Alexander Pope’s poem presents us with an admirable woman, a subject which in the hands of any subsequent generation — in Wordsworth’s hands, say — would have resulted in a poem of intolerable sincerity.
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It may be true, as we noted last May, that we have entered an era when nobody much reads Alexander Pope (1688–1744). And it may be true that the highly structured verse for which Pope argues in his “Sound and Sense,” our Poem of the Day this past March 14, holds little appeal in an age that prizes deconstruction as a new kind of making, and values authenticity (whatever that means, exactly) over art.
If we don’t read Pope, whose three hundred thirty-fifth birthday came this month on May 21, what are we actually missing? Of course, we no sooner ask the question than we think of three hundred thirty-five depressing postmodern ways to answer it. But no matter how we might try to justify not reading Pope, no matter how we might insist on the irrelevance of everything he represents, still it would be a shame to have missed today’s Poem of the Day.
“On a Certain Lady at Court” presents us with an admirable woman, a subject which in the hands of any subsequent generation — in Wordsworth’s hands, say — would have resulted in a poem of intolerable sincerity. But here, the brittle archness that so marks the Augustan age betrays a rare, if fleeting, vulnerability, a subtle admixture of wit and wryness.
The three tetrameter abab quatrains enact the kind of clever rhymes, such as “woman/uncommon” and “folly/melancholy,” that resonate with an image larger and more whole than the words alone suggest. Well might “Envy” listen in silence to this catalog of the lady’s virtues. The only thing about her that’s not to envy is her selective deafness. The speaker praises her, but — ah, well! — she turns her head away and fails to hear.
By GEORGE WILLIS
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By BRADLEY CORTRIGHT
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By A.R. HOFFMAN
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