A Dialogue To The Memory Of Mr. Alexander Pope Poem Rhyme Scheme and Analysis
Rhyme Scheme: AB C DDEEF GGHHBBIIJJKKLLMMNNOO PPQQRRAFS T UFA OV OWWXKOOYYZZA2A2B2B2 C2C2S SD2E2E2 A2A2 GGF2F2G2G2FFGGH2I2J2 J2K2K2L2L2GGM2 N2 O2O2BBFFFFP2P2M2M2Q2 Q2 R2R2GGFFCCNon injussa cano | A |
Virg | B |
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POET I sing of POPE | C |
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FRIEND What POPE the Twitnam Bard | D |
Whom Dennis Cibber Tibbald push'd so hard | D |
POPE of the Dunciad POPE who dar'd to woo | E |
And then to libel Wortley Montagu | E |
POPE of the Ham walks story | F |
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P Scandals all | G |
Scandals that now I care not to recall | G |
Surely a little in two hundred Years | H |
One may neglect Contemporary Sneers | H |
Surely Allowance for the Man may make | B |
That had all Grub street yelping in his Wake | B |
And who I ask you has been never Mean | I |
When urged by Envy Anger or the Spleen | I |
No I prefer to look on POPE as one | J |
Not rightly happy till his Life was done | J |
Whose whole Career romance it as you please | K |
Was what he call'd it but a long Disease | K |
Think of his Lot his Pilgrimage of Pain | L |
His crazy Carcass and his restless Brain | L |
Think of his Night Hours with their Feet of Lead | M |
His dreary Vigil and his aching Head | M |
Think of all this and marvel then to find | N |
The crooked Body with a crooked Mind | N |
Nay rather marvel that in Fate's Despite | O |
You find so much to solace and delight | O |
So much of Courage and of Purpose high | P |
In that unequal Struggle not to die | P |
I grant you freely that POPE played his Part | Q |
Sometimes ignobly but he lov'd his Art | Q |
I grant you freely that he sought his Ends | R |
Not always wisely but he lov'd his Friends | R |
And who of Friends a nobler Roll could show | A |
Swift St John Bathurst Marchmont Peterb'ro' | F |
Arbuthnot | S |
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FR ATTICUS | T |
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P Well entre nous | U |
Most that he said of Addison was true | F |
Plain Truth you know | A |
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FR Is often not polite | O |
So Hamlet thought | V |
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P And Hamlet Sir was right | O |
But leave POPE'S Life To day methinks we touch | W |
The Work too little and the Man too much | W |
Take up the Lock the Satires Eloise | X |
What Art supreme what Elegance what Ease | K |
How keen the Irony the Wit how bright | O |
The Style how rapid and the Verse how light | O |
Then read once more and you shall wonder yet | Y |
At Skill at Turn at Point at Epithet | Y |
True Wit is Nature to Advantage dress'd | Z |
Was ever Thought so pithily express'd | Z |
And ten low Words oft creep in one dull Line | A2 |
Ah what a Homily on Yours and Mine | A2 |
Or take to choose at Random take but This | B2 |
Ten censure wrong for one that writes amiss | B2 |
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FR Pack'd and precise no Doubt Yet surely those | C2 |
Are but the Qualities we ask of Prose | C2 |
Was he a POET | S |
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P Yes if that be what | S |
Byron was certainly and Bowles was not | D2 |
Or say you grant him to come nearer Date | E2 |
What Dryden had that was denied to Tate | E2 |
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FR Which means you claim for him the Spark divine | A2 |
Yet scarce would place him on the highest Line | A2 |
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P True there are Classes POPE was most of all | G |
Akin to Horace Persius Juvenal | G |
POPE was like them the Censor of his Age | F2 |
An Age more suited to Repose than Rage | F2 |
When Rhyming turn'd from Freedom to the Schools | G2 |
And shock'd with Licence shudder'd into Rules | G2 |
When Phoebus touch'd the Poet's trembling Ear | F |
With one supreme Commandment Be thou Clear | F |
When Thought meant less to reason than compile | G |
And the Muse labour'd chiefly with the File | G |
Beneath full Wigs no Lyric drew its Breath | H2 |
As in the Days of great ELIZABETH | I2 |
And to the Bards of ANNA was denied | J2 |
The Note that Wordsworth heard on Duddon side | J2 |
But POPE took up his Parable and knit | K2 |
The Woof of Wisdom with the Warp of Wit | K2 |
He trimm'd the Measure on its equal Feet | L2 |
And smooth'd and fitted till the Line was neat | L2 |
He taught the Pause with due Effect to fall | G |
He taught the Epigram to come at Call | G |
He wrote | M2 |
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FR His Iliad | N2 |
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P Well suppose you own | O2 |
You like your Iliad in the Prose of Bohn | O2 |
Tho' if you'd learn in Prose how Homer sang | B |
'Twere best to learn of Butcher and of Lang | B |
Suppose you say your Worst of POPE declare | F |
His Jewels Paste his Nature a Parterre | F |
His Art but Artifice I ask once more | F |
Where have you seen such Artifice before | F |
Where have you seen a Parterre better grac'd | P2 |
Or gems that glitter like his Gems of Paste | P2 |
Where can you show among your Names of Note | M2 |
So much to copy and so much to quote | M2 |
And where in Fine in all our English Verse | Q2 |
A Style more trenchant and a Sense more terse | Q2 |
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So I that love the old Augustan Days | R2 |
Of formal Courtesies and formal Phrase | R2 |
That like along the finish'd Line to feel | G |
The Ruffle's Flutter and the Flash of Steel | G |
That like my Couplet as compact as clear | F |
That like my Satire sparkling tho' severe | F |
Unmix'd with Bathos and unmarr'd by Trope | C |
I fling my Cap for Polish and for POPE | C |
Henry Austin Dobson
(1)
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