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By Pascal Boyer

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Thus as the pipes of some carv’d Organ move, The gilded puppets dance and mount above, Heav’d by the breath th’ inspiring bellows blow: Th’ inspiring bellows lie and pant below. Pope initially avoids the abruptness of Donne’s courtroom simile by delaying it until the reader at least has a chance to see what it refers to. ” A further comparison illustrates how changes in form may also be changes in voice and point of view. Donne’s complaint about the several sorts of bad writers reaches a climax with his denunciation of the plagiarist: But hee is worst, who (beggarly) doth chaw Others wits fruits, and in his ravenous maw Rankly digested, doth those things out-spue As his owne things; and they are his owne, ’tis true, For if one eat my meat, though it be knowne The meate was mine, th’ excrements his owne.

Next, we have the large parallel of a speech by a warrior in the great epic of the Trojan War and a speech by a young woman in an eighteenth-century English drawing room. ” One can understand why Pope added a footnote calling attention to Clarissa’s lines as “a parody of the speech of Sarpedon to Glaucus in Homer,” hoping that such echoes would not fall on deaf ears. Yet the point would seem to be more than wanting his cleverness appreciated. As many readers have noticed, this speech emphasizes a moral and satiric complexity in The Rape of the Lock that goes beyond laughter at the modern characters.

For purposes of analysis, I will differentiate three voices in the poem: the Man about Town, the Poet-Critic, and the Artist as a Young Man. 4 The original text of An Essay on Criticism provides an unusually explicit guide to how Pope seems to have wanted the reader to hear and experience his work. 5 The result goes well beyond the normal practice of capitalizing nouns and italicizing proper nouns. Many modern editions drop these features, and even Pope himself dropped many of them later on, perhaps coming to believe that his readers did not need such cues.

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