The Use of Personification in An Essay on Criticism
“An Essay on Criticism” was written by British writer Alexander Pope
around 1709. This poem was written in heroic couplets and its purpose
was to express Pope’s opinion on literature as a poet and critic.
Pope is responding to the debate over whether or not poets should
write “naturally” or base their work on a set of pre-determined rules
as done by ancient poets. Pope’s poem can be broken down into three
main points. The first section is used by Pope to give general
principles of good criticism and poetry. The second section
identifies the flaws a critic is prone to. The third section
addresses the moral traits a good critic must have and gives examples
of outstanding critics. Pope’s use of personification throughout the
poem allows him to expand his ideas and secure his argument while
creating a very memorable poem. His use of personification allows the
poem to come to life with detail (Pope 2476).
Pope begins the poem by stating it is less offensive to “tire our
Patience, than mislead our Sense” (Pope 4) meaning it is much more
harmful to be a bad critic than a bad poet. “‘Tis with our judgments
as our watches, none/ Go just alike, yet each believes his own" (Pope
9). Here Pope uses a watch to personify judgments. Everyone may have
their own opinion that they believe is right. “Most have seeds of
judgment in their mind; Nature affords at least a glimm’ring light”
(Pope 20). Men at one time do have “seeds” of good judgment, but Pope
says that in the search wit they are defaced by false education and
loose their common sense. “Some neither can for wits nor critics
pass, as heavy mules are neither horse nor ass” (Pope 38). This line
refers to those who never became intellectuals or good critics. They
are somewhere in between, not worthy of a name. Instead they are
referred to as “half-formed insects on the banks of Nile” (Pope 41).
The bugs represent the critics who swarm every work of literature with
their malicious criticisms.
Pope recommends following nature as the first rule “By her just
standard, which is still the same […] One clear, unchanged, and
universal light” (Pope 68). Pope here states that rules are necessary
in order to criticize poetry. He compares theses rules to “unerring”
nature which is believed to be the epitome of ideal order and
harmony. The rules of the Ancients are useful guidelines for the true
critic, for they are “Nature Methodized” (Pope 89). He believes that
many recent critics have used the rules without understanding them.
But Cady Stanton saw opportunity in public criticism. ‘Imagine the publicity given our ideas by thus appearing in a widely circulated sheet like the Herald!’ she wrote to Mott. ‘It will start women thinking, and men, too.’ She drafted lengthy responses to every negative newspaper article and editorial, presenting the reformers’ side of the issue to the readers. Mott sensed her younger colleague’s future role. ‘Thou art so wedded to this cause, ‘ she told Cady Stanton, ‘that thou must expect to act as pioneer in the
Krstovic, Jelena O, ed. Introduction to Hartmann von Aue. Classical and Medieval Literature Criticism. Detroit: Gale Research Inc., 1993.
Since she could not own, much less lose a realm, the speaker seems to be
James Joyce's A Portrait of the Artist as a Young Man, which takes place in late 19th century Ireland, is a modernist Bildungsroman about Stephen Dedalus, a young man who, while facing the obstacles of his family, religion, and nation, tries to discover his life's purpose. Throughout the novel, Joyce takes the readers through Stephen's labyrinthine life, using techniques such as epiphanies, betrayals, and central images.
Joseph, Mary. "The Turn of the Screw: Case Studies in Contemporary Criticism (review)." Project Muse . Volume 18.Number 1 (1997): n. page. Print.
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