By Pat Rogers
Prime literary historian and eighteenth-century professional Pat Rogers has lengthy been famous as an expert on Alexander Pope. This booklet addresses the numerous features of the poet's international and paintings, proposing a considerable new essay on "Pope and the antiquarians" along significantly revised types of essays released in journals, which jointly hide such a lot of Pope's significant writing. Essays on Pope gathers for the 1st time the easiest paintings in this celebrated writer via one of many most suitable critics, and is an crucial source for students of eighteenth-century literature.
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Extra info for Essays on Pope
I don't. - Fr. You do. P. See! now I keep the Secret, and not you. The bribing Statesman - Fr. Hold! too high you go. P. The brib'd Elector - Fr. There you stoop too low. P. I fain wou'd please you, if I knew with what: Tell me, which Knave is lawful Game, which not? (Epilogue to Satires, II, 13-27) But such cross-talk acts are only one of innumerable effects available to Pope. He can be high and sententious, obscene, skittish, tender, or whatever he pleases. (3) The form was, as it were, poetically neutral.
The couplet form, primarily, is a machine in which to live consecutively. I say advisedly 'couplet', without specifying the closed variety. Quite a high proportion of eighteenth-century poetry handles the couplet with some degree of licence. But the pentameter line and the emphatic rhyming normally found make for regularity, even where the sense floods over from one couplet to the next. Syntax, too, makes its contribution when parallel sentence-shapes are used - with a similar proviso, that semantically the parallelism may be a spurious one.
Pope and the syntax of satire 11 Initially one supposes that Gildon represents poverty, Dennis madness. Yet in the second line quoted, Pope emphasizes his own passivity - which in turn suggests the fury of Gildon, not of Dennis. Similarly the fourth line constitutes in effect an answer to the first: Pope's freedom from poverty allows him to escape the 'raving' of Dennis. In the last couplet appears a typical chiasmic sequence, want/madness/Bedlam/Mint. Moreover want 'provokes', that is, stirs up and excites - the postponement of the composite object 'them' means that the verb attains an absolute or intransitive force.