'141'

There are some beauties in poetry which cannot be explained by criticism.

'142 happiness:'

used here to express the peculiar charm of spontaneous poetic expression as contrasted with "care," 'i.e.' the art of revising and improving, which can be taught.

'152 vulgar bounds:'

the limitations imposed upon ordinary writers.

'157 out of ... rise:'

surpa.s.s the ordinary scenes of nature.

'159 Great wits:'

poets of real genius.

'160 faults:'

here used in the sense of irregularities, exceptions to the rules of poetry. When these are justified by the poet's genius, true critics do not presume to correct them. In many editions this couplet comes after l. 151. This was Pope's first arrangement, but he later shifted it to its present position.

'162 As Kings:'

the Stuart kings claimed the right to "dispense with laws," that is, to set them aside in special instances. In 1686 eleven out of twelve English judges decided in a test case that "it is a privilege inseparably connected with the sovereignty of the king to dispense with penal laws, and that according to his own judgment." The English people very naturally felt that such a privilege opened the door to absolute monarchy, and after the fall of James II, Parliament declared in 1689 that "the pretended power of suspending of laws ... without the consent of Parliament, is illegal."

'164 its End:'

the purpose of every law of poetry, namely, to please the reader. This purpose must not be "transgressed," 'i.e.' forgotten by those who wish to make exceptions to these laws.

'166 their precedent:'

the example of cla.s.sic poets.

'179 stratagems ... error:'

things in the cla.s.sic poets which to carping critics seem faults are often clever devices to make a deeper impression on the reader.

'180 Homer nods:'

Horace in his 'Art of Poetry' used this figure to imply that even the greatest poet sometimes made mistakes. Pope very neatly suggests that it may be the critic rather than the poet who is asleep.

'181 each ancient Altar:'

used here to denote the works of the great cla.s.sic writers. The whole pa.s.sage down to l. 200 is a n.o.ble outburst of enthusiasm for the poets whom Pope had read so eagerly in early youth.

'186 consenting Paeans:'

unanimous hymns of praise.

'194 must ... found:'

are not destined to be discovered till some future time.

'196'

Who is "the last, the meanest of your sons"?

'203 bias:'

mental bent, or inclination.

'208'

This line is based upon physiological theories which are now obsolete.

According to these wind or air supplied the lack of blood or of animal spirits in imperfectly const.i.tuted bodies. To such bodies Pope compares those ill-regulated minds where a deficiency of learning and natural ability is supplied by self-conceit.

'216' The Pierian spring:

the spring of the Muses, who were called Pierides in Greek mythology. It is used here as a symbol for learning, particularly for the study of literature.

'222' the lengths behind:

the great s.p.a.ces of learning that lie behind the first objects of our study.

'225-232'