Even identifies the chief fault of humankind as the original sin of “pride” and espouses an ethic based on an ordered and hierarchical universe, it nonetheless depicts this order in terms of Newtonian mechanism and expresses a broadly deistic vision.
Even identifies the chief fault of humankind as the original sin of “pride” and espouses an ethic based on an ordered and hierarchical universe, it nonetheless depicts this order in terms of Newtonian mechanism and expresses a broadly deistic vision.Tags: Great Statement Of Purpose EssaysCritical Thinking For Nursing StudentsEthical Issues In Management Research PaperEssay Grade School WriteBest Homework App Android10 Things I Hate About You EssayAssignment Paper Of Uprtou Allahabad
Various parties contested the right to define it and to invest it with moral significance.
A number of writers such as Nicolas Malebranche and Joseph Addison, and philosophers such as John Locke, argued that wit was a negative quality, associated with a corrupting imagination, distortion of truth, profanity, and skepticism, a quality opposed to “judgment,” which was a faculty of clear and truthful insight.
That Pope was born a Roman Catholic affected not only his verse and critical principles but also his life.
In the year of his birth occurred the so-called “Glorious Revolution”: England’s Catholic monarch James II was displaced by the Protestant King William III of Orange, and the prevailing anti-Catholic laws constrained many areas of Pope’s life; he could not obtain a university education, hold public or political office, or even reside in London.
In Pope expounds the “Great Chain of Being,” ranging from God and the angels through humans and the lower animals to plants and inanimate objects.
Politics And The Constitution Essays On British Government - An Essay On Criticism Analysis Summary
Nature can also refer to what is normal, central, and universal in human experience, encompassing the spheres of morality and knowledge, the rules of proper moral conduct as well as the archetypal patterns of human reason.Notwithstanding such social and personal obstacles, Pope produced some of the finest verse ever written.His most renowned publications include several mock-heroic poems such as (1733–1734) was a scathing attack on human arrogance or pride in failing to observe the due limits of human reason, in questioning divine authority and seeking to be self-reliant on the basis of rationality and science.Pope’s family, in fact, moved to a small farm in Windsor Forest, a neighbourhood occupied by other Catholic families of the gentry, and he later moved with his mother to Twickenham.However, Pope was privately taught and moved in an elite circle of London writers which included the dramatists Wycherley and Congreve, the poet Granville, the critic William Walsh, as well as the writers Addison and Steele, and the deistic politician Bolingbroke.To begin with, Pope is not merely delineating the scope and nature of good literary criticism; in doing this, he redefines classical virtues in terms of an exploration of nature and wit, as necessary to both poetry and criticism; and this restatement of classicism is itself situated within a broader reformulation of literary history, tradition, and religion.Above all, these three endeavors are pursued in the form of a : the form of the work exemplifies and enacts much of its overt “meaning.” And its power far exceeds its paraphrasable meaning: this power rests on the poetic effects generated by its own enactment of classical literary dispositions and its own organic unity.Indeed, the only specifically aesthetic quality mentioned here is “taste.” The remaining virtues might be said to have a theological ground, resting on the ability to overcome pride.Pope effectively transposes the language of theology (“soul,” “pride”) to aesthetics.However, there are a number of precepts he advances as specific to criticism. The first is to recognize the overall unity of a work, and thereby to avoid falling into partial assessments based on the author’s use of poetic conceits, ornamented language, and meters, as well as those which are biased toward either archaic or modern styles or based on the reputations of given writers.Apart from knowing his own capacities, the critic must be conversant with every aspect of the author whom he is examining, including the author’s . Finally, a critic needs to possess a moral sensibility, as well as a sense of balance and proportion, as indicated in these lines: “Nor in the must ever join” (ll. In the interests of good nature and good sense, Pope urges the critic to adopt not only habits of self-criticism and integrity (“with pleasure own your Errors past, / And make each Day a on the last,” ll. To be truthful is not enough, he warns; truth must be accompanied by “Good Breeding” or else it will lose its effect (ll. And mere bookish knowledge will often express itself in showiness, disdain, and an overactive tongue: “on his Side? 631–642) As we read through this synthesis of the qualities of a good critic, it becomes clear that they are primarily attributes of humanity or moral sensibility rather than aesthetic qualities.