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An Essay on Man
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- The Victorian Web - Alexander Pope's Essay on Man: An Introduction
An Essay on Man , philosophical essay written in heroic couplets of iambic pentameter by Alexander Pope , published in 1733–34. It was conceived as part of a larger work that Pope never completed.
The poem consists of four epistles. The first epistle surveys relations between humans and the universe; the second discusses humans as individuals. The third addresses the relationship between the individual and society, and the fourth questions the potential of the individual for happiness. An Essay on Man describes the order of the universe in terms of a hierarchy , or chain, of being. By virtue of their ability to reason, humans are placed above animals and plants in this hierarchy.
- My Preferences
- My Reading List
- Literature Notes
- Alexander Pope's Essay on Man
- Book Summary
- Character List
- Summary and Analysis
- Chapters II-III
- Chapters IV-VI
- Chapters VII-X
- Chapters XI-XII
- Chapters XIII-XVI
- Chapters XVII-XVIII
- Chapter IXX
- Chapters XX-XXIII
- Chapters XXIV-XXVI
- Chapters XXVII-XXX
- Francois Voltaire Biography
- Critical Essays
- The Philosophy of Leibnitz
- Poème Sur Le Désastre De Lisoonne
- Other Sources of Influence
- Structure and Style
- Satire and Irony
- Essay Questions
- Cite this Literature Note
Critical Essays Alexander Pope's Essay on Man
The work that more than any other popularized the optimistic philosophy, not only in England but throughout Europe, was Alexander Pope's Essay on Man (1733-34), a rationalistic effort to justify the ways of God to man philosophically. As has been stated in the introduction, Voltaire had become well acquainted with the English poet during his stay of more than two years in England, and the two had corresponded with each other with a fair degree of regularity when Voltaire returned to the Continent.
Voltaire could have been called a fervent admirer of Pope. He hailed the Essay of Criticism as superior to Horace, and he described the Rape of the Lock as better than Lutrin. When the Essay on Man was published, Voltaire sent a copy to the Norman abbot Du Resnol and may possibly have helped the abbot prepare the first French translation, which was so well received. The very title of his Discours en vers sur l'homme (1738) indicates the extent Voltaire was influenced by Pope. It has been pointed out that at times, he does little more than echo the same thoughts expressed by the English poet. Even as late as 1756, the year in which he published his poem on the destruction of Lisbon, he lauded the author of Essay on Man. In the edition of Lettres philosophiques published in that year, he wrote: "The Essay on Man appears to me to be the most beautiful didactic poem, the most useful, the most sublime that has ever been composed in any language." Perhaps this is no more than another illustration of how Voltaire could vacillate in his attitude as he struggled with the problems posed by the optimistic philosophy in its relation to actual experience. For in the Lisbon poem and in Candide , he picked up Pope's recurring phrase "Whatever is, is right" and made mockery of it: "Tout est bien" in a world filled with misery!
Pope denied that he was indebted to Leibnitz for the ideas that inform his poem, and his word may be accepted. Those ideas were first set forth in England by Anthony Ashley Cowper, Earl of Shaftesbury (1671-1731). They pervade all his works but especially the Moralist. Indeed, several lines in the Essay on Man, particularly in the first Epistle, are simply statements from the Moralist done in verse. Although the question is unsettled and probably will remain so, it is generally believed that Pope was indoctrinated by having read the letters that were prepared for him by Bolingbroke and that provided an exegesis of Shaftesbury's philosophy. The main tenet of this system of natural theology was that one God, all-wise and all-merciful, governed the world providentially for the best. Most important for Shaftesbury was the principle of Harmony and Balance, which he based not on reason but on the general ground of good taste. Believing that God's most characteristic attribute was benevolence, Shaftesbury provided an emphatic endorsement of providentialism.
Following are the major ideas in Essay on Man: (1) a God of infinite wisdom exists; (2) He created a world that is the best of all possible ones; (3) the plenum, or all-embracing whole of the universe, is real and hierarchical; (4) authentic good is that of the whole, not of isolated parts; (5) self-love and social love both motivate humans' conduct; (6) virtue is attainable; (7) "One truth is clear, WHATEVER IS, IS RIGHT." Partial evil, according to Pope, contributes to the universal good. "God sends not ill, if rightly understood." According to this principle, vices, themselves to be deplored, may lead to virtues. For example, motivated by envy, a person may develop courage and wish to emulate the accomplishments of another; and the avaricious person may attain the virtue of prudence. One can easily understand why, from the beginning, many felt that Pope had depended on Leibnitz.
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Pope's Poems and Prose
By alexander pope, pope's poems and prose summary and analysis of an essay on man: epistle i.
The subtitle of the first epistle is “Of the Nature and State of Man, with Respect to the Universe,” and this section deals with man’s place in the cosmos. Pope argues that to justify God’s ways to man must necessarily be to justify His ways in relation to all other things. God rules over the whole universe and has no special favorites, not man nor any other creature. By nature, the universe is an order of “strong connexions, nice dependencies, / Gradations just” (30-1). This order is, more specifically, a hierarchy of the “Vast chain of being” in which all of God’s creations have a place (237). Man’s place in the chain is below the angels but above birds and beasts. Any deviation from this order would result in cosmic destruction. Because the universe is so highly ordered, chance, as man understands it, does not exist. Chance is rather “direction, which thou canst not see” (290). Those things that man sees as disparate or unrelated are all “but parts of one stupendous whole, / Whose body nature is, and God the soul” (267-8). Thus every element of the universe has complete perfection according to God’s purpose. Pope concludes the first epistle with the statement “Whatever is, is right,” meaning that all is for the best and that everything happens according to God’s plan, even though man may not be able to comprehend it (294).
Here is a section-by-section explanation of the first epistle:
Introduction (1-16): The introduction begins with an address to Henry St. John, Lord Bolingbroke, a friend of the poet from whose fragmentary philosophical writings Pope likely drew inspiration for An Essay on Man . Pope urges his friend to “leave all meaner things” and rather embark with Pope on his quest to “vindicate the ways of God to man (1, 16).
Section I (17-34): Section I argues that man can only understand the universe with regard to human systems and constructions because he is ignorant of the greater relationships between God’s creations.
Section II (35-76): Section II states that man is imperfect but perfectly suited to his place within the hierarchy of creation according to the general order of things.
Section III (77-112): Section III demonstrates that man's happiness depends on both his ignorance of future events and on his hope for the future.
Section IV (113-30): Section IV claims that man’s sin of pride—the attempt to gain more knowledge and pretend to greater perfection—is the root of man’s error and misery. By putting himself in the place of God, judging perfection and justice, man acts impiously.
Section V (131-72): Section V depicts the absurdity of man’s belief that he is the sole cause of the creation as well as his ridiculous expectation of perfection in the moral world that does not exist in the natural world.
Section VI (173-206): Section VI decries the unreasonableness of man’s complaints against Providence; God is good, giving and taking equally. If man had the omniscience of God, he would be miserable: “The bliss of man [...] / Is, not to act of think beyond mankind” (189-90).
Section VII (207-32): Section VII shows that throughout the visible world, a universal order and gradation can be observed. This is particularly apparent in the hierarchy of earthly creatures and their subordination to man. Pope refers specifically to the gradations of sense, instinct, thought, reflection, and reason. Reason is superior to all.
Section VIII (233-58): Section VIII indicates that if God’s rules of order and subordination are broken, the whole of creation must be destroyed.
Section IX (259-80): Section IX illustrates the madness of the desire to subvert God’s order.
Section X (281-94): Section X calls on man to submit to God’s power. Absolute submission to God will ensure that man remains “Safe in the hand of one disposing Pow’r” (287). After all, “Whatever is, is right” (294).
Pope’s first epistle seems to endorse a sort of fatalism, in which all things are fated. Everything happens for the best, and man should not presume to question God’s greater design, which he necessarily cannot understand because he is a part of it. He further does not possess the intellectual capability to comprehend God’s order outside of his own experience. These arguments certainly support a fatalistic world view. According to Pope’s thesis, everything that exists plays a role in the divine plan. God thus has a specific intention for every element of His creation, which suggests that all things are fated. Pope, however, was always greatly distressed by charges of fatalism. As a proponent of the doctrine of free will, Pope’s personal opinions seem at odds with his philosophical conclusions in the first epistle. Reconciling Pope’s own views with his fatalistic description of the universe represents an impossible task.
The first epistle of An Essay on Man is its most ambitious. Pope states that his task is to describe man’s place in the “universal system” and to “vindicate the ways of God to man” (16). In the poem’s prefatory address, Pope more specifically describes his intention to consider “man in the abstract, his Nature and his State, since, to prove any moral duty, to enforce any moral precept, or to examine the perfection of imperfection of any creature whatsoever, it is necessary first to know what condition and relation it is placed in, and what is the proper end and purpose of its being.” Pope’s stated purpose of the poem further problematizes any critical reading of the first epistle. According to Pope’s own conclusions, man’s limited intellect can comprehend only a small portion of God’s order and likewise can have knowledge of only half-truths. It therefore seems the height of hubris to presume to justify God’s ways to man. His own philosophical conclusions make this impossible. As a mere component part of God’s design and a member of the hierarchical middle state, Pope exists within God’s design and therefore cannot perceive the greater logic of God’s order. To do so would bring only misery: “The bliss of man [...] / Is, not to act of think beyond mankind” (189-90).
Though Pope’s philosophical ambitions result in a rather incoherent epistle, the poem demonstrates a masterful use of the heroic couplet. Some of the most quoted lines from Pope’s works actually appear in this poem. For example, the quotation “Hope springs eternal in the human breast: / Man never is, but always to be blest” appears in the problematic first epistle (95-6). Pope’s skill with verse thus far outweighs his philosophical aspirations, and it is fortunate that he chose to write in verse rather than prose. Indeed, eighteenth-century critics saw An Essay on Man as a primarily poetic work despite its philosophical themes.
Pope’s Poems and Prose Questions and Answers
The Question and Answer section for Pope’s Poems and Prose is a great resource to ask questions, find answers, and discuss the novel.
Discuss Alexander Pope "An ode to solitude" as satire
The poem is a little dark and depressing, especially the last stanza, but I don't see the satire in it.
Who delivers the moralizing speech on the frailty of beauty? A. Chloe B. Clarissa C. Ariel D. Thalestris
What is the significance of Belinda's petticoat?
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Study Guide for Pope’s Poems and Prose
Pope's Poems and Prose study guide contains a biography of Alexander Pope, literature essays, quiz questions, major themes, characters, and a full summary and analysis.
- About Pope's Poems and Prose
- Pope's Poems and Prose Summary
- Character List
Essays for Pope’s Poems and Prose
Pope's Poems and Prose essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Alexander Pope's Poems and Prose.
- Of the Characteristics of Pope
- Breaking Clod: Hierarchical Transformation in Pope's An Essay on Man
- Fortasse, Pope, Idcirco Nulla Tibi Umquam Nupsit (The Rape of the Lock)
- An Exploration of 'Dulness' In Pope's Dunciad
- Belinda: Wronged On Behalf of All Women
Wikipedia Entries for Pope’s Poems and Prose
- Translations and editions
- Spirit, skill and satire
An Essay on Man
by Alexander Pope
Last Updated on October 26, 2018, by eNotes Editorial. Word Count: 430
Pope’s principle for understanding man is the Great Chain of Being, which orders all creation according to God’s will. The disorders which man sees in the universe are actually parts of some larger perfection which man’s limited knowledge cannot perceive. Man’s prideful speculations, not the external universe, are the cause of his misery.
Within man himself, there is also an order based on the workings of self-love (the faculty of desire) and reason (the faculty of judgment). Right living depends upon the two working in harmony, since neither is good or evil in itself. Rather, good or evil arises out of their proper or improper use.
Human society also partakes of this universal order. The imitation of nature and rational self-love enable man to create a successful social order, but his favoring of a particular government or religion, instead of reliance on general principles, creates dissension and tyranny. Man’s end--happiness--is attained when he submits to Providence and dispenses with pride.
Part of the essay’s greatness is Pope’s unity of structure and theme. The poem’s orderly exposition of ideas, its concentration on universals rather than specifics, and its heroic couplet verses, reflect the ideas of balance, subordination, and harmony better than even the finest prose.
Cutting-Gray, Joanne, and James E. Swearingen. “System, the Divided Mind, and the Essay on Man .” Studies in English Literature, 1500-1900 32, no. 3 (Summer, 1992): 479-494. Considers the poem from philosophical and religious viewpoints, questioning whether Pope was merely compiling accepted truths or undermining the system that the poem claims to support.
Mack, Maynard. Alexander Pope: A Life . New Haven, Conn.: Yale University Press, 1985. Definitive biography of Pope, written by a great scholar. References to the poem appear throughout the book, but the major commentary is in chapter 21.
Nuttall, A. D. Pope’s Essay on Man . Winchester, Mass.: Allen & Unwin, 1984. Addresses the poem as the major philosophical statement in eighteenth century English. Views the poem as including religious issues. Section on public and critical reaction to the poem.
Piper, William Bowman. “Pope’s Vindication.” Philological Quarterly 67, no. 3 (Summer, 1988): 303-321. Confronts questions related to the poem’s religious issues by comparing it to John Milton’s Paradise Lost . Although traditional readings have disregarded this comparison, Piper asserts that Pope is more persuasive concerning the reality of God than Milton is.
Pope, Alexander. An Essay on Man . Edited by Maynard Mack. London: Methuen, 1964. Contains a detailed introduction that analyzes the structure and artistry of the poem, its philosophical context, and Pope’s Roman Catholic background. The scholarly notes are not intrusive.
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Home › Analysis of Alexander Pope’s An Essay on Man
Analysis of Alexander Pope’s An Essay on Man
By NASRULLAH MAMBROL on July 8, 2020 • ( 0 )
By the time Alexander Pope chose to publish his An Essay on Man ( 1734 ), he had received thorough and undeserved criticism from the poetasters, or “dunces,” whose activities he so often correctly lambasted, most notably in The Dunciad (1723). Still smarting from Pope’s satire, his enemies turned the public against his Epistle to Burlington (1731), misrepresenting it as a personal attack on Burlington, one of Pope’s close friends. A biased public did not take the poem as Pope intended, as a satire on the vanity of nobility as a whole. In reaction to that misunderstanding, Pope devised a clever and, as it proved, wildly successful plan to publish An Essay on Man anonymously, allowing the public and the dunces themselves to render an honest evaluation. Pope published through his known bookseller two poems in 1733 clearly under his own name, “Epistle to Bathurst” and the First Satire of the Second Book of Horace. He then chose a different bookseller for An Essay on Man , and because his precise rhymes were so well known, even inserted one weak rhyming couplet to mislead his readers. Pope hoped for a fair reception of a poem that he knew would draw charges of religious unorthodoxy if printed under his name. His plan worked beautifully, and his usual critics raved about the genius evident in this work by a new poet.
Later critics did not evaluate the poem as one of Pope’s stronger pieces, claiming that Bolingbroke influenced Pope to adopt some of his own metaphysical views and an ideology of natural theology. The fatalistic and naturalistic themes were the result, as they saw Pope reducing man to little more than a puppet with no free will. He attempted to consider man and his experience apart from Christian revelation, the more familiar and acceptable approach used by poets including John Milton. Thus, he ignores those events of history considered crucial by many, such as the creation, man’s fall from grace in the Garden of Eden, the birth of Christ, Christ’s death and resurrection, and the final days as predicted by the biblical book of Revelation. He also excluded references to myths and their explanations for man’s condition. Pope instead perceived of man as making discoveries through his experience based on reason. He also hoped to demystify some language with which the church had embedded specific symbolic meaning. As Locke did, Pope believed that words simply referred to our ideas, not to any hidden essence. Pope would add in 1738 the “Universal Prayer” to the end of further editions of Essay on Man, but he never escaped that early judgment of religious unorthodoxy in his lifetime.
Later evaluations found the poem nothing short of brilliant, with Pope’s desire to challenge the value of what passed for 18th-century “wit” even beyond what he had in his An Essay on Criticism and to reconcile philosophy with man’s perception of “sense.” Pope wrote in “The Design” that precedes the poem:
The science of Human Nature is, like all other sciences, reduced to a few clear points : there are not many certain truths in this world. It is therefore in the Anatomy of the Mind as in that of the Body; more good will accrue to mankind by attending to the large, open and perceptible parts, than by studying too much such finer nerves and vessels, the conformations and uses of which will for ever escape our observation.
Structured in four epistles, the poem stretches to slightly more than 1,300 lines. Pope originally conceived it as an introduction to an extended work that would include the moral essays. According to Pope’s notes, the additional sections would cover themes including “Knowledge and its limits,” “Government, both ecclesiastical and civil,” and “Morality, in eight or nine of the most concerning branches of it; four of which would have been the two extremes to each of the Cardinal Virtues.” He eventually gave up the plan, for unknown reasons. Pope provides an “Argument” that precedes each epistle, making clear the various points each will attempt to make.
The First Epistle clarifies, according to its argument, “the Nature and State of Man, with respect to the Universe.” Major points include the fact that man can only judge other systems, of which he remains ignorant, in relation to his own system. In addition, he should not be considered imperfect, but suitable to his rank within the general order of things. All present happiness depends upon ignorance of the future. Aiming to know more than is possible causes “Man’s error and misery.” Man is part of an order and suborder that extend above and below him, and if any part is destroyed, the entire order disintegrates. If any individual wished that to take place, it would be the result of pride and madness. Man must assume his proper place in Providence.
Pope opens the First Epistle by addressing Henry St. John, Viscount Bolingbroke, telling him, “leave all meaner things / to low ambition, and the pride of Kings.” The speaker invites Bolingbroke to join in study instead of “all this scene of Man / A mighty maze! but not without a plan.” He makes clear his belief that we can only reason from what we know; only God can know all the secrets of the universe. He then references “the great chain” (33), imagery he will return to later. This traditional concept would be familiar to his readers, who shared the vision of man in the most crucial central position on a ladder of creation. At the top is God, followed by other superior ethereal creatures, then humans, then angels, then “Beast, bird, fish, insect!” and finally, “what no eye can see” (239). Man represents a combination of beastly sensual instinct and spiritual intelligence. He needs to resist the temptation of pride to rise above his natural place, and he must resist surrender to animal instinct. Man reflects all parts of his world, resulting in a condition labeled by the ancients concordia discors, or the harmonization of opposites: “But All subsists by elemental strife; / And Passions are the elements of Life.” This First Epistle yields one of Pope’s most quoted lines as he writes of hope, encouraging man to nurture that emotion as he awaits death and future blessings:
Hope humbly then; with trembling pinions soar; Wait the great teacher Death, and God adore! What future bliss, he gives not thee to know, But gives that Hope to be thy blessing now. Hope springs eternal in the human breast: Man near Is, but always To, be blest; The soul, uneasy and confin’d from home, Rests and expatiates in a life to come. (90–98)
Man’s bliss “Is not to act or think beyond mankind.” He lacks “a microscopic eye . . . / For this plain reason, Man is not a Fly.” Pope closes the First Epistle by inserting a basic axiom of philosophy, “All x is y.” He includes paradox as he writes:
All Nature is but Art, unknown to thee; All Chance, Direction, which thou canst not see; All Discord, Harmony, not understood; All partial Evil, universal Good: And, spite of Pride, in erring Reason’s spite, One truth is clear, “Whatever IS, IS RIGHT. (289–294)
The Second Epistle notes as its argument “Of the Nature and State of Man, with respect to Himself, as an Individual.” Points include that man should study himself, rather than prying into God’s business; that his capacity remains limited; and that Two Principles remain necessary to man: Self-love and Reason; Self-love is stronger. He examines the passions and how reason should override them and concludes by noting “the ends of Providence and general Good are answered in our Passions and Imperfections,” and they are well distributed and useful.
The epistle opens with another famous line, as its second, “The proper study of Mankind is Man.” The speaker urges man to try to do things he supposes he cannot, such as instructing “the planets in what orbs to run” and teaching “Eternal Wisdom how to rule,” after which he will “drop into thyself, and be a fool!” (30). He urges man, “Trace Science then, with Modesty thy guide; / First strip off all her equipage of Pride” (44– 45). All man needs to heed are two principles: “Two Principles in human nature reign; / Self-love, to urge and a Reason, to restrain.” Neither is good or bad on its own, and both are required in the government of man. Expressing a typical 18th-century thought, Pope writes that habit and experience strengthen Reason and help restrain Self-love. All passion results from Self-love:
Love, Hope, and Joy, fair pleasure’s smiling train, Hate, Fear, and Grief, the family of pain; These mix’d with art, and to due bounds confin’d Make and maintain the balance of the mind. (117–120)
Concordia discors appears again as “lights and shades,” which may cause strife, but that strife “Gives all the strength and colour of our life” (121–122). Reason may even help in overcoming madness. He suggests that each individual nurtures his or her own virtue, which is closest to his or her vice, for “Extremes in Nature equal ends produce, / In Man they join to some mysterious use” (205–206). Pope closes by noting the stages of life and including another well-known phrase as a metaphor for death, “Life’s poor play is o’er!” (282), drawing on the familiar allusion since the Renaissance to life as a performance, men the players. The final line offers the comfort “tho’ Man’s a fool, yet God is Wise.”
The Third Epistle argues “Of the Nature and State of Man, with respect to Society.” Pope discusses the Universe as a single social system, “Nothing made wholly for itself, nor yet wholly for another” and asserts that animals know happiness and that Reason and Instinct operate for the good of each individual and for Society. While Instinct proves good for Society, Reason proves better, the origins of Monarchy, Religion, and Government, all from the Principle of Love, and Superstition and Tyrrany from Fear. Finally, he discusses the various forms of government and their true ends.
Pope offers a theory in his first few lines based on a “chain of Love” that all men can observe. They can see “The single atoms each to other tend” and can see that “All forms that perish other forms supply.” In other words, he concludes, “Parts relate to whole” (21), a line critics suggest relates to the various parts of the poem relating to its whole. As he describes monarchs, wits, and tyrants, he describes two types of discord. One is warlike and violent, the other benevolent and creating peace; neither is good on its own. Instinct causes men to feel compassion for others and results in service, an aspect that Reason, “cool at best” (85), ignores. God sets the proper bounds of each and “On mutual Wants built mutual Happiness” (112), linking all creatures and all men. The speaker notes that left to his instincts, man might allow his greed to lead to destruction and savagery, and that he can learn control by observing nature. The bees can teach arts of building, “the mole to plow, the worm to weave” (176). Such statements draw from classical sources, in which efficient creatures were posed as examples for human society to imitate.
The speaker states that men never possessed any divine right (236) and supplies various examples of the effect of fear on others. Pope returns to what at first seems to be a paradox, writing,
So drives Self-love, thro’ just and thro’unjust To one Man’s pow’r, ambition, lucre, lust: The same Self-love, in all, becomes the cause Of what restrains him, Government and Laws. (269–272)
However, as Pope critics later explained, what he writes contains no true contradiction. The sharing of self-interest makes for proper government. In the end, “Self-love forsook the path it first pursu’d, / And found the private in the public good” (281–282). The final couplet reads, “Thus God and Nature link’d the gen’ral frame, / And bade Self-love and Social be the same.”
In the Fourth and final Epistle Pope’s focus is happiness, including false notions of happiness; that happiness is the end of and attainable by all men; that God intends happiness to be available to all; thus, it must be social, governed by general laws. Happiness does not consist in external goods; is kept even by providence, through Hope and Fear; and the good man will have an advantage. We should not judge who is good, and external goods are often inconsistent with or destructive of virtue. He also deals with the nobility, with superior talents, with fame, and concludes that “the perfection of Virtue and Happiness consists in a conformity to the Order of Providence here, and a Resignation to it here and hereafter.”
The reader has no doubt regarding Pope’s major topic after reading the first line, which declares, “Oh Happiness! Our being’s end and aim!” Line 3 describes that state of being as “That something still which prompts th’eternal sigh, / For which we bear to live, or dare to die” (4–5). Discussion with others regarding the location of bliss will evoke varied responses. Some believe it exists “in action, some in ease, / Those call it Pleasure, and Contentment these” (22–23), as Pope makes the point that we cannot learn of bliss; we must experience it for ourselves in order to recognize it. Most importantly, happiness must “Subsist not in the good of one, but all” (38). Because of order, some will enjoy more happiness, or bliss, than others; however, “Condition, circumstance is not the thing; / Bliss is the same in subject or in king” (57–58). The speaker notes unequivocally that “all the good that individuals find” (77) “Lie in three words, Health, Peace, and Competence” (80). These elements are composed of, and supported by, further elements and the consideration of all results in the truth that he “Who sees and follows that great scheme the best, / Best knows the blessing, and will most be blest” (95–97). He then makes clear that those who are virtuous and just may die too soon, but their deaths are not caused by their virtue.
In order to enjoy a true kingdom on earth, everyone must cooperate, even though “What shocks one part will edify the rest, / Nor with one system can they all be blest” (147–148). Again, discord may evoke harmony, as evidenced by the fact that “sometimes virtue starves, while Vice is fed” (149). Humility, Justice, Truth, and Public Spirit deserve to wear a Crown, and they will, but one must wait to receive the rewards of possessing such traits. In the meantime, “Honour and shame from no Condition rise; / Act well your part, there all the honour lies” (193–194). Pope assembles an honor code for all to follow, as he attempts to convince individuals not to feel jealousy toward others who seem to have more possessions, as these do not lead to bliss. One should also avoid a desire for fame, which Pope defines as “a fancy’d life in others breath” (237). Rather, “An honest Man’s the noblest work of God” (248), and “ ‘Virtue alone is Happiness below’ ” (310). Pope has managed, through various examples, to lead from his opening request for a definition of happiness to the conclusion that virtue equates to that state, and, because virtue is available to all, everyone can enjoy happiness. He echoes his previous sentiments, including that selflove must be pushed from the private to the public, or social level, and that “God loves from Whole to Parts; but human soul / Must rise from Individual to the Whole” (361–362). As any worthy lesson does, this one bears repeating, and Pope closes with that emphasis:
That REASON, PASSION, answer one great aim; That true SELF-LOVE and SOCIAL are the same; That VIRTUE only makes our BLISS below; And all our Knowledge is, OURSELVES TO KNOW. (395–398)
In the opening lines of the Essay on Man [34, 37], Pope proposes to ‘vindicate the ways of God to Man’ in a sweeping survey of God’s ‘mighty maze’, and thus conspicuously picks up the mantle of poetic and theological authority from Milton, whose Paradise Lost sought to ‘justify the ways of God to Man’ (references to ‘A. Wild, where weeds and flow’rs promiscuous shoot,/Or Garden, tempting with forbidden fruit’, EM, I: 7– 8, make the ‘target’ poem still more obvious); but the context has changed from Milton’s apocalyptic and fundamentalist account of the archetypal human Fall to a far more diagrammatic view of the universe, in which all forms of life, from flies to humans to angels, have an allotted, correct place. Pope’s cosmos functions as an expression of complementary forces; Milton’s dynamic narrative of war in heaven is replaced by a system of balances; catastrophe and redemption become stasis and resignation. No doubt Milton’s poem derives some of its energies from the conflicts of the Civil War, while Pope’s was written in an era of greater political stability, at least nominally. Nonetheless, despite the monumental (and sometimes couplet-like) symmetry of Pope’s four-part ‘Essay’, the poem is perhaps not best read as a systematic treatise, but as a looser, more flexible treatment of the world in relation to some constant concerns. The ‘Epistles’ which make up the poem were published separately and take the form of a serious quasi-letter to a friend: ‘Essay’ in the sense of ‘A loose sally of the mind; an irregular indigested piece; not a regular and orderly composition’ (Samuel Johnson’s definition).
Pope describes his Essay as ‘steering betwixt the extremes of doctrines seemingly opposite … forming a temperate yet not inconsistent , and a short yet not imperfect system of Ethics’ (TE III.i: 7). The main gravamen of the Essay is thus an assault on pride, on the aspiration of mankind to get above its station, scan the mysteries of heaven, promote itself to the central place in the universe. Pope’s manner is not bardic or prophetic like Milton’s, but it does cast itself as having authority: ‘Know then thyself, presume not God to scan…’, an attitude borrowed from Milton’s Raphael, who counsels Adam not to seek higher knowledge than is appropriate. But there is something disturbing about this assumption of authority. Milton’s angel warns Adam against seeking heavenly knowledge in a voice scripted for him by the earthbound poet Milton in a poem whose vision of the cosmos from Hell, through Chaos, Eden and on up to Heaven is one of its main readerly pleasures. Similarly, Pope counsels concentration on the human scale in what is, nonetheless, his cosmological testament. Milton aspires to be the poet of God, and so indeed does Pope; if the latter is seeking to stifle adventurous mental journeys, he can only do so by giving them a certain amount of weight and interest.
The vision which is offered the reader after the opening invocation to the philosopher-friend to ‘Awake!’ is not however either simply satirical or straightforwardly didactic. Despite the continual use of imperative verbs such as See, Look, Mark, Note, which make it evident that it is part of the poem’s didactic design to make visible the plan of the maze, the theological defence of God’s providence depends on the assertion that we cannot know more than our own very limited place in the pattern. Pope seeks a way out of this paradox by contrasting visions: human vision is limited to its own state, but can reason and infer other states from that position.
Thro’ worlds unnumber’d tho’ the God be known, ’Tis ours to trace him only in our own. He, who thro’ vast immensity can pierce, See worlds on worlds compose one universe, Observe how system into system runs, What other planets circle other suns, What vary’d being peoples ev’ry star, May tell why Heav’n has made us as we are. (EM, I: 21–8)
Pope instantly oversteps the limits he places on human knowledge (‘’Tis ours to trace him only in our own’), by imagining an infinity of parallel universes, the knowledge of which is only available to the unidentified ‘He’ who is the subject of the long-delayed main verb ‘May’ at line 28; the ‘He’ ought to be God, but he seems oddly separated from his agency as Creator. But the delay between subject and object here actually makes the passage read the other way, and gives us for the duration of the sentence the sensation that we are in the position of the nameless ‘He’, envisaging other systems running into each other, watching other planets circling round other suns, imagining lives in other worlds.
Pope draws on Renaissance images of a ‘great chain’ (EM, I: 33) by which all creatures from microscopic organisms to angels are like links in a graded series which cannot be broken without destroying the hierarchical pattern; thus aspiration to see higher up the chain is conflated with aspiration to be higher up it. Again the proposition is that our limited vision cannot see only the limitations of our place in the chain, and not its active dynamism:
So Man, who here seems principal alone, Perhaps acts second to some sphere unknown, Touches some wheel, or verges to some goal; ’Tis but a part we see, and not a whole. (EM, I: 57–60)
Our cosmological position is also limited temporally by our blindness to the future, and Pope reminds us of our superiority of knowledge over other creatures on earth, to indicate our own inferiority to creatures we cannot (but again, do) imagine (I: 81–6). We might imagine, for example, a Heaven
Who sees with equal eye, as God of all, A hero perish, or a sparrow fall, Atoms or systems into ruin hurl’d, And now a bubble burst, and now a world. (EM, I: 87–90)
But in doing so Pope has once again opened a syntactic window for the reader limited to seeing only a part, to imagine what it would be like to see the whole, to be the person ‘Who sees … as God of all’ the role of all disasters from miniscule to cosmic in some functionally perfect arrangement. In some ways, Pope is giving room to that restless desire for advancement and knowledge which the poem’s overall task is to stifle.
Pope discovers this intellectual pride to operate at more or less every level of human experience, including the bodily senses.
Why has not Man a microscopic eye For this plain reason, Man is not a Fly. Say what the use, were finer optics giv’n, T’ inspect a mite, not comprehend the heav’n Or touch, if tremblingly alive all o’er, To smart and agonize at ev’ry pore Or quick effluvia darting thro’ the brain, Die of a rose in aromatic pain (EM, I: 193–200)
Pope is resisting the imaginative world opened up by improved microscopic technology, just as his cosmic vision ambivalently absorbs the epochal discoveries in physics made by Newton; his moral point is that Man has the right amount of perception for his state and position in the system, no more and no less. And yet the intensification of experience offered by shifting one’s sense of one’s senses (so to speak), has attracted him into one of the most memorable pieces of imagining in the entire poem. These lines on human senses open a new vista of creation in which the differences in perception (‘The mole’s dim curtain, and the lynx’sbeam’, deaf fish against hyper-alert birds, stupid pig against thoughtful elephant) are seen as fascinatingly complementary. If we renounce inappropriate intensities of sensual experience, as Pope says we must, we can nonetheless celebrate them vicariously in other, notionally lesser creatures: ‘The spider’s touch, how exquisitely fine!/ Feels at each thread, and lives along the line’ (EM, I: 217–8). Pope’s ‘line’ becomes the line for this feeling to live along, an exquisite model of his theory of connection between self and exterior, creature and creature.
It is tempting (for Pope tempts us) to imagine what it would be like to dissolve the boundaries between reason and sensation, between the mind of the ‘half-reas’ning elephant’ and human reason – ‘For ever sep’rate, yet for ever near!’ (EM, I: 224). The reason we cannot, and should not seek to, break this bound or alter our place on the ladder, is correspondingly huge in its theological overtones. Since the system which Pope has imagined is cosmological, if anything steps out of line the entire cosmos is ruined:
Let Earth unbalanc’d from her orbit fly, Planets and Suns runs lawless thro’ the sky, Let ruling Angels from their spheres be hurl’d, Being on being wreck’d, and world on world, Heav’n’s whole foundations to their centre nod, And Nature tremble to the throne of God: (EM, I: 251–6)
This is the over-reaching imagination turned Satanic, with the verb ‘Let’ ambiguously placed between a sort of ironic command to those who would aspire beyond their station, and a more internalised third person imperative, suggesting the poet as God-substitute could actually conjure such an impiety. As if to suppress that suggestion, poetry is then turned to the service of discovering the immanence of God not at the top of the scale, but in every part of ‘one stupendous whole’, as the soul of that body which is nature (EM, I: 267–80). This is a kind of sleight of hand whereby the scale becomes nullified as a system of differences and hierarchies, because God is in fact present in equal measure everywhere: ‘As full, as perfect, in a hair as heart’ (EM, I: 276). No point, then, but to ‘Submit – In this, or any other sphere’ (EM, I: 285), since all the angles are covered by God:
All Nature is but Art, unknown to thee; All Chance, Direction, which thou canst not see; All Discord, Harmony, not understood; All partial Evil, universal Good: And, spite of Pride, in erring Reason’s spite, One truth is clear, ‘Whatever IS, is RIGHT.’ (EM, I: 289–94)
Pope works up this dominating, pacifying rhetoric partly out of a sense of his own poetic audacity and its closeness to the aspirations of reason and pride. The final crowning hyperbole, ‘Whatever IS, is RIGHT’, is based on an assumed power of poetic imitation of God and a suppressed identification with that voice which might find much of what IS, to be WRONG.
The second Epistle sets about redeploying those energies of enquiry into the microcosmos of the human mind. Man is situated amid warring conceptions of his own nature: ‘A being darkly wise, and rudely great’, ‘In doubt to deem himself a God, or Beast’, ‘Created half to rise, and half to fall’ (EM, II: 3–18). Using his favourite device of the telling oxymoron, Man becomes a miniature cosmology which has internalised that war which Milton turns into narrative: he is both Adam and Satan, top and bottom of the scale. But the solution to the ‘riddle’ cannot be Newtonian science, which (Pope implies) insensibly slides from describing the universe to imagining that it controls it (EM, II: 19–30). Pope acknowledges Newton’s genius as a scientist but limitations as a philosopher:
Could he, whose rules the rapid Comet bind, Describe or fix one movement of his Mind Who saw its fires here rise, and there descend, Explain his own beginning, or his end (EM, II: 35–8)
The real mystery is the human mind, Pope declares, and after a further lofty dismissal of the new learning (II: 43–52), he offers a theory which does appear to attempt to fix ‘the Mercury of Man’, under the direction of ‘Eternal Art’ (EM, II: 175–7) – a kind of thermodynamics of the self: ‘Two Principles in human nature reign;/Self-love, to urge, and Reason, to restrain’ (EM, II: 53–4). This opposition is dynamic, functional – it is not that reason is good and self-love bad, but that both function according to ‘their proper operation’ within the human system.
Self-love is a kind of id, appetitive, desiring, urging, instigating action; reason is an ego which judges, guides, advises, makes purposeful theenergies of self-love. Without these complementary forces human nature would be either ineffectual or destructive (this is the true cosmic drama):
Man, but for that, no action could attend, And, but for this, were active to no end; Fix’d like a plant on his peculiar spot, To draw nutrition, propagate, and rot; Or, meteor-like, flame lawless thro’ the void, Destroying others, by himself destroy’d. (EM, II: 61–6)
Pope is clearly fascinated by the energies of this self-love, which might ‘flame lawless thro’ the void’, and is considerably less moralistic about it than one might expect. In his subsequent discussion, self-love is a strong, active ‘moving principle’, and reason appears rather tame and distant. Pope wants to strengthen reason’s claim gradually; by the end of the passage we find ‘Attention, habit and experience gains,/ Each strengthen Reason, and Self-love restrain’ (EM, II: 79–80), allying each element with its opposite quality in a characteristic pattern. Pope gives weight to what moralists often shun: contending that ‘strength of mind is Exercise, not Rest’ (EM, II: 104), Pope wants to enjoy the tempestuous nature of this internal cosmos: ‘Nor God alone in the still calm we find,/He mounts the storm, and walks upon the wind’ (EM, II: 109–10).
Pope must find something resulting from this elemental strife, however, which explains differences in human characters, and he does this with the theory of the ‘ruling passion’, a kind of debased, dark version of self-love which Pope initially characterises as the ‘Mind’s disease’ which is inherent from birth in the way death is (EM, II: 133-60). ‘Passions, like Elements, tho’ born to fight,/Yet, mix’d and soften’d, in his work unite’ (EM, II: 111– 12), Pope contends, to some extent converting an innate psychomachia into a dynamic ‘well accorded strife’ which ‘Gives all the strength and colour of our life’ (EM, II: 121–22). The middle section of the epistle actually posits a far more negative theory of the mind, in which a baneful ‘ruling passion’, aligned from birth with a kind of death instinct, dominates the individual in an almost toxic way (II: 141–4); a kind of internal fall, in which the mind’s energies are all poisoned by some dominant characteristic (envy, hatred, greed). Reason can negotiate with this force (II: 162–4), but only ‘Th’ Eternal Art’ (of God), can reclaim the disastrous energy of the ruling passion by grafting onto it some matching virtue: ‘’Tis thus the Mercury of Man is fix’d,/Strong grows the Virtue with his nature mix’d’ (EM, II: 177–8). We are on a knife-edge between lust and love,avarice and prudence, anger and fortitude, with only ‘The God within the mind’ (EM, II: 204) to distinguish and prioritise the contrary energies.
Thus committed to a view of the psyche as functioning according to some ‘mysterious use’ which combines moral opposites in an aesthetic process determined by God, Pope can open the case for a social patterning required by inherent weaknesses in mental life: ‘Each individual seeks a sev’ral goal;/But HEAV’N’s great view is One, and that the Whole’ (EM, II: 237–8). Aware of the multiplicity of shades of character between the tidy oppositions of Virtue and Vice (EM, II: 210), Pope offers in the last fifty lines of the epistle vignettes which refuse to show lives, however clearly defined individually, operating in isolation; each condition has its unexpected compensations (‘See some strange comfort ev’ry state attend’, EM, II: 271); but only in social interaction is the plan of God really being enacted. Across the structure of the epistle, Heaven has replaced science as the artist of the mind, with society as the place in which psychomachic forces operate to a benign ratio.
Epistle III opens with a bravura display of the ‘chain of love’, finding even in the most basic matter the tendency to unite:
See plastic Nature working to this end, The single atoms to each other tend, Attract, attracted to, the next in place Form’d and impell’d its neighbour to embrace. (EM, III: 9–12)
Sociality is the basic pattern of all nature; life-cycles provide a chronological sequencing of the same principle, one which should remind us of our own place in the scheme, a mutual dependency of created things (III: 21–6).
In Pope’s imagination, everything works by analogy with something else; relations between wild animals and human beings are transformed into visions of power relations between animals and other animals, wild and tame, domestic and feral (III: 49–70). The psychology which in Epistle II contrasted self-love and reason inside the human mind now contrasts animal instinct with human reason, providing a different set of conflicts and analogies. Again, ‘honest Instinct’ is valued surprisingly highly – ‘Sure never to o’er-shoot, but just to hit,/While still too wide or short is human Wit’ (EM, III: 89–90). Pope finds art in the spider’s web, ‘Columbus-like’ courage to explore in the stork (EM, III: 103–6); he contends that instinct is God’s direction, reason merely man’s. Wresting the garden of Eden from Milton’s narrative of Adam led astray by inferiorEve, Pope posits a ‘state of nature’ of undivided unity between human and animal, in which human Reason is instructed to learn from animal Instinct to find food, medicine, the arts of building, ploughing and sailing; even politics. Animals show the arts of society before mankind has them (III: 183–8).
Pope is in somewhat dangerous water here, and deliberately maintains absolute balance between two types of political system: a communitarian republic (the Ants), and a property-owning monarchy (the Bees). In discovering these ‘subterranean works and cities’ (EM, III: 181) to the eye, Pope is privileging the function of naturally-ordered society, of whichever kind, over any sort of individualism. How Pope gets from here to modern political systems is a good deal more vexed, though it has been plausibly suggested that in playing off ‘patriarchal’ theories of the origins of government (based on the authority of the father) against ‘contractual’ ones (based on mutual agreement), Pope finally has ‘something for the contractualists, and something more for the patriarchalists’ (Erskine-Hill 1988, 79–93). By secularising and naturalising the mythic origins of government, Pope adapts patriarchalism for civil society. From a state of nature in which gender divisions play no part at all except in providing the object of mutual desire, Patriarchs suddenly appear, ‘by Nature crown’d … King, priest, and parent of his growing state’ (EM, III: 215–16). The patriarch becomes a type of God, and it is by analogy with such a god, Pope suggests, that people discover ‘One great first father, and that first ador’d’ (EM, III: 226). Thus hierarchical monarchy, and the belief system which underpins it, emerge along patriarchal lines. But Pope draws on both sides to celebrate a modern system which reconciles competing energies:
’Till jarring int’rests of themselves create Th’according music of a well-mix’d State. Such is the World’s great harmony, that springs From Order, Union, full Consent of things! (EM, III: 293–6)
The ‘mixed monarchy’ for which Britain deemed itself famous is registered in the movement of Pope’s verse as a series of checks and balances in which no one element predominates, just as the commons, the lords and the monarch were supposed to make up a political system which avoided the extremes of anarchy and tyranny (III: 297–302). In the end, Pope argues, the social nature of human interaction can be viewed by analogy with wider cosmology:
On their own Axis as the Planets run, Yet make at once their circle round the Sun: So two consistent motions act the Soul; And one regards Itself, and one the Whole. (EM, III: 313–16)
‘Regarding the whole’ then became Pope’s chief poetic problem.
Epistle IV was published somewhat apart from the earlier epistles, in 1734 , and in many ways it is the least in keeping with the others, showing a pronounced tendency to dissolve its polished sense of order into a more stridently satirical account of human folly. Order is still ‘Heav’n’s first law’ in Pope’s scheme (EM, IV: 49), and human disparities still work in harmonious formation: ‘All Nature’s diff’rence keeps all Nature’s peace’ (EM, IV: 56). But the epistle shows Pope searching for a means of addressing the multivalence of human experience, and social inequalities in particular, without entirely being able to rely on the format of the vertical chain of being or the horizontal analogy from physics; in what is largely a catalogue of human errors on the subject of happiness, and a teaching of contempt for material good, Pope begins to quote some of his own earlier formulations in newly problematic contexts. So ‘All partial Evil, universal Good’ (EM, I: 292) is rephrased at IV: 114 as one of a range of possibilities for explaining the presence of ‘III’ in the world; ‘Whatever IS, is RIGHT’, the triumphantly confident punchline of Epistle I (EM, I: 294), appears now to need further qualification (IV: 145). Pope’s answer to these problems – the presence of evil, inequalities of fortune, potential for happiness not being realised – is in the end located in a retreat from the world into personal Virtue. The public world is presented as increasingly corrupt and unstable, with fame intangible and misleading (IV: 217–58); the only universally available and reliable happiness is an inner conviction of virtuous life. There is path and pattern attached to the life of Virtue, for he who is ‘Slave to no sect, who takes no private road’ (EM, IV: 331) can perceive ‘that Chain which links th’immense design’ (EM, IV: 333), and acts his part in it. Pope’s privileging of virtue is not however an isolating condition but a sort of precondition for outward-directed action. Inner virtue leads to civic virtue, charity, benevolence, but it must be that way round:
God loves from Whole to Parts: but human soul Must rise from Individual to the Whole. Self-love but serves the virtuous mind to wake, As the small pebble stirs the peaceful lake; The centre mov’d, a circle strait succeeds, Another still, and still another spreads, Friend, parent, neighbour, first it will embrace, His country next, and next all human race, Wide and more wide, th’o’erflowings of the mind Take ev’ry creature in, of ev’ry kind; Earth smiles around, with boundless bounty blest, And Heav’n beholds its image in his breast. (EM, IV: 361–72) T
he physical metaphor of the mind rippling and overflowing into wider contexts itself oversteps its ostensible purpose here and reminds us of several of the physics-derived images in earlier epistles; this is the ecological system of mind, world and universe as it is supposed to work at the end of the argument.
But the actual end of the work is curious. Pope onece more addresses Bolingbroke, his ‘guide, philosopher, and friend’ (EM, IV: 390), according him as an exile from worldly political success the sort of inner virtue already established as God’s true template and suggesting that Bolingbroke’s future fame might preserve Pope’s as well. So much is placed in the form of a question (IV: 383–90). However, as Pope comments on the truth-value of his work, and moves finally into recalling the summaries of each earlier epistles so as to provide argumentative closure (IV: 391–8), the question mark, though grammatically required because the statement depends on the question to Bolingbroke, is lost, and the apparent certainties of Pope’s own commentary on what he has achieved in his fearsomely disciplined attempt to systematise chaos are haunted by a ghostly sense of query.
BIBLIOGRAPHY Hammond, Brean S. Pope and Bolingbroke: A Study of Friendship and Influence. Columbia: University of Missouri Press, 1984. Morris, David P. Alexander Pope, the Genius of Sense. Cambridge, Mass.: Harvard University Press, 1984.
Source: Baines, Paul. The Complete Critical Guide to Alexander Pope. London: New York, 2001.
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The Essay on Man: Explanation and Analysis
The 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.
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". 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 on 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" which is at a middle stage between the angels and the beasts of the world. If we are able to accomplish this then we potentially could lead happy and virtuous lives.
The poem is an affirmative poem of faith: life seems to be chaotic and confusing to man when he is in the center 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 god regardless of other situations: this is the message Pope is trying to get across to the reader.
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One of the pinnacles of neoclassical poetry, Alexander Pope's "An Essay on Man" is a profound investigation of the human spirit. Written in 1734
The poem consists of four epistles. The first epistle surveys relations between humans and the universe; the second discusses humans as individuals.
Critical Essays Alexander Pope's Essay on Man ... The work that more than any other popularized the optimistic philosophy, not only in England but throughout
The speaker explains the purpose of the essay—to write about "Man in the abstract, his Nature and his State." He believes it is necessary to
The subtitle of the first epistle is “Of the Nature and State of Man, with Respect to the Universe,” and this section deals with man's place in
An Essay on Man is a poem published by Alexander Pope in 1733–1734. It was dedicated to Henry St John, 1st Viscount Bolingbroke
Understanding An Essay on Man by Alexander Pope | Quarantine Days | Manjari Shukla · “An Essay on Man” (Part 1) · Pope, Essay on Man, Epistle 1.
The imitation of nature and rational self-love enable man to create a successful social order, but his favoring of a particular government or
Man represents a combination of beastly sensual instinct and spiritual intelligence. He needs to resist the temptation of pride to rise above
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". It