Essay on Poetic Theory

Preface to The Iliad of Homer (1715)

by Alexander Pope
Fable may be divided into the probable, the allegorical, and the marvellous. The probable fable is the recital of such actions as, though they did not happen, yet might, in the common course of nature; or of such as, though they did, became fables by the additional episodes and manner of telling them. Of this sort is the main story of an epic poem, “The return of Ulysses, the settlement of the Trojans in Italy,” or the like. That of the Iliad is the “anger of Achilles,” the most short and single subject that ever was chosen by any poet. Yet this he has supplied with a vaster variety of incidents and events, and crowded with a greater number of councils, speeches, battles, and episodes of all kinds, than are to be found even in those poems whose schemes are of the utmost latitude and irregularity. The action is hurried on with the most vehement spirit, and its whole duration employs not so much as fifty days. Virgil, for want of so warm a genius, aided himself by taking in a more extensive subject, as well as a greater length of time, and contracting the design of both Homer’s poems into one, which is yet but a fourth part as large as his. The other epic poets have used the same practice, but generally carried it so far as to superinduce a multiplicity of fables, destroy the unity of action, and lose their readers in an unreasonable length of time. Nor is it only in the main design that they have been unable to add to his invention, but they have followed him in every episode and part of story. If he has given a regular catalogue of an army, they all draw up their forces in the same order. If he has funeral games for Patroclus, Virgil has the same for Anchises, and Statius (rather than omit them) destroys the unity of his actions for those of Archemorus. If Ulysses visit the shades, the AEneas of Virgil and Scipio of Silius are sent after him. If he be detained from his return by the allurements of Calypso, so is AEneas by Dido, and Rinaldo by Armida. If Achilles be absent from the army on the score of a quarrel through half the poem, Rinaldo must absent himself just as long on the like account. If he gives his hero a suit of celestial armour, Virgil and Tasso make the same present to theirs. Virgil has not only observed this close imitation of Homer, but, where he had not led the way, supplied the want from other Greek authors. Thus the story of Sinon, and the taking of Troy, was copied (says Macrobius) almost word for word from Pisander, as the loves of Dido and AEneas are taken from those of Medea and Jason in Apollonius, and several others in the same manner.

To proceed to the allegorical fable—If we reflect upon those innumerable knowledges, those secrets of nature and physical philosophy which Homer is generally supposed to have wrapped up in his allegories, what a new and ample scene of wonder may this consideration afford us! How fertile will that imagination appear, which as able to clothe all the properties of elements, the qualifications of the mind, the virtues and vices, in forms and persons, and to introduce them into actions agreeable to the nature of the things they shadowed! This is a field in which no succeeding poets could dispute with Homer, and whatever commendations have been allowed them on this head, are by no means for their invention in having enlarged his circle, but for their judgment in having contracted it. For when the mode of learning changed in the following ages, and science was delivered in a plainer manner, it then became as reasonable in the more modern poets to lay it aside, as it was in Homer to make use of it. And perhaps it was no unhappy circumstance for Virgil, that there was not in his time that demand upon him of so great an invention as might be capable of furnishing all those allegorical parts of a poem.

The marvellous fable includes whatever is supernatural, and especially the machines of the gods. If Homer was not the first who introduced the deities (as Herodotus imagines) into the religion of Greece, he seems the first who brought them into a system of machinery for poetry, and such a one as makes its greatest importance and dignity: for we find those authors who have been offended at the literal notion of the gods, constantly laying their accusation against Homer as the chief support of it. But whatever cause there might be to blame his machines in a philosophical or religious view, they are so perfect in the poetic, that mankind have been ever since contented to follow them: none have been able to enlarge the sphere of poetry beyond the limits he has set: every attempt of this nature has proved unsuccessful; and after all the various changes of times and religions, his gods continue to this day the gods of poetry.

We come now to the characters of his persons; and here we shall find no author has ever drawn so many, with so visible and surprising a variety, or given us such lively and affecting impressions of them. Every one has something so singularly his own, that no painter could have distinguished them more by their features, than the poet has by their manners. Nothing can be more exact than the distinctions he has observed in the different degrees of virtues and vices. The single quality of courage is wonderfully diversified in the several characters of the Iliad. That of Achilles is furious and intractable; that of Diomede forward, yet listening to advice, and subject to command; that of Ajax is heavy and self-confiding; of Hector, active and vigilant: the courage of Agamemnon is inspirited by love of empire and ambition; that of Menelaus mixed with softness and tenderness for his people: we find in Idomeneus a plain direct soldier; in Sarpedon a gallant and generous one. Nor is this judicious and astonishing diversity to be found only in the principal quality which constitutes the main of each character, but even in the under parts of it, to which he takes care to give a tincture of that principal one. For example: the main characters of Ulysses and Nestor consist in wisdom; and they are distinct in this, that the wisdom of one is artificial and various, of the other natural, open, and regular. But they have, besides, characters of courage; and this quality also takes a different turn in each from the difference of his prudence; for one in the war depends still upon caution, the other upon experience. It would be endless to produce instances of these kinds. The characters of Virgil are far from striking us in this open manner; they lie, in a great degree, hidden and undistinguished; and, where they are marked most evidently affect us not in proportion to those of Homer. His characters of valour are much alike; even that of Turnus seems no way peculiar, but, as it is, in a superior degree; and we see nothing that differences the courage of Mnestheus from that of Sergestus, Cloanthus, or the rest, In like manner it may be remarked of Statius’s heroes, that an air of impetuosity runs through them all; the same horrid and savage courage appears in his Capaneus, Tydeus, Hippomedon, &c. They have a parity of character, which makes them seem brothers of one family. I believe when the reader is led into this tract of reflection, if he will pursue it through the epic and tragic writers, he will be convinced how infinitely superior, in this point, the invention of Homer was to that of all others.

Originally Published: October 13, 2009
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 Alexander  Pope

Biography

Alexander Pope was born in London to a Roman Catholic family. A childhood sickness left him with stunted height, a curved spine, and ill health for the rest of his life. Pope earned fame and great financial success as a poet, satirist, and translator. He is perhaps best remembered for his mastery of the heroic couplet, as in An Essay on Man and “The Rape of the Lock.”

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