Poetry. Alexander Pope
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fearless youth we tempt the heights of arts, 220
While from the bounded level of our mind,
Short views we take, nor see the lengths behind;
But, more advanced, behold with strange surprise,
New distant scenes of endless science rise!
So, pleased at first the towering Alps we try,
Mount o'er the vales, and seem to tread the sky,
The eternal snows appear already past,
And the first clouds and mountains seem the last:
But, those attain'd, we tremble to survey
The growing labours of the lengthen'd way, 230
The increasing prospect tires our wandering eyes,
Hills peep o'er hills, and Alps on Alps arise!
A perfect judge will read each work of wit
With the same spirit that its author writ:
Survey the WHOLE, nor seek slight faults to find
Where nature moves, and rapture warms the mind;
Nor lose, for that malignant dull delight,
The generous pleasure to be charm'd with wit.
But in such lays as neither ebb nor flow,
Correctly cold, and regularly low, 240
That, shunning faults, one quiet tenor keep,
We cannot blame indeed—but we may sleep.
In wit, as nature, what affects our hearts
Is not the exactness of peculiar parts;
'Tis not a lip, or eye, we beauty call,
But the joint force and full result of all.
Thus when we view some well-proportion'd dome,
(The world's just wonder, and even thine, O Rome!)
No single parts unequally surprise,
All comes united to th' admiring eyes; 250
No monstrous height, or breadth, or length appear;
The whole at once is bold, and regular.
Whoever thinks a faultless piece to see,
Thinks what ne'er was, nor is, nor e'er shall be.
In every work regard the writer's end,
Since none can compass more than they intend;
And if the means be just, the conduct true,
Applause, in spite of trivial faults, is due.
As men of breeding, sometimes men of wit,
To avoid great errors, must the less commit: 260
Neglect the rules each verbal critic lays,
For not to know some trifles is a praise.
Most critics, fond of some subservient art,
Still make the whole depend upon a part:
They talk of principles, but notions prize,
And all to one loved folly sacrifice.
Once on a time, La Mancha's knight,14 they say, A certain bard encountering on the way, Discoursed in terms as just, with looks as sage, As e'er could Dennis, of the Grecian stage; 270 Concluding all were desperate sots and fools, Who durst depart from Aristotle's rules. Our author, happy in a judge so nice, Produced his play, and begg'd the knight's advice; Made him observe the subject, and the plot, The Manners, Passions, Unities; what not? All which, exact to rule, were brought about, Were but a combat in the lists left out. 'What! leave the combat out?' exclaims the knight. 'Yes, or we must renounce the Stagyrite.' 280 'Not so, by Heaven!' (he answers in a rage); 'Knights, squires, and steeds must enter on the stage.' 'So vast a throng the stage can ne'er contain.' 'Then build a new, or act it in a plain.' Thus critics, of less judgment than caprice, Curious, not knowing, not exact but nice, Form short ideas, and offend in arts (As most in manners) by a love to parts. Some to conceit alone their taste confine, And glittering thoughts struck out at every line; 290 Pleased with a work where nothing's just or fit; One glaring chaos and wild heap of wit. Poets, like painters, thus, unskill'd to trace The naked nature and the living grace, With gold and jewels cover every part, And hide with ornaments their want of art. True wit is nature to advantage dress'd; What oft was thought, but ne'er so well express'd; Something, whose truth convinced at sight we find, That gives us back the image of our mind. 300 As shades more sweetly recommend the light, So modest plainness sets off sprightly wit. For works may have more wit than does 'em good, As bodies perish through excess of blood. Others for language all their care express, And value books, as women men, for dress: Their praise is still—'The style is excellent;' The sense, they humbly take upon content. Words are like leaves, and where they most abound, Much fruit of sense beneath is rarely found. 310 False eloquence, like the prismatic glass, Its gaudy colours spreads on every place; The face of Nature we no more survey, All glares alike, without distinction gay; But true expression, like the unchanging sun, Clears, and improves whate'er it shines upon; It gilds all objects, but it alters none. Expression is the dress of thought, and still Appears more decent, as more suitable; A vile conceit in pompous words express'd, 320 Is like a clown in regal purple dress'd: For different styles with different subjects sort, As several garbs with country, town, and court. Some by old words to fame have made pretence, Ancients in phrase, mere moderns in their sense; Such labour'd nothings, in so strange a style, Amaze the unlearn'd, and make the learnèd smile. Unlucky, as Fungoso15 in the play, These sparks with awkward vanity display What the fine gentleman wore yesterday; 330 And but so mimic ancient wits at best, As apes our grandsires, in their doublets dress'd. In words, as fashions, the same rule will hold; Alike fantastic, if too new, or old: Be not the first by whom the new are tried, Nor yet the last to lay the old aside. But most by numbers judge a poet's song; And smooth or rough, with them, is right or wrong: In the bright Muse, though thousand charms conspire, Her voice is all these tuneful fools admire; 340 Who haunt Parnassus but to please their ear, Not mend their minds; as some to church repair, Not for the doctrine, but the music there. These equal syllables alone require, Though oft the ear the open vowels tire; While expletives their feeble aid do join, And ten low words oft creep in one dull line: While they ring round the same unvaried chimes, With sure returns of still expected rhymes; Where'er you find 'the cooling western breeze,' 350 In the next line, it 'whispers through the trees:' If crystal streams 'with pleasing murmurs creep,' The reader's threaten'd (not in vain) with 'sleep:' Then, at the last and only couplet fraught With some unmeaning thing they call a thought, A needless Alexandrine ends the song That, like a wounded snake, drags its slow length along. Leave such to tune their own dull rhymes, and know What's roundly smooth, or languishingly slow; And praise the easy vigour of a line, 360 Where Denham's strength, and Waller's sweetness join. True ease in writing comes from art, not chance, As those move easiest who have learn'd to dance. 'Tis not enough no harshness gives offence, The sound must seem an echo to the sense; Soft is the strain when Zephyr gently blows, And the smooth stream in smoother numbers flows: But when loud surges lash the sounding shore, The hoarse, rough verse should like the torrent roar. When Ajax strives some rock's vast weight to throw, 370 The line too labours, and the words move slow; Not so, when swift Camilla scours the plain, Flies o'er the unbending corn, and skims along the main. Hear how Timotheus' varied lays surprise, And bid alternate passions fall and rise! While, at each change, the son of Libyan Jove Now burns with glory, and then melts with love; Now his fierce eyes with sparkling fury glow, Now sighs steal out, and tears begin to flow: Persians and Greeks like turns of nature found, 380 And the world's victor stood subdued by sound! The power of music all our hearts allow, And what Timotheus16 was, is Dryden now. Avoid extremes; and shun the fault of such Who still are pleased, too little or too much. At every trifle scorn to take offence: That always shows great pride or little sense; Those heads, as stomachs, are not sure the best Which nauseate all, and nothing can digest. Yet let not each gay turn thy rapture move, 390 For fools admire, but men of sense approve: As things seem large which we through mists descry,