By Paul Baines
Such a lot of questions encompass the main figures within the English literary canon, yet such a lot books specialize in one point of an author's existence or paintings, or restrict themselves to a unmarried serious process. Alexander Pope is a accomplished, elementary advisor which: * deals info on Pope's existence, contexts and works * define the main severe matters surrounding his works, from the time they have been written to the current *explains the complete variety of alternative serious perspectives and interpretations * bargains publications to extra studying in every one sector mentioned.
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Extra info for The Complete Critical Guide to Alexander Pope (Complete Critical Guide to English Literature)
In that summer Pope ‘rambled’ from Twickenham to Bolingbroke’s Dawley farm, then on to Chiswick, London, Rousham, Stowe, Cirencester, and Bevis Mount, where he spent six creative weeks touring, picnicking and writing. In September he went to Bath with Bolingbroke to meet Martha Blount, now established as his main female friend and companion. In December he published, anonymously, a new Horatian imitation: Sober Advice From Horace (or the second satire of Horace’s Book 1), ‘imitated in the Manner of Mr Pope’.
Balconies gave good views over the Thames, which ran by at the foot of a sloping lawn. A passage ran under the house, and under the road between London and Hampton Court, to the main garden, which measured about 250 by 100 yards. The whole plot was slightly larger than Pope estimated the gardens of Alcinous to be, in his translation of that section of Homer’s Odyssey (PW I: 147). Here Pope had an orchard, a small vineyard, an orangery, green-houses, and a kitchen garden for vegetables; landscaping the rest was a matter of providing serpentine and criss-crossing paths through wooded areas and up mounts to provide viewpoints, seats for reflection, sudden surprises and encounters.
More problematic was the case of Addison’s Cato, a phenomenally successful tragedy which opened in London on 14 April 1713. Dramatizing the resistance of the republican Cato to the tyrant Caesar, and his eventual suicide, it was claimed by both Whig and Tory factions, with the ‘tyranny’ it decried being identified equally with the absolutist style of monarchy of the Pretender and with the overweening ambition of Marlbrough. In a rare foray into the theatre, Pope contributed the prologue, a paean to British self-confidence as the inheritors of Roman virtue; it was considered rather Whiggish in cast.