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Introduction
Pope was only 21 years old when he wrote An Essay on Criticism, which was published anonymously in 1711. This aesthetic manifesto in heroic couplets is written in the tradition of Horace’s Ars Poetica (c. 19 B.C., Boileau’s Art Poetique 1674), and other verse essays delineating poetic principles and practices. Pope’s chief contributions to the genre are his ringing epigrams and the playful ease with which he satirizes contemporary critics who lack genuine poetic understanding.
The Essay of Criticism is divided into three parts: the first examines the rules of taste, their relationship to nature, and the authority of classical authors. The second part considers the impediments preventing the attainment of the classical ideals outlined in part one. In the third part, Pope proposes an aesthetic and moral reformation to restore wit, sense, and taste to their former glory. While acknowledging the importance of precepts, Pope asserts the primacy of poetic genius and the power of imagination.
Reforming Poetry
The third part of Pope’s essay on criticism can offer us some very important lessons which we can use in bringing about the meaningful reformation of poetry. The foundation stone of his suggestions of revolutionizing poetry in the last part of his essay is in the pertinent yet elusive fact of truth and honesty. Pope says, “When in doubt, be silent, and if you err, admit it” (566-571). He in effect is suggesting that poetry should not be on the grounds of superstition or rumor but purely on the fact. As piper (522) Observes, Pope’s Works seem to reflect his desire to have truth as the pillar of society. This was coming from his intrinsic nature of “being good” (Williams, 212).
The statement is very crucial to poetry since most poetry is often abstract drawing from the poet’s ability to get out of the ordinary and pursue the imaginary world via the locomotive of his mind. Now Pope seems to suggest that even as the poet scales the stairs of his mind, he should not pen down anything he is unsure about. But even more significant is the stamen in which he suggests that if one makes an error, then he should confess to it. If this is to be observed, then the poet will be careful not to make a mistake as few people like admitting to having made a mistake somewhere in their art.
Pope takes issue with the fact that most poets no longer value originality in their work. Many of them “steal” their work from other authors’ works. Pope lets writers know from the very onset that originality should be highly esteemed and plagiarism should be shunned by all. His lines that give the warning culminate in a rather scary statement when he says, “only fools rush in where angels fear to tread” (584-863). This statement can be compared to the statement that was made by Shakespeare William, “Wrens make prey where eagles dare not perch” as seen in King Richard’s play, Act One, Scene One.
The next thing that Pope suggests is the concept of tactful criticism. He suggests that “men must be taught as if you taught them not “(572-577). This is to means that poetry as a tool for teaching important lessons and values should be used tactfully. Most people don’t like being lectured on dos and don’ts but just as Pope suggests, tact5 can be used to achieve this goal. According to Boltwood’s findings, People learn less when they are under a boring, predictable, and dull teacher (Boltwood, 582). Poetry has the advantage of using different styles to become even more captivating to the readers. The issue of criticism also comes strongly from Pope’s essay on criticism. He suggests that criticism should be employed without fear or favor.
Pope observes that many people fear to critic because they don’t what to hurt the feelings of the other party. That, according to Pope should not be reason enough to bar one from offering his or her criticism through his poetry. We find this concept in the following phrase, “Don’t spare criticism just to be nice” (578-583). Poetry should not be subject to intimidation. Criticism should be made without prejudice. However, even as criticism is made, is important to exercise restraint. There needs to be a balance. In referring metaphorically to Appius, Pope warns against his notion perpetuated in the statement, “‘Tis best sometimes your censure to restrain” (584-609).
As Boltwood (584) observes, there is a need for critics that are good at their job and yet who don’t see any reason to be proud because of their achievements. Pope seems to be lamenting that there are so many bad critics and a big dearth of objective and effective critics. He laments in line 610, “There are lots of bad critics” He has a quest to see a new generation of critics that will replace this bad crop and that must be why he passionately asks, “where can we find good ones, those who are learned but not proud, well-bred, sincere, truthful, impartial?” (631-642)
Pope also talks of the importance of courage in line 578. He challenges the poet to have no fear as seen in the lines below.
Be Niggards of Advice on no Pretence/For the worst Avarice is that of Sense/ With mean Complacence ne’er betray your Trust/ Nor be so Civil as to prove Unjust/ Fear not the Anger of the Wise to raise/ Those best can bear reproof, who merit Praise.
In the concluding portion of the essay on Criticism, Pope attempts to draw from history in a bid to qualify his statement on criticism. He refers to some of the notable critics that were before his time. He talks of Aristotle, Horace, Dionysius of Halicarnassus, Petronius, Quintillian, and Longinus (675-680) He refers to the renaissance era which saw the arts flourish and seems to be doing so to establish a contrast of the times.
Conclusion
The Essay on Criticism by Pope was his first-ever poem to write and it has remained to be one of the strongest and most authentic reference points through the ages. Pope talks very candidly about the poets who want to offer critic of poetry or maybe via poetry yet they know very little of the poetry. He makes it rather clear that is important for the critic to first understand the underlying principle of poetry before he can think of becoming an effective critic of the same.
The suggestions that Pope makes are very practical and have not been overtaken by time. The issues raised by Pope will be building blocks for the new era in poetry. They provide the basis of a new form of poetry that is based on the morals of honesty, integrity, tact, courage, and modesty.
Works Cited
Boltwood, Robert M. “Please Be Brutal in Your Criticism.” College English 22.8 (1960): 580-583. JSTOR. GALILEO. 2010.
Piper, Bowman W. “The Conversational Poetry of Pope.” Studies in English Literature 10.3(1970): 504-524. JSTOR. GALILEO. 2010.
Williams, Aubrey. “Review.” The Review of English Studies 9.34 (1970):212-214. JSTOR. GALILEO. 2010.
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