dealt with such standards and the authority that he believed should be accredited to them. He discusses the laws to which a critic should adhere while critiquing poetry, and points out that critics serve an important function in aiding poets with their works, as opposed to the practice of attacking them.[15] The final section of An Essay on Criticism discusses the moral qualities and virtues inherent in the ideal critic, who, Pope claims, is also the ideal man.

Pope's most famous poem is The Rape of the Lock, first published in 1712, with a revised version published in 1714. A mock-epic, it satirises a high-society quarrel between Arabella Fermor (the "Belinda" of the poem) and Lord Petre, who had snipped a lock of hair from her head without her permission. The satirical style is tempered, however, by a genuine and almost voyeuristic interest in the "beau-monde" (fashionable world) of 18th-century English society.[16] The revised, extended version of the poem brought more clearly into focus its true subject – the onset of acquisitive individualism and a society of conspicuous consumers. In the world of the poem, purchased artifacts displace human agency, and "trivial things" assume dominance.[17]

Alexander Pope, painting attributed to English painter Jonathan Richardson, c. 1736, Museum of Fine Arts, Boston

Though The Dunciad was first published anonymously in Dublin, its authorship was not in doubt. Pope pilloried a host of other "hacks", "scribblers" and "dunces" in addition to Theobald, and Maynard Mack has accordingly called its publication "in many ways the greatest act of folly in Pope's life." Though a masterpiece which would become "one of the most challenging and distinctive works in the history of English poetry", writes Mack, "it bore bitter fruit. It brought the poet in his own time the hostility of its victims and their sympathizers, who pursued him implacably from then on with a few damaging truths and a host of slanders and lies."[18]

According to his half-sister Magdalen Rackett, some of Pope's targets were so enraged by The Dunciad that they threatened him. "My brother does not seem to know what fear is," she told Joseph Spence, explaining that Pope loved to walk alone, so went accompanied by his Great Dane Bounce, and for some time carried pistols in his pocket.[19] Together with John Gay's The Beggar's Opera and Jonathan Swift's Gulliver's Travels, this first Dunciad was part of a concerted propaganda assault against Robert Walpole's Whig ministry and the financial revolution it stabilised. Although he was a keen participant in the stock and money markets, Pope never missed an opportunity to satirise the personal, social and political effects of the new scheme of things. From The Rape of the Lock onwards, these satirical themes are a constant in his work.

In 1731, Pope published his "Epistle to Burlington," on the subject of architecture, the first of four poems which would later be grouped under the title Moral Essays (1731–1735). In the epistle, Pope ridiculed the bad taste of the aristocrat "Timon". Pope's enemies claimed he was attacking the Duke of Chandos and his estate, Cannons. Though the charge was untrue, it did much damage to Pope.

An Essay on Man is a philosophical poem, written in heroic couplets and published between 1732 and 1734. Pope intended this poem to be the centrepiece of a proposed system of ethics that was to be put forth in poetic form. It was a piece of work that Pope intended to make into a larger work; however, he did not live to complete it.[20]

The poem is an attempt to "vindicate the ways of God to Man", a variation on Milton's attempt in Paradise Lost to "justify the ways of God to Man" (1.26). It challenges as prideful an anthropocentric world-view. The poem is not solely Christian, however; it makes an assumption that man has fallen and must seek his own salvation.[20]

Alexander Pope circa 1742

It consists of four epistles addressed to Lord Bolingbroke. Pope presents an idea on his view of the Universe: no matter how imperfect, complex, inscrutable and disturbing the Universe appears to be, it functions in a rational fashion according to the natural laws. The natural laws consider the Universe as a whole a perfect work of God. To humans, it appears to be evil and imperfect in many ways. Pope ascribes this to our limited mindset and limited intellectual capacity. He gets the message across that humans must accept their position in the "Great Chain of Being", at a middle stage between the angels and the beasts of the world. Accomplish this and we potentially could lead happy and virtuous lives.[20]

The poem is an affirmative poem of faith: life seems to be chaotic and confusing to man when he is in the centre of it, but according to Pope it is really divinely ordered. In Pope's world, God exists and is what he centres the Universe around in order to have an ordered structure. The limited intelligence of man can only take in tiny portions of this order and can experience only partial truths, hence man must rely on hope which then leads into faith. Man must be aware of his existence in the Universe and what he brings to it, in terms of riches, power, and fame. It is man's duty to strive to be good regardless of other situations: this is the message Pope is trying to get across to the reader.[21]

The death of Alexander Pope from Museus, a threnody by William Mason. Diana holds the dying Pope, and John Milton, Edmund Spenser, and Geoffrey Chaucer prepare to welcome him to heaven.

The Imitations of Horace followed (1733–38). These were written in the popular Augustan form of the "imitation" of a classical poet, not so much a translation of his works as an updating with contemporary references. Pope used the model of Horace to satirise life under George II, especially what he regarded as the widespread corruption tainting the country under Walpole's influence and the poor quality of the court's artistic taste.

Pope also added a wholly original poem, Epistle to Doctor Arbuthnot, as an introduction to the "Imitations". It reviews his own literary career and includes the famous portraits of Lord Hervey ("Sporus"), Thomas Hay, 9th Earl of Kinnoull ("Balbus") and Addison ("Atticus").

In 1738 he wrote the Universal Prayer.[22]

Among the younger poets whose work Pope admired was Joseph Thurston.[23] After 1738, Pope himself wrote little. He toyed with the idea of composing a patriotic epic in blank verse called Brutus, but only the opening lines survive. His major work in these years was revising and expanding his masterpiece The Dunciad. Book Four appeared in 1742 and a complete revision of the whole poem the following year. Here Pope replaced the "hero" Lewis Theobald with the Poet Laureate, Colley Cibber as "king of dunces". However, the real focus of the revised poem is Walpole and his works. By now Pope's health, which had never been good, was failing. When told by his physician, on the morning of his death, that he was better, Pope replied: "Here am I, dying of a hundred good symptoms."[24][25] He died in his villa surrounded by friends on 30 May 1744, about eleven o'clock at night. On the previous day, 29 May 1744, Pope had called for a priest and received the Last Rites of the Catholic Church. He was buried in the nave of St Mary's Church, Twickenham.

Pope had been fascinated by Homer since childhood. In 1713, he announced his plans to publish a translation of the Iliad. The work would be available by subscription, with one volume appearing every year over the course of six years. Pope secured a revolutionary deal with the publisher Bernard Lintot, which earned him two hundred guineas (£210) a volume, a vast sum at the time.

His translation of the Iliad appeared between 1715 and 1720. It was acclaimed by Samuel Johnson as "a performance which no age or nation could hope to equal" (although the classical scholar Richard Bentley wrote: "It is a pretty poem, Mr. Pope, but you must not call it Homer.")

Frontispiece and title page of a 1752 edition of Pope's Odyssey

Encouraged by the success of the Iliad, Bernard Lintot published Pope's five-volume translation of Homer's Odyssey in 1725 and 1726.[26] For this work Pope collaborated with William Broome and Elijah Fenton: Broome translated eight books (2, 6, 8, 11, 12, 16, 18, 23), Fenton four (1, 4, 19, 20) and Pope the remaining 12. Broome provided the annotations.[27] Pope tried to conceal the extent of the collaboration, but the secret leaked out.[28] It did some damage to Pope's reputation for a time, but not to his profits.[29] Leslie Stephen considered Pope's portion of the Odyssey inferior to his version of the Iliad, given that Pope had put more effort into the earlier work – to which, in any case, his style was better suited.[30]

In this period, Pope was employed by publisher Jacob Tonson to produce an opulent new edition of Shakespeare.[31] When it appeared in 1725, this edition silently regularised Shakespeare's metre and rewrote his verse in a number of places. Pope also removed about 1,560 lines of Shakespearean material, arguing that some appealed to him more than others.[31] In 1726, lawyer, poet and pantomime-deviser Lewis Theobald published a scathing pamphlet called Shakespeare Restored, which catalogued the errors in Pope's work and suggested a number of revisions to the text. This enraged Pope, and thus, Theobald was the main target of Pope's poem The Dunciad.[32]

The second edition of Pope's Shakespeare appeared in 1728.[31] Aside from making some minor revisions to the preface, it seems that Pope had little to do with it. Most later 18th-century editors of Shakespeare dismissed Pope's creatively motivated approach to textual criticism. Pope's preface continued to be highly rated. It was suggested that Shakespeare's texts were thoroughly contaminated by actors' interpolations and they would influence editors for most of the 18th century.

• 1709: Pastorals
• 1711: An Essay on Criticism[34]
• 1712: Messiah (from the Book of Isaiah, and later translated into Latin by Samuel Johnson)
• 1712: The Rape of the Lock (enlarged in 1714)[34]
• 1713: Windsor Forest[7][34]
• 1715: The Temple of Fame: A Vision[35]
• 1715–1720: Translation of the Iliad[34]
• 1717: Eloisa to Abelard[34]
• 1717: Three Hours After Marriage, with others
• 1717: Elegy to the Memory of an Unfortunate Lady[34]
• 1723–1725: The Works of Shakespear, in Six Volumes
• 1725–1726: Translation of the Odyssey[34]
• 1727: Peri Bathous, Or the Art of Sinking in Poetry
• 1728: The Dunciad[34]
• 1733–1734: Essay on Man[34]
• 1735: The Prologue to the Satires (see the Epistle to Dr Arbuthnot and Who breaks a butterfly upon a wheel?)

• 1700: Ode on Solitude
• 1713: Ode for Musick[36]
• 1717: The Court Ballad[37]
• 1731: An Epistle to the Right Honourable Richard Earl of Burlington[38]
• 1733: The Impertinent, or A Visit to the Court[39]
• 1736: Bounce to Fop[40]
• 1737: The First Ode of the Fourth Book of Horace[41]
• 1738: The First Epistle of the First Book of Horace[42]

• The Works of Alexander Pope vol 3 vol 3 v 9 of 10 v 6 of 8