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Aphorisms (Alexander Pope )

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Contents Introduction Chapter I : Alexander Pope and his literary career 1.1. Early life and career 1.2. The style of Alexander Pope 1.3. Later Works and Poetry: a) Essay on Criticism b) Rape of the Lock c) Dunciad and Moral Essays d) Essay on Man Chapter II: The problem of aphorisms and their classification 2.1 The role of aphorism in English literature 2. 2. Classification of aphorisms according to their meaning Conclusion Bibliography

Chapter I : Alexander Pope and his literary career 1.1. Early life and career Pope was born in London to Alexander Pope (senior, a linen merchant) and Edith Pope (née Turner), who were both Catholics. Pope's education was affected by the penal law in force at the time upholding the status of the established Church of England, which banned Catholics from teaching on pain of perpetual imprisonment. Pope was taught to read by his aunt, then went to Twyford School in about 1698–9. He then went to two Catholic schools in London. Such schools, while illegal, were tolerated in some areas. In 1700, his family moved to a small estate in Binfield, Berkshire, close to the royal Windsor Forest. This was due to strong anti-Catholic sentiment and a statute preventing Catholics from living within

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 (his alleged future lover) Martha, both of whom would remain lifelong friends. From the age of 12, he suffered numerous health problems, such as Pott's disease (a form of tuberculosis that affects the bone) 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. He never grew beyond 1.37 metres (4 feet, 6 inches) tall. Pope was already removed from society because he was Catholic; his poor health only alienated hi

Pope's next well known poem was The Rape of the Lock; first published in 1712, with a revised version published in 1714. This is sometimes considered Pope's most popular poem because it was a mock-heroic epic, written to make fun of 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. In his poem he treats his characters in an epic style; when the Baron steals her hair and she tries to get it back, it flies into the air and turns into a star. 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 painstak

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 this grotto still survives. The grotto now lies beneath Radnor House Independent Co-ed School, and is occasionally opened to the public. 1.2 The style of Alexander Pope Before speaking of Po’pes style I consider my duty to inform you about The Neo Classicists Neo new Classicists of the classics the ancient Roman – Greek writers. They imitated them like slaves (not only in literature, also in architecture) Great interest in the poems who lived in the time of emperor August. Most poetry was satirical or didactic, ( satire: making fun of people) ( didactic = teach ot

symbols of Pope's Gothic style. Pope speaks (almost) G-D like throughout, "The Rape of Lock." Contrary to Keats, who is more down-to-earth with his sense of realism in his writings. In the beginning of Keats romantic premise to life in St. Agnes, all is cold. The opening sequence brings a sense of realism to this bitter cold scene. Cold owls, rabbit's, and numb fingers on a holy, "Beads man." The Beads man symbolizes the sense of age and spirit. Much of this poem is a test of Keats inner soul or spirit. He has lead himself to St. Agnes for his own personal account of life in a time long gone. Keats' romantic style has brought visionary raw emotion to the aching hearts of all his readers. Then, both poems go separate ways in their tales of body and spirit. Taking

bitter atmosphere of regret, and then sway the reader's emotion to a peaceful loving atmosphere is in itself astonishing. Desire brings Keats to the heightened point of emotional gratification within, "The Eve of St. Agnes." St. Agnes is such a peaceful age-old memory for Keats. He presents strength when pain is being inflicted. His early images of purgatory, show Keats in a bind of human emotion and regret for past sins. However, Pope does this as well throughout, "The Rape of Lock." Although, Pope is less likely to find a happy medium in his tale of tolerance. He does manage to relinquish all his desires for the sake of his own inner strength. This strength is portrayed more intensely through his soul. Memories are key to the anguish of the poem. In all of Keats medio

Imagery can sustain many possible contradictions on the writer's intentions. For instance, Keats hides his characters (Phosphor and Madeline) in order to present a more lustful in-depth love. Safety is a key to Keats' prolific attitude on the secrecy of a woman's virginity. A wholesome outlook is always in the future, it would seem. However, this outlook is never reached throughout the poem. In comparison with Pope, Keats has distinguished himself in his writing. Pope relies on old myths and obscure legends in order to achieve his outcome of clarity. Each writer has their own hero of the day. In each writer's mind is the idea that one can be g-d through their own scripture. Each must be excused for not always being able to know what is still real and what is fiction in lif

expressed significantly in many of Pope's images. For instance, "poetic eyes" is used by Pope on line 124. This image can be expressed as a better way for the reader to see that life imitates art! Now, viewing both works in detail has brought out an arousal of insecurity and misunderstood quality. However, each has distinguished its own identity by its style. Referring back to the comparison of Pope and Keats styles can be quite an enhancement upon the cerebral context in each poem. Pope has strictly concerned himself with literary merit, and ghostly apparitions of old tales that haunt all writers of the possibility for brilliance. Keats however, has staked his claim as a romantic idealist of love and thought. Mind, body and soul are key factors in both of these works. Heaven i

1.3. Later Works and Poetry 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 genre of poetry, and Pope's most ambitious work. An Essay on Criticism was an 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. The poem begins with a discussion of the standard rules that govern poetry by which a critic passes judgment. Pope comments on the classical authors wh

Critics pay special attention to the fictitious card game, 'Ombre', that Pope creates for the poem; much time has been spent trying to reconstruct the rules of the game, and the arcane obscurity of how it might actually be played reflects the Byzantine nature of 18th-century high society Though the Dunciad was first published anonymously in Dublin, its authorship was not in doubt. As well as Theobald, it pilloried a host of other "hacks", "scribblers" and "dunces". Mack called its publication "in many ways the greatest act of folly in Pope's life". Though a masterpiece, "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 t

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. It consists of four epistles that are addressed to Lord Bolingbroke. Pope presents an idea or his view on the Universe; he says that 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; however, Pope points out that this is due to our limited mindset and limited intellectual capacity. Pope gets the message across that humans must accept their position in the "Great Chain of Being&#34

Pope also added a wholly original poem, An 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") and Addison ("Atticus"). In 1738 he wrote the Universal Prayer. After 1738, Pope 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 in the following year. In this version, Pope replaced the "hero", Lewis Theobald, with the poet laureate Colley Cibber as "king of dunces". By now Pope's health, which had n

Christian and Biblical culture gave great depth to his poetry. Maynard Mack thought very highly of Pope's poetry. He argued that Pope's humane moral vision demanded as much respect as his technical excellence. In the years 1953–1967 the production of the definitive Twickenham edition of Pope's poems was published in ten volumes. Modern criticism of Pope focuses on the man, his circumstances and motivations, prompted by theoretical perspectives such as Marxism, feminism and other forms of post-structuralism. Brean Hammond focuses on Pope's singular achievement in making an independent living solely from his writing. Laura Brown (1985) adopts a Marxist approach and accuses Pope of being an apologist for the oppressive upper classes. Hammond (1986) has studied Pope's wor

The classification of Alexander Pope’s style 1. The heroic couplet was used especially by a Pope. 2. The poetry was clear, regular, full of images and funny images and funny sentences but difficult. 3. The use of “Personification” Eg. Death walked up to him. Examples snoska In the 18 th century the first newspaper and magazines appeared Samuel Johnson published the first dictionary in English language. This was all possible because: 1. more people could read and write. 2. The development of the art of printing made printed materials cheaper. Especially women and middle class people were added to the reading public. Thus were not just interested in poems but also in stories about ordinary people. The interest in gossip and scandal also grew. This all led to the development the novel.

Essay on man  Laugh where we must be candid where we can.  Kulish kerak bo’lgan joyda kulamiz, ammo qo’limizdan kelgan joyda samimiy bo’la olamiz.  Hope springs eternal in the human breast  Inson nafas olarkan umid qiladi.  Man never is but always to be bleas.  Genies creates and tastes preserves  Daxo yaratadi va did saqlanib qoladi. Did daxolikning yaxshi namunasidir.  Tense is good sense of genius without taste genius is only sublime foolly.  Didsiz daxo aqlli aqlli ko’rinmaydigan ahmoqqa o’xshaydi. Essay on Moral  Be silent always when you doubt your sense.  Ikkilanganda sukut saqla. O’ylab aytilmagan so’z obro’ga putur yetkazadi.  Hope travels through nor quits us when we die.  Tiriklikda umid doim xamrohimizdir.

The differences between eighteenth-century literature and romantic poems, with respect to history is constituted here. This is seen through the influential works of John Keats and Alexander Pope. These works are acknowledged as, "The Rape of Lock" and "The Eve of St. Agnes." Alexander Pope takes his readers on a hatred filled epic. A robust piece of literature and love induced psychoses in, "The Rape of Lock." On the other hand, "The Eve of St. Agnes" told a tale of life, love, death, and eternal fate in heaven. These two brilliant writers have given two magnificent poems. Pope exhibits many characteristics of a narcissistic human being. His independence in life shows through his writings in fiction. Which inevitably portray his deeper feelings of life. Pope

through their writing. 2.Aphorism An aphorism is an original thought, spoken or written in a laconic (concise) and memorable form. Aphorism literally means a "distinction" or "definition", from Greek (aphorismós) , which is from (apo) and (horizein) , meaning "from/to bound". The term was first used in the Aphorisms of Hippocrates . The oft-cited first sentence of this work is: "Life is short, art long, opportunity fleeting, experience deceptive, judgment difficult." The term was later applied to maxims of physical science, then statements of all kinds of philosophical, moral, or literary principles. In modern usage an aphorism is generally understood to be a concise statement containing a subjective truth or observation cleverly and pi

1. Early life and career Pope was born to Alexander Pope Senior (1646–1717), a linen merchant of Plough Court, Lombard Street, London, and his wife Edith (née Turner) (1643–1733), who were both Catholics. Edith's sister Christiana was the wife of the 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, or holding public office on pain of perpetual imprisonment. Pope was taught to read by his aunt, and went to Twyford School in about 1698/99. He then went to two Catholic schools in London. Such schools, while illegal, were tolerated in some areas. In 1700, his family moved to a small est

with figures from the London literary society such as William Wycherley , William Congreve , Samuel Garth , William Trumbull , and William Walsh . At Binfield, he also began to make 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 (his alleged future lover) Martha , both of whom would remain lifelong friends. [3] From the age of 12, he suffered numerous health problems, such as Pott's disease (a form of tub

Around 1711, Pope made friends with Tory writers John Gay , Jonathan Swift , Thomas Parnell and John Arbuthnot , who together formed the satirical Scriblerus Club . The aim of the club was to satirise ignorance and pedantry in the form of the fictional scholar Martinus Scriblerus. He also made friends with Whig writers Joseph Addison and Richard Steele . In March 1713, Windsor Forest was published to great acclaim. 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. In 1714, the political situation worsened with th

The money made from his translation of Homer allowed Pope to move to a villa at Twickenham in 1719, where he created his now famous grotto and gardens. Pope decorated the grotto with alabaster, marbles, and ores such as mundic and crystals. He also used Cornish diamonds, stalactites, spars, snakestones and spongestone. Here and there in the grotto he placed mirrors, expensive embellishments for the time. A camera obscura was installed to delight his visitors, of whom there were many. The serendipitous discovery of a spring during its excavations enabled the subterranean retreat 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 every

famous portraits of Lord Hervey ("Sporus") and Addison ("Atticus"). In 1738 he wrote the Universal Prayer . After 1738, Pope 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 in the following year. In this version, Pope replaced the "hero", Lewis Theobald, with the poet laureate Colley Cibber as "king of dunces". By now Pope's health, which had never been good, was failing, and he died in his villa surrounded by friends on 30 May 1744. On the previous day, 29 May 1744, Pope called for a priest and received

The poem 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. 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. Rape of the Lock 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-soci

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. As well as Theobald, it pilloried a host of other "hacks", "scribblers" and "dunces". Mack called its publication "in many ways the greatest act of folly in Pope's life". Though a masterpiece, "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...". The threats were physical too. According to his sister, Pope would never go for a walk without the company of his Great Dane ,

piece of work that Pope intended to make into a larger work; however, he did not live to complete it. 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. It consists of four epistles that are addressed to Lord Bolingbroke. Pope presents an idea or his view on the Universe; he says that 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 per

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 re 3. Translations and Editions Translation of the Iliad 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 brought him two hundred guineas a volume, a vast sum at the time. His translation of the Iliad appeared between 1715 and 1720. It was acc

Broome eight and Fenton four), but the secret leaked out. It did some damage to Pope's reputation for a time, but not to his profits. Frontispiece and titlepage of a 1752 edition of Alexander Pope's extensively annotated translation of Homer 's The Odyssey . Edition of Shakespeare's works In this period, Pope was also employed by the publisher Jacob Tonson to produce an opulent new edition of Shakespeare. When it finally appeared, in 1725, this edition silently "regularised" Shakespeare's metre and rewrote his verse in a number of places. Pope also demoted about 1560 lines of Shakespearean material to footnotes, arguing that they were so "excessively bad" that Shakespeare could never have written them. (Other lines were excluded from the edition

In 1726, the 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. Pope and Theobald were probably well acquainted, and Pope no doubt interpreted this as a violation of the rules of friendship. A second edition of Pope's Shakespeare appeared in 1728, but 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, however, continued to be highly rated. It was suggested that Shakespeare's texts were thoroughly contaminated by actors' interpolations a

Reviewers to be a continuance of Pope's tradition), William Wordsworth found Pope's style fundamentally too decadent to represent the human condition truly. In the 20th century an effort to revive Pope's reputation began and was successful. Pope's work was now found to be full of references to the people and places of his time and these aided individuals' understanding of the past. The postwar period stressed the power of Pope's poetry and recognised that Pope's immersion in Christian and Biblical culture gave great depth to his poetry. Maynard Mack thought very highly of Pope's poetry. He argued that Pope's humane moral vision demanded as much respect as his technical excellence. In the years 1953–1967 the production of the definitive Twickenham editi

In 'Politics and Poetics of Transgression' (1985) Peter Stallybrass and Allon White charge that Pope drew upon the low culture which he despised in order to produce his own 'high art'. They assert Pope was implicated in the very material he was attempting to exclude, not dissimilar to observations made in Pope's time. Feminists have also criticised Pope's works. Ellen Pollak's 'The Poetics of Sexual Myth' (1985) argues that Pope followed an anti-feminist tradition, that regarded women as inferior to men both intellectually and physically. Carolyn Williams contends that a crisis in the male role during the 18th century in Britain impacted Pope and his writing.

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