Bard B Bard In medieval Gaelic and British culture (Ireland, Scotland, Wales, Isle of Man and Cornwall) a bard was a professional poet, paid by a monarch to praise the sovereign's activities. Originally, a specific class of poet, contrasting with another class known as fili in Ireland and Highland Scotland, the term "bard" with the decline of living bardic tradition in the modern period acquired generic meanings of an epic author/singer/narrator, comparable with the terms in other cultures: minstrel , skald/scop, rhapsode, udgatar, griot , ashik) or any poets, especially famous ones. For example, William Shakespeare is known as The Bard. Etymology The word is a loanword from descendant languages of Proto-Celtic *bardos, ultimately from Proto-Indo-European *gwrh2-dh1-ó-, from the root *gwerh2 "to raise the voice; praise". The first recorded example in English is in 1449 from the Scottish Gaelic language into Lowland Scots, denoting an itinerant musician, usually with a contemptuous connotation. The word subsequently entered the English language via Scottish English.

Secondly, in medieval Gaelic and Welsh society, a bard (Scottish and Irish Gaelic) or bardd (Welsh) was a professional poet, employed to compose eulogies for his lord (see planxty). If the employer failed to pay the proper amount, the bard would then compose a satire. (c. f. fili, fáith). In other European societies, the same function was fulfilled by skalds, rhapsodes, minstrels and scops, among others. Bards (who are not the same as the Irish 'Filidh' or 'Fili') were those who sang the songs recalling the tribal warriors' deeds of bravery as well as the genealogies and family histories of the ruling strata among Celtic societies. The pre-Christian Celtic peoples recorded no written histories; however, Celtic peoples did maintain an intricate oral history committed to memory and transmitted by bards and filid. Bards facilitated the memorization of such materials by the use of poetic meter and rhyme.

During the era of Romanticism , when knowledge of Celtic culture was overlaid by legends and fictions , the word was reintroduced into the West Germanic languages, this time directly into the English language, in the sense of 'lyric poet', idealised by writers such as the Scottish romantic novelist Sir Walter Scott. The word was taken from Latin bardus, Greek bardos, in turn loanwords from the Gaulish language, describing a class of Celtic priest (see druid , vates). From this romantic use came the epitheton The Bard applied to William Shakespeare and Robert Burns . Irish bards In medieval Ireland, bards were one of two distinct groups of poets, the other being the fili. According to the Early Irish law text on status, Uraicecht Becc, bards were a lesser class of poets, not eligible for higher poetic roles as described above. However, it has also been argued that the distinction between filid (pl. of fili) and bards was a creation of Christian Ireland, and that the filid are were more associated with the church. Irish bards formed a professional hereditary caste of highly trained, learned poets.

The bards were steeped in the history and traditions of clan and country, as well as in the technical requirements of a verse technique that was syllabic and used assonance , half rhyme and alliteration , among other conventions. As officials of the court of king or chieftain, they performed a number of official roles. They were chroniclers and satirists whose job it was to praise their employers and damn those who crossed them. It was believed that a well-aimed bardic satire, glam dicenn, could raise boils on the face of its target. The bardic schools were extinct by the mid 17th century in Ireland and by the early 18th century in Scotland. Welsh bards A number of legendary bards figure in Welsh mythology as has come down preserved in medieval Welsh literature, such as the Red Book of Hergest, the White Book of Rhydderch, the Book of Aneirin and the Book of Taliesin. The bards Aneirin and Taliesin may be legendary reflections of historical bards active in the 6th to 7th centuries.

Very little historical information about Dark Age Welsh court tradition survives, but the Middle Welsh material came to be the nucleus of the Matter of Britain and Arthurian legend as they developed from the 13th century. Welsh bardic tradition appears to end in the same 13th century, the Welsh campaigns of Edward I supposedly culminating in the legendary suicide of The Last Bard (c. 1283), as commemorated in the poem The Bards of Wales by the Hungarian poet János Arany in 1857 as a way of encoded resistance to the suppressive politics of his own time. There seems to be some continuity of Early Medieval Welsh tradition into the Late Middle Ages, with 14th century poets such as Dafydd ap Gwilym and Iolo Goch, and even to the present day with the Gorsedd of Bards. Revival Works discussing "bards" 18th and 19th century Celtic revivalism include The Bard by Thomas Gray , Cuma, The warrior-bard of Erin by John Richard Best, The Bard by John Walker Ord, The Mountain Bard by James Hogg , The Bard of Mary Redcliffe by Ernest Lacy, among others.

The role of bards in Neo-Druidism (such as the Order of Bards, Ovates and Druids), in Welsh nationalism and in popular notions on pre-Roman Britain originate in this context. In modern Wales the Gorsedd of Bards (Welsh: Gorsedd y Beirdd) is a society whose honorary membership is extended to those who have done great things for Wales. From its frequent use in Romanticism, 'The Bard' became attached as a title to various poets, 'The Bard of Avon' (or in England, simply 'The Bard') is William Shakespeare 'The Bard of Ayrshire' (or in Scotland, simply 'The Bard') is Robert Burns 'The Bard of Olney' is William Cowper 'The Bard of Rydal Mount' is William Wordsworth 'The Bard of Twickenham' is Alexander Pope 'The Bard of Armagh' is Patrick Donnelly In the 20th century, the word lost much of its original connotation of Celtic revivalism or Romanticism, and could refer to any professional poet or singer, sometimes in a mildly ironic tone. In the Soviet Union, singers who were outside the establishment were called bards from the 1960s.

From its Romanticist usage, the notion of the bard as a minstrel with qualities of a priest, magician or seer also entered the fantasy genre in the 1960s to 1980s, for example as the "Bard" class in Dungeons & Dragons, Bard by Keith Taylor (1981), Bard: The Odyssey of the Irish by Morgan Llywelyn (1984), and in video games in fantasy settings such as The Bard's Tale (1985). (Wikipedia) Alexander Pope - Alexander Pope Biography - Poem Hunter Alexander Pope - Alexander Pope Biography - Poem Hunter Biography Biography of Alexander Pope Pope was an 18th-century English poet, best known for his satirical verse and for his translation of Homer. He is the third-most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare and Tennyson. Pope's use of the heroic couplet is famous. Life Early Life Pope was born in London to Alexander Pope (senior, a linen merchant) and Edith Pope (née Turner), who were both Catholics.

Pope's education was affected by the penal law in force at the time upholding the status of the established Church of England, which banned Catholics from teaching on pain of perpetual imprisonment. Pope was taught to read by his aunt, then went to Twyford School in about 1698–9. He then went to two Catholic schools in London. Such schools, while illegal, were tolerated in some areas. In 1700, his family moved to a small estate in Binfield, Berkshire, close to the royal Windsor Forest. This was due to strong anti-Catholic sentiment and a statute preventing Catholics from living within 10 miles (16 km) of either London or Westminster. Pope would later describe the countryside around the house in his poem Windsor Forest. Pope's formal education ended at this time, and from then on he mostly educated himself by reading the works of classical writers such as the satirists Horace and Juvenal, the epic poets Homer and Virgil, as well as English authors like Geoffrey Chaucer, William Shakespeare and John Dryden. He also studied many languages and read works by English, French, Italian, Latin, and Greek poets.

After five years of study, Pope came into contact with figures from the London literary society such as William Wycherley, William Congreve, Samuel Garth, William Trumbull, and William Walsh. At Binfield, he also began to make many important friends. One of them, John Caryll (the future dedicatee of The Rape of the Lock), was twenty years older than the poet and had made many acquaintances in the London literary world. He introduced the young Pope to the ageing playwright William Wycherley and to William Walsh, a minor poet, who helped Pope revise his first major work, The Pastorals. He also met the Blount sisters, Teresa and (his alleged future lover) Martha, both of whom would remain lifelong friends. From the age of 12, he suffered numerous health problems, such as Pott's disease (a form of tuberculosis that affects the bone) which deformed his body and stunted his growth, leaving him with a severe hunchback. His tuberculosis infection caused other health problems including respiratory difficulties, high fevers, inflamed eyes, and abdominal pain. He never grew beyond 1.37 metres (4 feet, 6 inches) tall.

Pope was already removed from society because he was Catholic; his poor health only alienated him further. Although he never married, he had many female friends whom he wrote witty letters. He did have one alleged lover, his lifelong friend, Martha Blount. Alexander Pope became a Freemason (a mortal sin in the Catholic Church). He was a member of the Premier Grand Lodge of England, and also belonged to the Spalding Gentlemen's Society. In May, 1709, Pope's Pastorals was published in the sixth part of Tonson's Poetical Miscellanies. This brought instant fame to Pope. This was followed by An Essay on Criticism published in May 1711 , which was equally well received. Around 1711, Pope made friends with Tory writers John Gay, Jonathan Swift, Thomas Parnell and John Arbuthnot, who together formed the satirical Scriblerus Club. The aim of the club was to satirise ignorance and pedantry in the form of the fictional scholar Martinus Scriblerus. He also made friends with Whig writers Joseph Addison and Richard Steele. In March of 1713, Windsor Forest was published and was a well known success.

Pope's next well known poem was The Rape of the Lock; first published in 1712, with a revised version published in 1714. This is sometimes considered Pope's most popular poem because it was a mock-heroic epic, written to make fun of a high society quarrel between Arabella Fermor (the "Belinda" of the poem) and Lord Petre, who had snipped a lock of hair from her head without her permission. In his poem he treats his characters in an epic style; when the Baron steals her hair and she tries to get it back, it flies into the air and turns into a star. During Pope's friendship with Joseph Addison, he contributed to Addison's play Cato as well as writing for The Guardian and The Spectator. Around this time he began the work of translating the Iliad, which was a painstaking process - publication began in 1715 and did not end until 1720. In 1714, the political situation worsened with the death of Queen Anne and the disputed succession between the Hanoverians and the Jacobites, leading to the attempted Jacobite Rebellion of 1715.

Though Pope as a Catholic might be expected to have supported the Jacobites, because of his religious and political affiliations, according to Maynard Mack, "where Pope himself stood on these matters can probably never be confidently known". These events led to an immediate downturn in the fortunes of the Tories, and Pope's friend, Henry St John, 1st Viscount Bolingbroke fled to France. The money made from his translation of Homer allowed Pope to move to a villa at Twickenham in 1719, where he created his now famous grotto and gardens. Pope decorated the grotto with alabaster, marbles, and ores such as mundic and crystals. He also used Cornish diamonds, stalactites, spars, snakestones and spongestone. Here and there in the grotto he placed mirrors, expensive embellishments for the time. A camera obscura was installed to delight his visitors, of whom there were many. The serendipitous discovery of a spring during its excavations enabled the subterranean retreat to be filled with the relaxing sound of trickling water, which would quietly echo around the chambers.

Pope was said to have remarked that: "Were it to have nymphs as well – it would be complete in everything." Although the house and gardens have long since been demolished, much of this grotto still survives. The grotto now lies beneath Radnor House Independent Co-ed School, and is occasionally opened to the public. Poetry An Essay on Criticism was first published anonymously on 15 May 1711. Pope began writing the poem early in his career and took about three years to finish it. At the time the poem was published, the heroic couplet style in which it was written was a moderately new genre of poetry, and Pope's most ambitious work. An Essay on Criticism was an attempt to identify and refine his own positions as a poet and critic. The poem was said to be a response to an ongoing debate on the question of whether poetry should be natural, or written according to predetermined artificial rules inherited from the classical past. The poem begins with a discussion of the standard rules that govern poetry by which a critic passes judgment. Pope comments on the classical authors who dealt with such standards, and the authority that he believed should be accredited to them.

He discusses the laws to which a critic should adhere while critiquing poetry, and points out that critics serve an important function in aiding poets with their works, as opposed to the practice of attacking them. The final section of An Essay on Criticism discusses the moral qualities and virtues inherent in the ideal critic, who, Pope claims, is also the ideal man. Pope's most famous poem is The Rape of the Lock, first published in 1712, with a revised version published in 1714. A mock-epic, it satirises a high-society quarrel between Arabella Fermor (the "Belinda" of the poem) and Lord Petre, who had snipped a lock of hair from her head without her permission. The satirical style is tempered, however, by a genuine and almost voyeuristic interest in the "beau-monde" (fashionable world) of 18th-century English society.

Critics pay special attention to the fictitious card game, 'Ombre', that Pope creates for the poem; much time has been spent trying to reconstruct the rules of the game, and the arcane obscurity of how it might actually be played reflects the Byzantine nature of 18th-century high society Though the Dunciad was first published anonymously in Dublin, its authorship was not in doubt. As well as Theobald, it pilloried a host of other "hacks", "scribblers" and "dunces". Mack called its publication "in many ways the greatest act of folly in Pope's life". Though a masterpiece, "it bore bitter fruit. It brought the poet in his own time the hostility of its victims and their sympathizers, who pursued him implacably from then on with a few damaging truths and a host of slanders and lies...". The threats were physical too. According to his sister, Pope would never go for a walk without the company of his Great Dane, Bounce, and a pair of loaded pistols in his pocket.

In 1731, Pope published his "Epistle to Burlington", on the subject of architecture, the first of four poems which would later be grouped under the title Moral Essays (1731–35). In the epistle, Pope ridiculed the bad taste of the aristocrat "Timon". Pope's enemies claimed he was attacking the Duke of Chandos and his estate, Cannons. Though the charge was untrue, it did Pope a great deal of damage. The Essay on Man is a philosophical poem, written in heroic couplets and published between 1732 and 1734. Pope intended this poem to be the centrepiece of a proposed system of ethics that was to be put forth in poetic form. It was a piece of work that Pope intended to make into a larger work; however, he did not live to complete it. The poem is an attempt to "vindicate the ways of God to Man," a variation on Milton's attempt in Paradise Lost to "justify the ways of God to Man" (1.26). It challenges as prideful an anthropocentric world-view.

The poem is not solely Christian; however, it makes an assumption that man has fallen and must seek his own salvation. It consists of four epistles that are addressed to Lord Bolingbroke. Pope presents an idea or his view on the Universe; he says that no matter how imperfect, complex, inscrutable and disturbing the Universe appears to be, it functions in a rational fashion according to the natural laws. The natural laws consider the Universe as a whole a perfect work of God. To humans it appears to be evil and imperfect in many ways; however, Pope points out that this is due to our limited mindset and limited intellectual capacity. Pope gets the message across that humans must accept their position in the "Great Chain of Being" which is at a middle stage between the angels and the beasts of the world. If we are able to accomplish this then we potentially could lead happy and virtuous lives. The poem is an affirmative poem of faith: life seems to be chaotic and confusing to man when he is in the center of it, but according to Pope it is really divinely ordered. In Pope's world God exists and is what he centres the Universe around in order to have an ordered structure.

The limited intelligence of man can only take in tiny portions of this order and can experience only partial truths, hence man must rely on hope which then leads into faith. Man must be aware of his existence in the Universe and what he brings to it, in terms of riches, power and fame. It is man's duty to strive to be good regardless of other situations: this is the message Pope is trying to get across to the reader Later Works The Imitations of Horace followed (1733–38). These were written in the popular Augustan form of the "imitation" of a classical poet, not so much a translation of his works as an updating with contemporary references. Pope used the model of Horace to satirise life under George II, especially what he regarded as the widespread corruption tainting the country under Walpole's influence and the poor quality of the court's artistic taste. Pope also added a wholly original poem, An Epistle to Doctor Arbuthnot, as an introduction to the "Imitations". It reviews his own literary career and includes the famous portraits of Lord Hervey ("Sporus") and Addison ("Atticus"). In 1738 he wrote the Universal Prayer.

After 1738, Pope wrote little. He toyed with the idea of composing a patriotic epic in blank verse called Brutus, but only the opening lines survive. His major work in these years was revising and expanding his masterpiece The Dunciad. Book Four appeared in 1742, and a complete revision of the whole poem in the following year. In this version, Pope replaced the "hero", Lewis Theobald, with the poet laureate Colley Cibber as "king of dunces". By now Pope's health, which had never been good, was failing, and he died in his villa surrounded by friends on 30 May 1744. On the previous day, 29 May 1744, Pope called for a priest and received the Last Rites of the Catholic Church. He lies buried in the nave of the Church of St Mary the Virgin in Twickenham. Reception However, by the mid-18th century new fashions in poetry started to emerge. A decade after Pope's death, Joseph Warton claimed that Pope's style of poetry was not the most excellent form of the art.

The Romantic movement that rose to prominence in early 19th-century England was more ambivalent towards his work. Though Lord Byron identified Pope as one of his chief influences (believing his scathing satire of contemporary English literature English Bards and Scotch Reviewers to be a continuance of Pope's tradition), William Wordsworth found Pope's style fundamentally too decadent to represent the human condition truly. In the 20th century an effort to revive Pope's reputation began and was successful. Pope's work was now found to be full of references to the people and places of his time and these aided individuals' understanding of the past. The postwar period stressed the power of Pope's poetry and recognised that Pope's immersion in Christian and Biblical culture gave great depth to his poetry. Maynard Mack thought very highly of Pope's poetry. He argued that Pope's humane moral vision demanded as much respect as his technical excellence. In the years 1953–1967 the production of the definitive Twickenham edition of Pope's poems was published in ten volumes. Modern Reception Modern criticism of Pope focuses on the man, his circumstances and motivations, prompted by theoretical perspectives such as Marxism, feminism and other forms of post-structuralism.

Brean Hammond focuses on Pope's singular achievement in making an independent living solely from his writing. Laura Brown (1985) adopts a Marxist approach and accuses Pope of being an apologist for the oppressive upper classes. Hammond (1986) has studied Pope's work from the perspectives of cultural materialism and new historicism. Along Hammond's lines, Raymond Williams explains art as a set of practices influenced by broad cultural factors rather than simply the vague ideas of genius alone. In 'Politics and Poetics of Transgression' (1985) Peter Stallybrass and Allon White charge that Pope drew upon the low culture which he despised in order to produce his own 'high art'. They assert Pope was implicated in the very material he was attempting to exclude, not dissimilar to observations made in Pope's time. Feminists have also criticised Pope's works. Ellen Pollak's 'The Poetics of Sexual Myth' (1985) argues that Pope followed an anti-feminist tradition, that regarded women as inferior to men both intellectually and physically. Carolyn Williams contends that a crisis in the male role during the 18th century in Britain impacted Pope and his writing.

This page is based on the copyrighted Wikipedia Alexander Pope; it is used under the Creative Commons Attribution-ShareAlike 3.0 Unported License . You may redistribute it, verbatim or modified, providing that you comply with the terms of the CC-BY-SA. Alexander Pope Poems Alexander Pope | English author | Britannica.com Alexander Pope Mihály Babits Alexander Pope, (born May 21, 1688, London , England —died May 30, 1744, Twickenham, near London), poet and satirist of the English Augustan period, best known for his poems An Essay on Criticism (1711), The Rape of the Lock (1712–14), The Dunciad (1728), and An Essay on Man (1733–34). He is one of the most epigrammatic of all English authors. Alexander Pope, portrait by Thomas Hudson; in the National Portrait Gallery, London.

Courtesy of the National Portrait Gallery, London Pope’s father, a wholesale linen merchant, retired from business in the year of his son’s birth and in 1700 went to live at Binfield in Windsor Forest. The Popes were Roman Catholics, and at Binfield they came to know several neighbouring Catholic families who were to play an important part in the poet’s life. Pope’s religion procured him some lifelong friends, notably the wealthy squire John Caryll (who persuaded him to write The Rape of the Lock, on an incident involving Caryll’s relatives) and Martha Blount, to whom Pope addressed some of the most memorable of his poems and to whom he bequeathed most of his property. But his religion also precluded him from a formal course of education, since Catholics were not admitted to the universities. He was trained at home by Catholic priests for a short time and attended Catholic schools at Twyford, near Winchester, and at Hyde Park Corner, London, but he was mainly self-educated. He was a precocious boy, eagerly reading Latin, Greek, French, and Italian, which he managed to teach himself, and an incessant scribbler, turning out verse upon verse in imitation of the poets he read.

The best of these early writings are the “ Ode on Solitude ” and a paraphrase of St. Thomas à Kempis , both of which he claimed to have written at age 12. Early works Windsor Forest was near enough to London to permit Pope’s frequent visits there. He early grew acquainted with former members of John Dryden’s circle, notably William Wycherley , William Walsh, and Henry Cromwell . By 1705 his “ Pastorals ” were in draft and were circulating among the best literary judges of the day. In 1706 Jacob Tonson , the leading publisher of poetry , had solicited their publication, and they took the place of honour in his Poetical Miscellanies in 1709. This early emergence of a man of letters may have been assisted by Pope’s poor physique. As a result of too much study, so he thought, he acquired a curvature of the spine and some tubercular infection, probably Pott’s disease , that limited his growth and seriously impaired his health. His full-grown height was 4 feet 6 inches (1.4 metres), but the grace of his profile and fullness of his eye gave him an attractive appearance.

He was a lifelong sufferer from headaches, and his deformity made him abnormally sensitive to physical and mental pain. Though he was able to ride a horse and delighted in travel, he was inevitably precluded from much normal physical activity, and his energetic, fastidious mind was largely directed to reading and writing . Britannica Stories When the “ Pastorals ” were published, Pope was already at work on a poem on the art of writing. This was An Essay on Criticism , published in 1711. Its brilliantly polished epigrams (e.g., “A little learning is a dangerous thing,” “To err is human, to forgive, divine,” and “For fools rush in where angels fear to tread”), which have become part of the proverbial heritage of the language , are readily traced to their sources in Horace , Quintilian, Boileau, and other critics, ancient and modern, in verse and prose; but the charge that the poem is derivative, so often made in the past, takes insufficient account of Pope’s success in harmonizing a century of conflict in critical thinking and in showing how nature may best be mirrored in art.

The well-deserved success of An Essay on Criticism brought Pope a wider circle of friends, notably Richard Steele and Joseph Addison , who were then collaborating on The Spectator . To this journal Pope contributed the most original of his pastorals, “ The Messiah ” (1712), and perhaps other papers in prose. He was clearly influenced by The Spectator’s policy of correcting public morals by witty admonishment, and in this vein he wrote the first version of his mock epic , The Rape of the Lock (two cantos, 1712; five cantos, 1714), to reconcile two Catholic families. A young man in one family had stolen a lock of hair from a young lady in the other. Pope treated the dispute that followed as though it were comparable to the mighty quarrel between Greeks and Trojans, which had been Homer’s theme. Telling the story with all the pomp and circumstance of epic made not only the participants in the quarrel but also the society in which they lived seem ridiculous.

Though it was a society where …Britain’s statesmen oft the fall foredoom Of foreign tyrants, and of nymphs at home; Britannica Lists & Quizzes as if one occupation concerned them as much as the other, and though in such a society a young lady might do equally ill to …Stain her honour, or her new brocade; Forget her pray’rs, or miss a masquerade; Pope managed also to suggest what genuine attractions existed amid the foppery. It is a glittering poem about a glittering world. He acknowledged how false the sense of values was that paid so much attention to external appearance, but ridicule and rebuke slide imperceptibly into admiration and tender affection as the heroine, Belinda, is conveyed along the Thames to Hampton Court , the scene of the “rape”: But now secure the painted vessel glides, The sunbeams trembling on the floating tides: While melting music steals upon the sky, And soften’d sounds along the waters die; Smooth flow the waves, the zephyrs gently play, Belinda smil’d, and all the world was gay.

A comparable blend of seemingly incompatible responses—love and hate, bawdiness and decorum , admiration and ridicule—is to be found in all Pope’s later satires. The poem is thick with witty allusions to classical verse and, notably, to Milton’s Paradise Lost. The art of allusion is an element of much of Pope’s poetry. Pope had also been at work for several years on “ Windsor-Forest . ” In this poem, completed and published in 1713, he proceeded, as Virgil had done, from the pastoral vein to the georgic and celebrated the rule of Queen Anne as the Latin poet had celebrated the rule of Augustus. In another early poem,“ ” Pope borrowed the form of Ovid’s “heroic epistle” (in which an abandoned lady addresses her lover) and showed imaginative skill in conveying the struggle between sexual passion and dedication to a life of celibacy. Homer and The Dunciad Facebook Twitter YouTube Instagram Pinterest These poems and other works were collected in the first volume of Pope’s Works in 1717. When it was published, he was already far advanced with the greatest labour of his life, his verse translation of Homer .

He had announced his intentions in October 1713 and had published the first volume, containing the Iliad , Books I–IV, in 1715. The Iliad was completed in six volumes in 1720. The work of translating the Odyssey (vol. i–iii, 1725; vol. iv and v, 1726) was shared with William Broome , who had contributed notes to the Iliad, and Elijah Fenton . The labour had been great, but so were the rewards. By the two translations Pope cleared about £10,000 and was able to claim that, thanks to Homer, he could “…live and thrive / Indebted to no Prince or Peer alive.” The merits of Pope’s Homer lie less in the accuracy of translation and in correct representation of the spirit of the original than in the achievement of a heroic poem as his contemporaries understood it: a poem Virgilian in its dignity, moral purpose, and pictorial splendour, yet one that consistently kept Homer in view and alluded to him throughout.

Pope offered his readers the Iliad and the Odyssey as he felt sure Homer would have written them had he lived in early 18th-century England. Political considerations had affected the success of the translation. As a Roman Catholic, he had Tory affiliations rather than Whig; and though he retained the friendship of such Whigs as William Congreve , Nicholas Rowe , and the painter Charles Jervas , his ties with Steele and Addison grew strained as a result of the political animosity that occurred at the end of Queen Anne’s reign. He found new and lasting friends in Tory circles—Jonathan Swift, John Gay , John Arbuthnot, Thomas Parnell , the earl of Oxford, and Viscount Bolingbroke. He was associated with the first five in the Scriblerus Club (1713–14), which met to write joint satires on pedantry, later to mature as Peri Bathouse; or, The Art of Sinking in Poetry (1728) and the Memoirs of Martinus Scriblerus (1741); and these were the men who encouraged his translation of Homer.

The Whigs, who associated with Addison at Button’s Coffee-House, put up a rival translator in Thomas Tickell , who published his version of the Iliad, Book I, two days after Pope’s. Addison preferred Tickell’s manifestly inferior version; his praise increased the resentment Pope already felt because of a series of slights and misunderstandings; and when Pope heard gossip of further malice on Addison’s part, he sent him a satiric view of his character, published later as the character of Atticus, the insincere arbiter of literary taste in “ Eyjafjallajökull volcano Even before the Homer quarrel, Pope had found that the life of a wit was one of perpetual warfare. There were few years when either his person or his poems were not objects of attacks from the critic John Dennis , the bookseller Edmund Curll , the historian John Oldmixon, and other writers of lesser fame. The climax was reached over his edition of Shakespeare . He had emended the plays, in the spirit of a literary editor, to accord with contemporary taste (1725), but his practice was exposed by the scholar Lewis Theobald in Shakespeare Restored (1726).

Though Pope had ignored some of these attacks, he had replied to others with squibs in prose and verse. But he now attempted to make an end of the opposition and to defend his standards, which he aligned with the standards of civilized society, in the mock epic The Dunciad (1728). Theobald was represented in it as the Goddess of Dullness’s favourite son, a suitable hero for those leaden times, and others who had given offense were preserved like flies in amber. Pope dispatches his victims with such sensuousness of verse and imagery that the reader is forced to admit that if there is petulance here, as has often been claimed, it is, to parody Wordsworth, petulance recollected in tranquillity. Pope reissued the poem in 1729 with an elaborate mock commentary of prefaces, notes, appendixes, indexes, and errata; this burlesque of pedantry whimsically suggested that The Dunciad had fallen a victim to the spirit of the times and been edited by a dunce. Life at Twickenham Pope and his parents had moved from Binfield to Chiswick in 1716.

There his father died (1717), and two years later he and his mother rented a villa on the Thames at Twickenham, then a small country town where several Londoners had retired to live in rustic seclusion. This was to be Pope’s home for the remainder of his life. There he entertained such friends as Swift , Bolingbroke , Oxford, and the painter Jonathan Richardson. These friends were all enthusiastic gardeners, and it was Pope’s pleasure to advise and superintend their landscaping according to the best contemporary principles, formulated in his “ Epistle to the Right Honourable Richard Earl of Burlington ” (1731). This poem, one of the most characteristic works of his maturity, is a rambling discussion in the manner of Horace on false taste in architecture and design, with some suggestions for the worthier employment of a nobleman’s wealth. Pope now began to contemplate a new work on the relations of man, nature, and society that would be a grand organization of human experience and intuition , but he was destined never to complete it. An Essay on Man (1733–34) was intended as an introductory book discussing the overall design of this work.

The poem has often been charged with shallowness and philosophical inconsistency, and there is indeed little that is original in its thought, almost all of which can be traced in the work of the great thinkers of Western civilization. Subordinate themes were treated in greater detail in “ Of the Use of Riches, an Epistle to Bathurst ” (1732), “ An Epistle to Cobham, of the Knowledge and Characters of Men ” (1733), and “ Of the Characters of Women: An Epistle to a Lady ” (1735). Pope was deflected from this “system of ethics in the Horatian way” by the renewed need for self-defense. Critical attacks drove him to consider his position as satirist. He chose to adapt for his own defense the first satire of Horace’s second book, where the ethics of satire are propounded, and, after discussing the question in correspondence with Dr. John Arbuthnot , he addressed to him an epistle in verse (1735), one of the finest of his later poems, in which were incorporated fragments written over several years. His case in “ An Epistle to Dr.

Arbuthnot ” was a traditional one: that depravity in public morals had roused him to stigmatize outstanding offenders beyond the reach of the law, concealing the names of some and representing others as types, and that he was innocent of personal rancour and habitually forbearing under attack. The success of his “ First Satire of the Second Book of Horace, Imitated ” (1733) led to the publication (1734–38) of 10 more of these paraphrases of Horatian themes adapted to the contemporary social and political scene. Pope’s poems followed Horace’s satires and epistles sufficiently closely for him to print the Latin on facing pages with the English, but whoever chose to make the comparison would notice a continuous enrichment of the original by parenthetic thrusts and compliments, as well as by the freshness of the imagery. The series was concluded with two dialogues in verse, republished as the “ ” (1738), where, as in “ An Epistle to Dr. Arbuthnot, ” Pope ingeniously combined a defense of his own career and character with a restatement of the satirist’s traditional apology.

In these imitations and dialogues, Pope directed his attack upon the materialistic standards of the commercially minded Whigs in power and upon the corrupting effect of money, while restating and illustrating the old Horatian standards of serene and temperate living. His anxiety about prevailing standards was shown once more in his last completed work, The New Dunciad (1742), reprinted as the fourth book of a revised Dunciad (1743), in which Theobald was replaced as hero by Colley Cibber , the poet laureate and actor-manager, who not only had given more recent cause of offense but seemed a more appropriate representative of the degenerate standards of the age. In Dunciad, Book IV, the Philistine culture of the city of London was seen to overtake the court and seat of government at Westminster, and the poem ends in a magnificent but baleful prophecy of anarchy . Pope had begun work on Brutus, an epic poem in blank verse, and on a revision of his poems for a new edition, but neither was complete at his death.

Assessment Pope’s favourite metre was the 10-syllable iambic pentameter rhyming (heroic) couplet. He handled it with increasing skill and adapted it to such varied purposes as the epigrammatic summary of An Essay on Criticism, the pathos of “ Verses to the Memory of an Unfortunate Lady, ” the mock heroic of The Rape of the Lock, the discursive tones of An Essay on Man, the rapid narrative of the Homer translation, and the Miltonic sublimity of the conclusion of The Dunciad. But his greatest triumphs of versification are found in the “ Epilogue to the Satires, ” where he moves easily from witty, spirited dialogue to noble and elevated declamation, and in “ An Epistle to Dr. Arbuthnot, ” which opens with a scene of domestic irritation suitably conveyed in broken rhythm: Shut, shut the door, good John! fatigu’d, I said: Tie up the knocker, say I’m sick, I’m dead. The Dog-star rages!

nay ’tis past a doubt, All Bedlam, or Parnassus, is let out: Fire in each eye, and papers in each hand, They rave, recite, and madden round the land; and closes with a deliberately chosen contrast of domestic calm, which the poet may be said to have deserved and won during the course of the poem: Me, let the tender office long engage To rock the cradle of reposing age, With lenient arts extend a mother’s breath, Make languor smile, and smooth the bed of death, Explore the thought, explain the asking eye, And keep a while one parent from the sky! Pope’s command of diction is no less happily adapted to his theme and to the type of poem, and the range of his imagery is remarkably wide. He has been thought defective in imaginative power, but this opinion cannot be sustained in view of the invention and organizing ability shown notably in The Rape of the Lock and The Dunciad. He was the first English poet to enjoy contemporary fame in France and Italy and throughout the European continent and to see translations of his poems into modern as well as ancient languages.

Alexander Pope is granted eternal sunshine of a Twickenham memorial | Books | The Guardian Poetry Alexander Pope is granted eternal sunshine of a Twickenham memorial Thameside urn sculpture celebrates 18th-century poet’s work and underlines his close connection with town where he lived for a quarter of century Charms strike the sight … the urn erected in tribute to Alexander Pope is based on a lost original that the poet designed for a friend. Photograph: Guy Bell/Rex Shutterstock Monday 28 September 2015 09.44 EDT Last modified on Monday 28 September 2015 09.45 EDT Close This article is 1 year old The home of English rugby will be stirred “by tender strokes of art” as well as sport, following the installation of a new sculpture on the bank of the Thames celebrating the work of Twickenham’s most famous former resident, Alexander Pope. Based on an urn designed by the poet for the garden of a friend in the Midlands but since destroyed, the 8ft sculpture features Pope’s famous lines from Epistle IV in which he exhorts readers to “Consult the genius of the place in all”, a maxim that is still a guiding principle in garden design today.

Alexander Pope: in his own image Read more Around it, carved into new wooden seating, are a series of other quotes from Pope, from “Who breaks a butterfly upon a wheel?” to “Fools rush in where angels fear to tread”. Other citations include: “To err is human, to forgive, divine”, “Eternal sunshine of the spotless mind!”, “Hope springs eternal in the human breast” and “To wake the soul by tender strokes of art”. Designed by the architects Feilden Clegg Bradley Studios as part of a project by Poet in the City and Richmond Council, it is hoped that the urn and the quotes will help in “connecting new generations with [Pope’s] amazing legacy”. The unveiling of the sculpture last week was accompanied by readings from Pope’s poetry from the actors Harriet Walter and John Hannah. Pope, who lived from 1688 to 1744, is the author of celebrated works including the satires The Rape of the Lock and the Dunciad, and a translation of Homer. He was also famous as a champion of landscape design. Pinterest New benchmark … the sculpture is accompanied by wooden benches bearing quotes from some of Pope’s most famous works.

Photograph: Guy Bell/Rex Shutterstock “Alexander Pope is the most famous resident of Twickenham but there is no palpable physical reminder of that in the landscape. We wanted to create a tribute to him,” said Graham Henderson from Poet in the City. “We went for quotes that are well known – a lot of people don’t realise they are from Pope, and we wanted to reconnect people with Pope so they realise where they came from. I think people don’t realise how important and famous he was, so this is a physical way of reminding them of that, and reconnecting them with their own community.” Henderson said it was “no overestimation to say that Pope was the most important poet between the age of Shakespeare and the modern age”. “He was a huge figure, not only for his own work but for famously translating Homer into English,” added Henderson. “He also crossed the divide from poet to designer – we had a debate about whether to describe him as a landscape designer on the urn, because it’s probably true to say that the British obsession with gardening comes from Alexander Pope.

Before that, people did not do their own gardening.” The Pope sculpture is the first in what Poet in the City hopes will be a series of modern art works celebrating poetry, both in the UK and internationally, with talks already underway with other potential partners. About: Alexander Pope About: Alexander Pope An Entity of Type : person , from Named Graph : , within Data Space : dbpedia.org Alexander Pope (21 May 1688 – 30 May 1744) was an 18th-century English poet. He is best known for his satirical verse, as well as for his translation of Homer. Famous for his use of the heroic couplet, he is the second-most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare. Property abstract Alexander Pope (21 May 1688 – 30 May 1744) was an 18th-century English poet. He is best known for his satirical verse, as well as for his translation of Homer. Famous for his use of the heroic couplet, he is the second-most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare. (en) Alexander Pope (* 21.

Mai 1688 in London; † 30. Mai 1744 in Twickenham, heute Teil Londons) war ein englischer Dichter, Übersetzer und Schriftsteller des Klassizismus in der Frühzeit der Aufklärung. (de) Alexander Pope (Londres, 21 de mayo de 1688 – Londres, 30 de mayo de 1744) es uno de los poetas ingleses más reconocidos del siglo XVIII, destacado particularmente por sus traducciones de los textos de Homero y su poesía satírica. (es) ألكسندر بوب (بالإنجليزية: Alexander Pope) ‏(21 مايو 1688—30 مايو 1744) هو الشاعر الإنجليزي الشهير من القرن الثامن عشر، والذي اشتهر بمقاطع شعرية ساخرة وعلى ترجمته لهوميروس.

وهو ثالث كاتب يتم الاقتباس منه في قاموس أكسفورد للاقتباسات، بعد شكسبير وألفريد تنيسون. واشتهر بوب باستخدام مقطع الشعر البطولي. (ar) Alexander Pope (Lombard Street, Londres -Twickenham, ) est un poète anglais. (fr) Più noto per la sua vena satirica che per il suo importante lavoro di traduzione dell'opera di Omero, ha rappresentato una svolta per la letteratura inglese, al punto da essere il terzo autore più citato per il Dizionario di Oxford delle citazioni, dopo William Shakespeare e Alfred Tennyson. Pope è anche noto per l'utilizzo del distico eroico.

(it) アレキサンダー・ポープ（Alexander Pope,1688年5月21日 - 1744年5月30日）はイギリスの詩人。父はカトリック教徒のリンネル商。 生来虚弱で学校教育を受けず、独学で古典に親しみ、幼少の頃から詩作を試みた。詩集『牧歌』（Pastorals, 1709年）は16歳の時の作という。『批評論』（An essay on criticism, 1711年）は簡潔な格言風の韻文で書かれた詩論で、当時の上流階級には好評を博した。ホメロスの『イーリアス』を1715年から1720年に、『オデュッセイア』を1725年から1726年にかけて翻訳し、予約者が訳者に6ギニーずつを支払って、出版業者が無償で本を作者に提供し、作者がそれを予約者に

渡すという販売法でポープは経済上の独立を得た。同じく1725年に『シェイクスピア全集』を出版、編者としての本文校訂は学問的批判を免れなかったものの、序文では作品をゴシック建築に比して古典主義法則に拘束されずに評価した。 技巧と絶えざる彫琢を旨とする古典主義詩人の典型で、簡潔かつ流麗なヒロイック・カプレット（heroic couplet, 弱強五歩格二行聯句）を完成。その名句はシェイクスピアに次いでしばしば引用された。ポープの本領は諷刺詩（Satire）にあり、『髪盗人』はその傑作ともいわれる。その分野では『アーバスノットに与える書』『エピローグ』『ホラティウスに倣いて』も永続すべき業績であると文学史家のレズリー・スティーヴンは述べている。評論としては『愚物列伝』（The D

unciad, 1728年 - 1742年）、『人間論』（An essay on man, 1732年 - 1734年）があり、後者は友人のボリングブルック（en）から学んだ理神論を韻文にしたものであった。 当代の貴族達と親しく交際し、ポープの詩の中にもそれらの人々への賛辞が誇りをもって記されている。優雅で感受性にあふれた言葉遣い、当意即妙の機知、上品な作法はジョージ2世の宮廷で必要とされた素質であり、ポープの詩の特徴でもある。ポープはイギリス詩人の伝統をチョーサー、スペンサー、ジョン・ダン、ドライデンのような人々の流れとして理解していた。その列にシェークスピアやミルトンが欠けていることは多くを物語っている。 (ja) Alexander Pope (Londen, 21 mei 1688 – Twickenham (nu deel van Londen), 30 mei 

1744) was een Engels dichter.

Pope was een zoon van katholieke ouders en hij kreeg voornamelijk huisonderwijs.Hij had een zwakke gezondheid en, mogelijk als gevolg van tuberculose in zijn jeugd, een verstoorde lichaamsgroei. Hij werd slechts 1,37 m lang. Al sinds zijn twaalfde jaar schreef hij verzen, vaak imitaties van andere schrijvers. Zijn meest originele werk uit die tijd was Pastorals (1709). Zijn eerste echt grote werk was An Essay on Criticism uit 1711. Andere bekende werken uit die tijd waren The Rape of the Lock (1712, herziene versie 1714) en zijn vertalingen van Homerus' Ilias en Odyssee (1715-1726). Deze laatste werken leverden hem het geld op om zich terug te kunnen trekken in een landhuis in Twickenham, waar hij de rest van zijn omvangrijke werk schreef.

Popes werk geeft een goede weerspiegeling van zijn tijd. In de tijd van koningin Anna schreef hij pastorale poëzie, de 'Ilias' en 'Odyssee' ontstonden onder George I. In zijn derde periode behandelde hij de grote godsdienstige en intellectuele zaken van die tijd. Hij schreef voornamelijk in de vorm van 'heroic couplets': series van meestal tien-lettergrepige op elkaar rijmende regels. Hierin ontwikkelde hij zich tot een ware meester. Pope was bevriend met Jonathan Swift. (nl) Alexander Pope (21 de maio de 1688, Londres — 30 de maio de 1744, Twickenham, hoje parte de Londres) foi um dos maiores poetas britânicos do século XVIII. Famoso por sua tradução de Homero. É o segundo mais citado escrito na obra The Oxford Dictionary of Quotations, depois de Shakespeare.

Sua mocidade foi pontilhada de contratempos, consequência de ser filho de um comerciante católico. Foi proibido de frequentar escolas e universidades, mas, apesar disso, educou-se com esmero. Suas doenças e a deformidade física fizeram dele um caráter complicado. A principal contribuição de Pope foi nos ensaios e versos, nos quais expõe suas idéias estéticas e filosóficas. São poemas filosóficos ou didáticos, como Essay on Criticism (Ensaio sobre a crítica), obra de doutrina neoclássica, escrita aos 23 anos, na qual defende seus pontos de vista sobre a verdadeira poesia, e Essay on Man (Ensaio sobre o Homem) (1733—34), na qual discute se é ou não possível reconciliar os males deste mundo com a crença no criador justo e misericordioso.

Compôs também uma sátira, Dunciad, em que o poeta declara vago o trono da torpeza, do aborrecimento e da estupidez e propõe o nome de seus inimigos para ocupá-los. Foi como satírico e moralista que se caracterizou na segunda parte de sua vida, quando escreveu The Rape of the Lock (O rapto da Madeixa) em que ridiculariza a extrema delicadeza da corte da Inglaterra. Para muitos, Alexander Pope foi o satirista mais brilhante da era Augustana. Dentro da literatura satirista foi o sucessor natural de John Dryden e também o primeiro poeta inglês a ter fama internacional. Seu nome também é citado no livro da britânica J.K. Rowling "Os Contos de Beedle, o Bardo", fazendo alusão às pesquisas de um dos maiores bruxos que já existiram (Alvo Dumbledore). (pt) Alexander Pope (ur. 21 maja 1688 w Londynie, zm.

30 maja 1744 w Twickenham na wschód od Londynu) – czołowy poeta angielskiego Oświecenia, zdeklarowany katolik i torys. Za właściwy debiut literacki Alexandra Pope'a uważa się publikację poematu Wiersz o krytyce, wzorowanego na kodeksie XVIII-wiecznego klasycyzmu Nicolasa Boileau. Od tego czasu jego twórczość − choć jednolita stylistycznie i spójna światopoglądowo − obejmowała całą różnorodność znanych wówczas gatunków literackich oraz kręgów zainteresowań, od satyry oraz poematu heroikomicznego, którego był przedstawicielem, aż do poważnych poematów filozoficznych krzewiących wiarę w dobroć Boga, a nawet pieśni religijnych.

Alexander Pope od przeszło dwustu lat pozostaje na językach krytyki literackiej jako bohater jednego z największych sporów w historii poezji angielskiej, w której niektóre stronnictwa obniżają rangę jego twórczości, a nawet odbierają mu miano poety. Jednocześnie, jako aforysta, jest drugim obok Williama Szekspira najczęściej cytowanym Wyspiarzem. Do dziś uważa się go również za największego poetę swojego pokolenia, pierwszego mistrza angielskiej satyry oraz najwybitniejszego twórcę poematu heroikomicznego.

Choć Pope uosabiał wszystkie cechy angielskiego Oświecenia, a więc epoki niejako przestarzałej w ujęciu rodzącego się romantyzmu, jego dzieła odegrały ważną rolę w twórczości takich poetów jak George Gordon Byron czy Adam Mickiewicz, a współcześni badacze coraz częściej widzą w nich niejasny zwrot w stronę "rewolucji romantycznej". Wątek ten stanowi jeszcze jeden spór o poezję Pope'a. Dewizą Alexandra Pope'a było powiedzenie: "Wszystko co jest, jest właściwe". (pl) Алекса́ндр По́уп (Alexander Pope; 21 мая 1688 года, Лондон, Англия — 30 мая 1744 года, Твикенхэм, Англия) — английский поэт XVIII века, один из крупнейших авторов британского классицизма.

(ru) 亚历山大·蒲柏（Alexander Pope，1688年5月21日 - 1744年5月30日）是18世纪英国最伟大的诗人。蒲柏出生于一个罗马天主教家庭，由于当时英国法律规定学校要强制推行英国国教圣公会，因此他没有上过学，从小在家中自学，学习了拉丁文、希腊文、法文和意大利文的大量作品。他幼年时期患有结核性脊椎炎，造成驼背，身高没有超过1.37米。蒲柏从12岁即开始发表诗作，他的第一部重要作品是1711年他23岁时出版的诗体《批评论》，其中许多名句已经成为英语成语。1712年他写作了长篇讽刺诗《夺发记》，1714年又补充了两章。这首诗描写一家男孩偷剪了另一家女孩的一绺金发，因为此事引起两家的争执。蒲柏把此事描写得和《伊利亚特》中特洛伊战争一样壮观，写成了一部英雄史诗。1713年起，他着手翻译

荷马的史诗《伊利亚特》和《奥德赛》，他并没有准确地进行翻译，而是根据当时英国时代精神进行再创作，他自己说如果荷马生活在18世纪的英国，也一定会这样写作这两部史诗。但是这两种译本在英国大受欢迎，第一部英语词典的编纂者约翰逊博士称赞为“世界前所未见的高贵的诗译作”。依靠这两部书的收入，足以使他的生活不必依靠赞助，并使他稳居英国桂冠诗人的宝座。1725年，他对莎士比亚的作品进行重新编辑，用当时的标准衡量，作了不少改动，受到学者们的批评，他又写了《群愚史诗》，把批评他的人描写成“沉闷女神”的宠儿。30年代他计划写一部关于人、自然和社会关系的巨著，但只完成一部序论：《人论》（1734年）。1735年，他写作了《致阿巴思诺医生书》，讽刺了身居高位，逍遥法外的道德败坏者。蒲柏还为牛顿写了著名的墓志铭：牛津语录词典中收录了212条蒲

柏的作品精辟语录。如“只有少量知识是危险的”，“人皆有错，难能宽恕”，“正确的学习造就男子汉”等。1719年起，蒲柏在泰晤士河畔的特威克纳姆别墅定居，经常招待朋友，以文会友，并写了一些关于建筑和园林设计的文章。19世纪对蒲柏的评价不佳，认为他的用词过于造作，韵律过于死板，他的讽刺有点不太人道。但到了20世纪，他的声望又开始提高，有的诗作如《夺发记》和一些讽刺诗被称为讽刺诗的最高境界；但有些诗如《人论》普遍认为并无多少独创的思想；他的《伊利亚特》译本和《群愚史诗》一直受到争议。蒲柏是第一位受到欧洲大陆关注的英国诗人，他的著作把翻译成欧洲许多国家的文字。他是启蒙运动时期古典主义的代表，他的作品可分为田园诗，讽刺诗和哲理诗及翻译作品四大类。在英语诗歌史上，双韵体诗由乔叟最先启用，后经斯宾塞，马洛等人发展，再由德莱顿

弘扬，最后经蒲柏的完善扩充，形式更为整齐优美，节奏更跌宕变化。这种“英雄双行体”在诗歌艺术中达到了神韵独步千古的境界，成为英国诗歌史上的最高成就。 (zh) Alexander Pope (Lombard Street, Londres -Twickenham, ) est un poète anglais.

(fr) Più noto per la sua vena satirica che per il suo importante lavoro di traduzione dell'opera di Omero, ha rappresentato una svolta per la letteratura inglese, al punto da essere il terzo autore più citato per il Dizionario di Oxford delle citazioni, dopo William Shakespeare e Alfred Tennyson. Pope è anche noto per l'utilizzo del distico eroico. (it) Алекса́ндр По́уп (Alexander Pope; 21 мая 1688 года, Лондон, Англия — 30 мая 1744 года, Твикенхэм, Англия) — английский поэт XVIII века, один из крупнейших авторов британского классицизма.

(ru) 亚历山大·蒲柏（Alexander Pope，1688年5月21日 - 1744年5月30日）是18世纪英国最伟大的诗人。蒲柏出生于一个罗马天主教家庭，由于当时英国法律规定学校要强制推行英国国教圣公会，因此他没有上过学，从小在家中自学，学习了拉丁文、希腊文、法文和意大利文的大量作品。他幼年时期患有结核性脊椎炎，造成驼背，身高没有超过1.37米。蒲柏从12岁即开始发表诗作，他的第一部重要作品是1711年他23岁时出版的诗体《批评论》，其中许多名句已经成为英语成语。1712年他写作了长篇讽刺诗《夺发记》，1714年又补充了两章。这首诗描写一家男孩偷剪了另一家女孩的一绺金发，因为此事引起两家的争执。蒲柏把此事描写得和《伊利亚特》中特洛伊战争一样壮观，写成了一部英雄史诗。1713年起，他着手翻译

荷马的史诗《伊利亚特》和《奥德赛》，他并没有准确地进行翻译，而是根据当时英国时代精神进行再创作，他自己说如果荷马生活在18世纪的英国，也一定会这样写作这两部史诗。但是这两种译本在英国大受欢迎，第一部英语词典的编纂者约翰逊博士称赞为“世界前所未见的高贵的诗译作”。依靠这两部书的收入，足以使他的生活不必依靠赞助，并使他稳居英国桂冠诗人的宝座。1725年，他对莎士比亚的作品进行重新编辑，用当时的标准衡量，作了不少改动，受到学者们的批评，他又写了《群愚史诗》，把批评他的人描写成“沉闷女神”的宠儿。30年代他计划写一部关于人、自然和社会关系的巨著，但只完成一部序论：《人论》（1734年）。1735年，他写作了《致阿巴思诺医生书》，讽刺了身居高位，逍遥法外的道德败坏者。蒲柏还为牛顿写了著名的墓志铭：牛津语录词典中收录了212条蒲

柏的作品精辟语录。如“只有少量知识是危险的”，“人皆有错，难能宽恕”，“正确的学习造就男子汉”等。1719年起，蒲柏在泰晤士河畔的特威克纳姆别墅定居，经常招待朋友，以文会友，并写了一些关于建筑和园林设计的文章。19世纪对蒲柏的评价不佳，认为他的用词过于造作，韵律过于死板，他的讽刺有点不太人道。但到了20世纪，他的声望又开始提高，有的诗作如《夺发记》和一些讽刺诗被称为讽刺诗的最高境界；但有些诗如《人论》普遍认为并无多少独创的思想；他的《伊利亚特》译本和《群愚史诗》一直受到争议。蒲柏是第一位受到欧洲大陆关注的英国诗人，他的著作把翻译成欧洲许多国家的文字。他是启蒙运动时期古典主义的代表，他的作品可分为田园诗，讽刺诗和哲理诗及翻译作品四大类。在英语诗歌史上，双韵体诗由乔叟最先启用，后经斯宾塞，马洛等人发展，再由德莱顿

弘扬，最后经蒲柏的完善扩充，形式更为整齐优美，节奏更跌宕变化。这种“英雄双行体”在诗歌艺术中达到了神韵独步千古的境界，成为英国诗歌史上的最高成就。 (zh) アレキサンダー・ポープ（Alexander Pope,1688年5月21日 - 1744年5月30日）はイギリスの詩人。父はカトリック教徒のリンネル商。生来虚弱で学校教育を受けず、独学で古典に親しみ、幼少の頃から詩作を試みた。詩集『牧歌』（Pastorals, 1709年）は16歳の時の作という。『批評論』（An essay on criticism, 1711年）は簡潔な格言風の韻文で書かれた詩論で、当時の上流階級には好評を博した。ホメロスの『イーリアス』を1715年から1720年に、『オデュッセイア』を1725

年から1726年にかけて翻訳し、予約者が訳者に6ギニーずつを支払って、出版業者が無償で本を作者に提供し、作者がそれを予約者に渡すという販売法でポープは経済上の独立を得た。同じく1725年に『シェイクスピア全集』を出版、編者としての本文校訂は学問的批判を免れなかったものの、序文では作品をゴシック建築に比して古典主義法則に拘束されずに評価した。 (ja) Alexander Pope (Londen, 21 mei 1688 – Twickenham (nu deel van Londen), 30 mei 1744) was een Engels dichter.Pope was een zoon van katholieke ouders en hij kreeg voornamelijk huisonderwijs.Hij had een zwakke gezondheid en, mogelijk als gevolg van tuberculose in zijn jeugd, een verstoorde lichaamsgroei.

Hij werd slechts 1,37 m lang.Al sinds zijn twaalfde jaar schreef hij verzen, vaak imitaties van andere schrijvers. Zijn meest originele werk uit die tijd was Pastorals (1709).Pope was bevriend met Jonathan Swift. (nl) Alexander Pope (21 de maio de 1688, Londres — 30 de maio de 1744, Twickenham, hoje parte de Londres) foi um dos maiores poetas britânicos do século XVIII. Famoso por sua tradução de Homero. É o segundo mais citado escrito na obra The Oxford Dictionary of Quotations, depois de Shakespeare. (pt) Alexander Pope (ur. 21 maja 1688 w Londynie, zm.

30 maja 1744 w Twickenham na wschód od Londynu) – czołowy poeta angielskiego Oświecenia, zdeklarowany katolik i torys.Za właściwy debiut literacki Alexandra Pope'a uważa się publikację poematu Wiersz o krytyce, wzorowanego na kodeksie XVIII-wiecznego klasycyzmu Nicolasa Boileau. Od tego czasu jego twórczość − choć jednolita stylistycznie i spójna światopoglądowo − obejmowała całą różnorodność znanych wówczas gatunków literackich oraz kręgów zainteresowań, od satyry oraz poematu heroikomicznego, którego był przedstawicielem, aż do poważnych poematów filozoficznych krzewiących wiarę w dobroć Boga, a nawet pieśni religijnych. (pl)

Question: Which 18th century English poet was known as the Bard of Twickenham
Answer: Alexander Pope