Discuss Alexander Pope’s An Epistle to Dr Arbuthnot as a SOCIAL SATIRE | MEG - 1 | Block 5: The Neoclassical Poets

 

The Epistle to Dr. Arbuthnot is a satire in poetic form written by Alexander Pope and addressed to his friend John Arbuthnot, a physician. It was first published in 1735 and composed in 1734, when Pope learned that Arbuthnot was dying. Pope described it as a memorial of their friendship. It has been called Pope's "Most directly autobiographical work", in which he defends his practice in the genre of satire and attacks those who had been his opponents and rivals throughout his career.

  Both in composition and in publication, the poem had a chequered history. In its canonical form, it is composed of 419 lines of heroic couplets. The Epistle to Dr. Arbuthnot is notable as the source of the phrase "damn with faint praise," which has subsequently seen so much common usage that it has become a cliché or idiom. Another of its notable lines is "Who breaks a butterfly upon a wheel?"

The term "epistle" originally meant just a letter. But over time, it came to refer specifically to formal letters that talk about public issues rather than personal ones. These letters express feelings or ideas that are relevant to many people at a certain time. An epistle is usually written by someone who is skilled in writing, using fancy language, to discuss a specific topic or idea. In ancient times, the word "epistola" also meant an official order from an emperor or ruler.

Principal Characteristics of Pope's Satires

The principal characteristics of Pope as a satirist may thus be described:

(1) He writes both comic satire and corrosive satire. In other words, while he largely follows the Horatian mode of writing satire, he also sometimes adopts the Juvenalian mode.

(2) He is mostly prompted to write satire by his personal grudges and grievances against certain individuals of his own time; but his satire sometimes transcends personal considerations and acquires a universal validity. In other words, he is capable of writing both personal and general satire.

(3) Like all true satire, Pope's satirical poems have a normative function. In other words, Pope has in mind certain distinct moral values and ethical standards by which he judges human beings and their behaviour. Thus his satire is intended to accomplish a reformative purpose.

(4) His satires are marked by several stylistic excellences. In other words, his satires possess a number of technical merits which raise them to the level of genuine poetry.

 

Pope, a Master of Juvenalian as Well As Horatian Satire

The two most famous satirists of ancient times were the Romans, Horace and Juvenal. These two celebrated writers adopted two different modes of writing satires.

Horace wrote genial, laughing, urbane satire;

while Juvenal excelled in writing severe, harsh, and lashing satire.

 

The first kind of satire works chiefly in terms of laughter and may be called comic satire.

The second mode emphasizes a severely satirical attack in which laughter is at a minimum or perhaps even absent. This may be called caustic or corrosive satire.

Most good critics have a preference for comic satire and are repelled by corrosive satire. Comic satire is chiefly regarded as a richer and more complete treatment of human life and human nature than purely corrosive satire.

 

Now, Pope shows himself to be a master of both these kinds of satire, and An Epistle to Dr. Arbuthnot shows his mastery of both these modes, though it is largely Horatian in mood and temper, and only occasionally becomes Juvenalian. The Horatian mode of satire predominates from the commencement of the poem right up to Line 192 when the portrayal Atticus begins.

In the first 192 lines, Pope ridicules a large number of poetasters of his time collectively and also, in some cases, individually. He poetaster work of these poetaster so absurd that he advices to them for nine years they should keep their verses with them and should not rush them to a printer or a publisher to have those verses printed. One of the most amusing passages in this part of the satire is the one in which Pope describes the thick-skinned fools who remain totally unaffected by mockery and ridicule, and in which a poetaster or a scribbler is compared to a spider which never tires of weaving cobwebs.

 

Another highly comic passage is the one in which Pope ridicules the flatterers who compare his infirmities to those of the great ancient poets like Horace, Ovid, and Virgil. Then there is the amusing passage in which Pope makes fun of the superficial and purely verbal critics like the "slashing Bentley" and the "pidling Theobald".

 

The portrayal of Atticus or Addison is an example of corrosive satire. Although Pope here does recognize some of the merits of Addison, yet he also makes a scathing and denunciatory attack upon him. Addison is described as "willing to wound", and yet "afraid to strike"; as "alike reserved to blame or to commend"; as "a timorous foe and a suspicious friend"; as "so obliging that he never obliged".

 

The portrayal of Bufo or the false patron, which follows, is another example of comic or Horatian satire, because it is marked by a brilliant wit and a rich humour and because there is no sign of any personal spite here.

 

But a little later comes the portrayal of Sporus or Lord Hervey which again is an example of Juvenalian or corrosive satire. Lord Hervey is here abused in strong terms. He is called "a puppet which squeaks" according to the wishes of its prompter. He is the familiar serpent at the ear of Eve. He is one vile antithesis. He is, indeed, the devil himself with a "cherub's face and a reptile all the rest". The satire again becomes Horatian in temper when Pope ridicules the knaves: "A knave's a knave, to me, in every state"; a knave is a knave whether he be "a hireling scribbler or a hireling peer".

 

Stylistic Excellences

Then there are the stylistic excellences of Pope's satire. His satire is essentially poetical. It is poetical because of its imaginative quality, its vivid imagery, its pithy and condensed style, and its command of the heroic couplet. 

The very opening lines illustrate Pope's imaginative quality and his talent for introducing vivid imagery into his satire. "The dog-star rages," says Pope. "All Bedlam, or Parnassus, is let out." The poetasters "rave, recite, and madden round the land". They pierce his thickets, through his grotto they glide; they stop his chariot, and they board his barge.

 To illustrate Pope's condensed manner of writing and also his excellent handling of the heroic couplet, we may quote the following lines:

1. It is the slaver kills, and not the bite. A fool quite angry is quite innocent. Alas! 'tis ten times worse when they repent.

2. If want provoked, or madness made them print, I waged no war with Bedlam or the Mint.

3. That not in Fancy's maze he wandered long, But stooped to Truth and moralized his song.

His style is remarkable also by virtue of his choice of words and his  skillful manner of combining words into happy apt phrases. His use of antithesis is also notable as, for instance, his portrayal of Atticus from Which antithetical phrases have already been quoted above.

    Targeting Vanity and Self-Importance:

    In An Epistle to Dr. Arbuthnot, Alexander Pope makes fun of people who think they're better than others. He uses characters like Bufo and Sporus to show how silly and shallow rich and important people can be. Pope shows how these characters care more about looking important than actually being good people. They care a lot about how they seem to others, but they don't really care about what's truly important.

Pope satirizes the vanity and pretentiousness of individuals within his social circle. He mocks their obsession with appearance and status, as seen in lines like,

"Proud as Apollo on his forked hill,

Sat full-blown Bufo, puff’d by every quill."

Here, Pope ridicules Bufo’s inflated sense of self-importance, comparing him to the mythical Apollo while highlighting his reliance on flattery.

 

    Mocking Literary Pretensions:

In the poem, Pope makes fun of the world of literature and the people in it. Through the character of Timon who represents some of the problems in the literary world. Timon shows how some writers and critics copy each other's work and give fake praise to each other. Pope is pointing out the hypocrisy of these people who act like they're better than others in literature but actually do dishonest things. He's showing how silly it is for them to pretend to be so important when they're not really being honest or original.

Pope mocks the plagiarism and sycophancy prevalent among these individuals, as evidenced by the lines,

"Damn with faint praise, assent with civil leer,

And without sneering, teach the rest to sneer."

Through these lines, Pope exposes the insincerity and shallowness of literary praise, highlighting the hypocrisy of those who engage in it.

 

    Criticizing Political Corruption:

In the poem, Pope talks about the politics of his time. He mentions political figures like Lord Hervey to show how corrupt and unfair politics can be. Pope criticizes the way politicians like Lord Hervey use their power for their own benefit instead of helping the people they're supposed to serve. He's showing how these politicians care more about themselves than the people they're supposed to be working for. Pope is pointing out the selfishness and dishonesty in politics, and how it harms society.

Pope uses satire to criticize political corruption and nepotism. He targets figures like Lord Hervey, portraying them as self-serving and morally bankrupt. In lines such as,

"Why rail they then, if but one wreath of mine,

Oh all-accomplish’d St. John! deck thy shrine?",

 Pope questions the integrity of politicians who seek to align themselves with influential individuals for personal gain.

    Satirizing Celebrity Culture:

    In An Epistle to Dr. Arbuthnot, Pope talks about how fame and celebrities were becoming a big deal in the 18th century. He mentions actresses like Cibber and Quin to show how people were starting to idolize and admire famous people. But Pope doesn't think this is a good thing. He criticizes how shallow and empty this adoration of celebrities is. He's showing how silly it is for people to care so much about famous people when there are more important things in the world. Pope is pointing out how society's obsession with fame is kind of ridiculous and doesn't really make sense.Pope mocks the shallow adoration and fickleness of public opinion regarding celebrities, as seen in the lines,

"Quinze grandeur, balanced by a ring of state;

On either hand, her favourites to place,

Proud of her conquests, on her bridal day,

She struts, she raffles, elbows all away."

Here, Pope ridicules the spectacle of celebrity weddings and the superficiality of public admiration.

 

    Exposing Moral Hypocrisy:

    Pope uses his satire to expose the moral hypocrisy that permeates society. Through characters like Atossa and Narcissa, he critiques the double standards and moral corruption prevalent among the upper classes. Pope highlights the disconnect between public virtue and private vice, showcasing how individuals often espouse high moral principles while engaging in immoral behavior behind closed doors.

Pope highlights this contradiction through lines like,

"Yet let me flap this bug with gilded wings,

This painted child of dirt that stinks and stings."

Through such imagery, Pope condemns the hypocrisy of those who mask their vices with a veneer of respectability.

 

    Reflecting on Personal Suffering:

    Amidst the biting satire, Pope reflects on his own personal suffering and struggles. Through references to his physical ailments and literary enemies, he offers a glimpse into the challenges he faced as a writer. Pope’s self-deprecating humor serves as a contrast to the arrogance of his targets, highlighting the resilience and wit with which he confronts adversity.

He addresses his physical ailments and literary enemies, demonstrating resilience and wit in the face of adversity. Lines like,

"Thus, at the peacock’s painted plumes repine,

And envy gay descriptions which are thine,"

reveal Pope’s self-awareness and willingness to confront challenges with humor and grace.

    Celebrating Artistic Integrity:

    Despite the cynicism pervading the poem, Pope ultimately celebrates the power of artistic integrity and creative expression. Through his dedication to his craft and refusal to compromise his principles, he emerges as a beacon of authenticity amidst a sea of pretenders. Pope’s commitment to truth and beauty serves as a reminder of the enduring value of art in a world consumed by vanity and deceit.

 Related Works:

1.    Alexander Pope - "The Dunciad": Pope's mock-heroic poem targets various contemporary poets, writers, and intellectuals whom he considered dull and unworthy of literary acclaim. It satirizes the literary scene of his time, depicting it as overrun by mediocrity and incompetence.

2.    Lord Byron - "English Bards and Scotch Reviewers": Byron's satire takes aim at the literary critics and poets of his era, including his contemporaries. He uses sharp wit and biting commentary to critique their works and personas.

3.    Edgar Allan Poe - "The Poetic Principle": While not a direct satire, Poe's essay offers a critical examination of poetry and poets. He discusses the shortcomings of contemporary poets and the decline of poetic standards, offering his own theories on what constitutes good poetry.

4.    Samuel Butler - "The Elephant in the Moon": Butler's poem humorously satirizes the world of poets and poetry. It depicts a fantastical scenario where an elephant attempts to write poetry, highlighting the absurdities and pretensions of the literary world.

5.    James Russell Lowell - "A Fable for Critics": This poem is a satirical review of various American poets and authors of Lowell's time. It humorously critiques their styles, themes, and personalities, offering both praise and mockery in equal measure.

6.    John Dryden's "Mac Flecknoe": Dryden's poem satirizes the literary world of his time by ridiculing a mediocre poet, Shadwell, and contrasting him with a more esteemed predecessor, Richard Flecknoe. It critiques the decline of literary standards and the prevalence of mediocrity.

Conclusion:

 In conclusion, An Epistle to Dr. Arbuthnot, Alexander Pope masterfully crafts a social satire that remains relevant and resonant centuries after its composition. Through his keen observations and biting wit, Pope exposes the follies and pretensions of his time, offering a scathing critique of society’s vices. From vanity and literary pretensions to political corruption and moral hypocrisy, Pope leaves no stone unturned in his quest to unveil the truth beneath the facade of civility. Yet, amidst the cynicism and satire, Pope also celebrates the enduring power of artistic integrity and creative expression, reminding readers of the timeless value of truth and beauty in a world plagued by vanity and deceit.