|
|
|
The poet ... shows the Goddess coming in her majesty, to destroy order and science, and to substitute the Kingdom of the Dull upon earth. How she leads captive the Sciences, and silenceth the Muses, and what they be who succeed in their stead. All her children, by a wonderful attraction, are drawn about her; and bear along with them divers others, who promote her empire by connivance, weak resistance, or discouragement of arts; such as half-wits, tasteless admirers, vain pretenders, the flatterers of dunces, or the patrons of them. ... The progress and effects whereof on all orders of men, and the consummation of all, in the restoration of Night and Chaos, conclude the poem. - Pope |
Alexander Pope's greatest work is a scathing attack on the scholiast pedantry of his day. It consists of four books totalling nearly 2000 lines with numerous references to obscure period characters. I have extracted my favorite 200 lines from Book 4, leaving in only one such reference, namely a noble in House of Lords by the name of Chesterfield, who opposed the Act of 1737 requiring all plays to be licensed. This is best read in parallel, as I have attempted to restate the meaning couplet by couplet (with a few exceptions, as indicated by the alternate colored groupings). - Brodie
|
|
1
|
Dunciad Variorum Yet, yet a moment, one dim ray
of light
|
1
|
Of the Various Coneheads
by Richard Allen Brodie Grant, grant, O Darkness never
ending, O
|
|
2.
|
dread Chaos and eternal Night: cf. Paradise Lost, II, 894-1009. |
|
3.
|
darkness visible: Paradise Lost, I, 63. |
|
7.
|
force inertly strong: "[Pope] Alluding to the Vis inertiae of Matter, which, though it really be no Power, is yet the Foundation of all the Qualities and Attributes of that sluggish Substance." |
|
9.
|
Dog-star: Sirius. The rising of this constellation in August associates it with maddening heat and with the August rehearsals of poetry in Juvenal's Rome. See Horace, Odes, III, xiii, 9, and Juvenal, Sat., iii, 15. |
|
10.
|
bay: wreath of leaves indicating poetic power in the classical world. |
|
11.
|
owl: sacred to Athene, the goddess of wisdom. |
|
15.
|
Of dull and venal: "[Pope] The allegory continued; dull referring to the extinction of Light or Science, venal to the destruction of Order, or the Truth of Things." |
|
16.
|
Saturnian days. Saturn's reign was the legendary "golden age," but Saturn is also the name for lead. The new Saturnian age is leaden in dulness and golden in its love of money. |
|
26.
|
Billingsgate: abusive language. |
|
28.
|
furs: the ermine robe of the judges; hence, the law. lawn: fine linen used in sleeves of bishops' robes; hence, the church. |
|
31.
|
Mathésis: i.e., mathematics. |
|
35-36.
|
Pope refers to the Act of 1737 requiring that plays be licensed. |
|
39.
|
But sober History. ''[W.] History attends on tragedy, satire on comedy, as their substitutes in discharge of their distinct functions...." |
|
41.
|
Thalia: the Muse of Comedy. |
|
43.
|
Nor couldst thou.... "[Pope] This Noble Person in the year 1737, when the Act aforesaid was brought into the House of Lords, opposed it in an excellentspeech . . ." |
|
73-78.
|
The young ... around. The metaphor is Newtonian. |
|
79.
|
orb on orb: cf. Paradise Lost, V, 596: the angels responding to the "imperial summons." |
|
84.
|
vortex: "in older theories of the universe (esp. Descartes) a supposed rotary movement of cosmic matter around a centre or axis . . ." (OED). The language in this paragraph is also meant to suggest Newton's theories. |
|
137-38.
|
Dunce scorning dunce. "[W.] This is not to be ascribed so much to the different manners of a court and a college, as to the different effects which a pretence to learning and a pretence to wit, have on Blockheads. For as Judgment consists in finding out the differences in things and wit in finding out their likenesses, so the dunce is all discord and dissension, and constantly busied in reproving, examining, confuting, etc. while the Fop flourishes in peace, with Songs and Hymns of Praise, Addresses, Characters, Epithalamiums, etc." |
|
151.
|
like the Samian letter. "[P., W.] The letter Y, used by Pythagoras as an emblem of the different roads of Virtue and Vice. Et tibi quae Samios diduxit litera ramos. Persius [Satire iii, 56]." |
|
160.
|
pale: fenced-in area. |
|
162.
|
We hang one jingling padlock: refers to the old classical educational strategy of employing rhymes to assist the memory. |
|
176.
|
James 1: renowned for his pedantic learning. |
|
182.
|
arbitrary sway. James was a learned proponent of the Divine Right of Kings. Cf. line 188. |
|
190.
|
sable shoal: referring to the crowd of professors in academic robes and comparing them to a school of fish. |
|
211.
|
scholiast: commentator. |
|
212.
|
Made Horace dull, and humbled Milton's strains: refers to Bentley's editions of Horace, 1711, and of Paradise Lost, 1732. |
|
267.
|
cement: accent on the first syllable. |
|
459 ff.
|
Pope refers to Deistical clergymen who sought to rationalize the element of mystery, i.e., revelation, out of Christianity. |
|
462.
|
"[P., W.] Alluding to a ridiculous and absurd way of some Mathematicians, in calculating the gradual decay of Moral Evidence by mathematical proportions: according to which calculation, in about fifty years it will be no longer probable that Julius Caesar was in Gaul, or died in the Senate House. See Craig's Theologiae Christianae Principia Mathematica. But as it seems evident, that facts of a thousand years old, for instance, are now as probable as they were five hundred years ago; it is plain that if in fifty more they quite disappear, it must be owing, not to their Arguments, but to the extraordinary Power of our Goddess; for whose help therefore they have reason to pray." moral evidence: the argument from morality that the Christian narrative is true. |
|
463.
|
implicit faith: faith based on the Church's authority. |
|
471.
|
the high priori road. "[P., W.] Those who, from the effects in this Visible world, deduce the Eternal Power and Godhead of the First Cause, though they cannot attain to an adequate idea of the Deity, yet discover so much of him, as enables them to see the End of their Creation, and the Means of their Happiness: whereas they who take this high Priori Road (such as Hobbes, Spinoza, Descartes, and some better Reasoners) for one that goes right, ten lose themselves in Mists, or ramble after Visions, which deprive them of all sight of their End, and mislead them in the choice of wrong means." |
|
473.
|
Make Nature still. "[P., W.] This relates to such as, being ashamed to assert a mere Mechanic Cause, and yet unwilling to forsake it entirely, have had recourse to a certain Plastic Nature, Elastic Fluid, Subtile Matter, etc." |
|
475-76.
|
"[P., W.] The first of these Follies is that of Descartes; the second of Hobbes; the third of some succeeding Philosophers." |
|
479.
|
local: applying Virtue only to man and his world, not relating it to God's eternal world. |
|
629.
|
the sable throne behold. "[W.] The sable thrones of Night and Chaos, here represented as advancing to extinguish the light of the sciences in the first place blot out the colours of Fancy, and damp the fire of Wit, before they proceed to their greater work." |
|
635-36.
|
As one by one: Seneca, Medea, IV, ii, where Medea's charm includes an address to the skies. |
|
637.
|
As Argus' eyes. Hermes, the messenger god, at Zeus's request, put to sleep the hundred-eyed giant Argus, who had been set to guard Io and then killed him. See Ovid, Metamorphoses, 1, 622 ff., esp. 687-97, 713-14. |
|
641.
|
"[Pope] Alluding to the saying of Democritus, That Truth lay at the bottom of a deep well, from whence he had drawn her: Though Butler says, He first put her in, before he drew her out." |
|
2.
|
Pope can modestly characterize his own illumination as "dim", and perhaps it appears tp be, in the consuming glare of the gleaming gloom which is gathering around him. But I will refer to his first magnitude fire as "bright", both here and in line 181. |
|
30.
|
The restatement often shifts to a related, but different metaphor: here, from two- to three-dimensional. |
|
35.
|
Clio: the Muse of History. |
|
38.
|
Calliope: The Muse of Epic Poetry. Playing her instrument upside down is thus symbolic of Pope's satiric masterpiece being described as an anti-epic. "Epic and Anti-Epic Milton: Paradise Lost; and Pope: The Dunciad Variorum" - Patricia Craddock, Department of English, University of Florida |
|
39.
|
See [P] line 35 |
|
40.
|
Nine: the number of the Muses. |
|
41.
|
Pope's portrayal of the hypnotic influence exerted by the Goddess of Dulness, naturally lends itself to the religious metaphor used here and in line 54 |
|
43.
|
The law of gravity states that the force of attraction between masses varies inversely as the square of the distance separating them. |
|
44.
|
A reference to the electrical attraction of opposites. |
|
54.
|
a continuation of the religious metaphor begun at line 41 |
|
62.
|
The culinary metaphor here anticipates Pope's own usage in line 114. |
|
64.
|
A reversion to the culinary metaphor carried over in line 62's restatement. |
|
66.
|
Standing far under = far from understanding |
|
81.
|
A reference to Robert Frost's The Road not Taken "Two roads diverged in a yellow wood ... I took the one less traveled by" |
|
107.
|
"Dense" echos Pope's "Thick", as having both spatial and mental connotations |
|
111-12.
|
The metaphor shifts from literary to musical. |
|
117-18.
|
Concerning the 1710 edition of his Tale of a Tub, Swift writes: "The Author is informed, that the Bookseller has prevailed on several Gentlemen, to write some explanatory Notes, for the goodness of which he is not to answer, having never seen any of them, nor intends it, till they appear in Print, when it is not unlikely he may have the Pleasure to find twenty Meanings, which never enter'd into his Imagination." |
|
119-22.
|
A metaphor shift from self-obscuration, to a foreshadowing of the final destruction and burial, under universal darkness, of all that is divinely good and true. |
|
139-40.
|
The duplicitous substitution of one doctrinal system for another in the name of opposing all that is doctrinaire, and the imposition of a regime of intolerance, while simultaneously condemning that which does not tolerate it. |
|
144.
|
Icarus: the son of Daedalus who made wings for himself and his son out of wax and feathers, and who, ignoring his fathers warnings, flew too close to the sun, causing the wings to melt - whereupon he fell int the Aegean Sean and died. |
|
167.
|
Melpomene: the Muse of Tragedy (an appropriate choice, though Pope is not specific) |
|
170.
|
Anticipates the closing of Argus' eyes in [P] line 185 |
|
174.
|
The meteorological metaphor harks back to her "mists" (145), and "clouds" (120); and looks forward to decaying clouds (179), dying rainbows (180), and the extinguishing of "sacred fires" (193) and public/private "flames" (195) - the falling of this rain consistent with the numbing of Thalia into coldness (87) |
|
176.
|
Artemis: The GodDess of Night. |
|
179-80.
|
Metaphor shifts from the heavenly to the homespun. |
|
181-84.
|
"bright" consistent with usage in [B] line 2 |
|
184.
|
See [P] line 35. |
|
185-86.
|
Io was actually the girlfriend of Zeus. The reference to Argus being her beau is thus more in the sense of one who escorts a lady (he was guarding her in her guise as a heifer), than as her lover. |
|
187.
|
As the finger of Zeus directs thunderbolts at the earth, so the shaking of her black wand preciptates the downpour that "dous'e Art's flame" [B] line 14 and kills the " human Spark" [P] line 637. |
|
198.
|
"Common Sense" - see [P] line 461. |