مركز برايت للغات والترجمة وتقنية المعلومات
{مرحباً بك في عالم برايت معنا تتعلم وتستفيد , إنظم إلينا فقط بالتسجيل أو الدخول إن كنت أحد أعضاءنا الكرام}
مركز برايت للغات والترجمة وتقنية المعلومات
{مرحباً بك في عالم برايت معنا تتعلم وتستفيد , إنظم إلينا فقط بالتسجيل أو الدخول إن كنت أحد أعضاءنا الكرام}
مركز برايت للغات والترجمة وتقنية المعلومات
هل تريد التفاعل مع هذه المساهمة؟ كل ما عليك هو إنشاء حساب جديد ببضع خطوات أو تسجيل الدخول للمتابعة.

مركز برايت للغات والترجمة وتقنية المعلومات

علوم لغات - علوم إدارية و تكنولوجيا - تدريب - خدمات ترجمة - استشارات
 
الرئيسيةالبوابةأحدث الصورالتسجيلدخول

 

 Pope's Essay on Criticism

اذهب الى الأسفل 
كاتب الموضوعرسالة
Admin
Admin
Admin
Admin


Pope's Essay on Criticism 87887173194659168615
ذكر
الابراج : العقرب
عدد المساهمات : 278
تاريخ التسجيل : 14/03/2011
العمر : 36
الموقع : https://www.facebook.com/home.php#!/profile.php?id=1022240823

Pope's Essay on Criticism Empty
مُساهمةموضوع: Pope's Essay on Criticism   Pope's Essay on Criticism I_icon_minitimeالسبت مارس 19, 2011 2:28 pm

The Essay on Criticism is more profitably introduced by a topical summary of its themes than by an analysis of its premises. For its premises and aims are those of the entire neoclassic tradition. And the poem itself is a statement or summary of them rather than an individual argument or analysis. The essay may be described as falling into three parts, with the following subdivisions:
I. General qualities needed by the critic (1-200):
A. Awareness of his own limitations (46-67).
B. Knowledge of Nature in its general forms (68-87).
1. Nature defined (70-79).
2. Need of both wit and judgment to conceive it (80-87).
C. Imitation of the Ancients, and the use of rules (88-200).
1. Value of ancient poetry and criticism as models (88-103).
2. Censure of slavish imitation and codified rules (104-117).
3. Need to study the general aims and qualities of the Ancients (118-140).
4. Exceptions to the rules (141-168).
II. Particular laws for the critic (201-559):
Digression on the need for humility (201-232).
A. Consider the work as a total unit (233-252).
B. Seek the author's aim (253-266).
C. Examples of false critics who mistake the part for the whole (267-383).
1. The pedant who forgets the end and judges by rules (267-288).
2. The critic who judges by imagery and metaphor alone (289-304).
3. The rhetorician who judges by the pomp and colour of the diction (305-336).
4. Critics who judge by versification only (337-343).
Pope's digression to exemplify "representative meter" (344-383).
D. Need for tolerance and for aloofness from extremes of fashion and personal mood (384-559).
1. The fashionable critic: the cults, as ends in themselves, of the foreign (398-405), the new (406-423), and the esoteric (424-451).
2. Personal subjectivity and its pitfalls (452-559).
III. The ideal character of the critic (560-744):
A. Qualities needed: integrity (562-565), modesty (566-571), tact (572-577), courage (578-583).
B. Their opposites (584-630).
C. Concluding eulogy of ancient critics as models (643-744).




Analysis of Alexander Pope's Essay on Criticism
Analysis of Alexander Pope's Essay on Criticism

In his Essay on Criticism, Alexander Pope states that, “True ease in writing comes from art, not chance / As those move easiest who have learn’d to dance.” Not only do I agree with Pope’s statement, but I extend his idea to say that my writing is a dance. My writing is the dance of the pen and the paper. It is the crowd of strangers brought together by a common dance, or the lone man dancing naked in front of a bathroom mirror. Each may be graceful and elegant, but each may also strike with crassness and discomfort. Each can enlighten. Each can outrage.

When I sit down to write, I may doodle in the margin for a while. I examine the topic and get in an appropriate frame of mind. Both of these steps occur when I go to a club. I have to get in the mood to dance, and to write. As I dig further into my mind, searching for ideas, I begin to let loose, just as I do on the dance floor after a few songs. I stop thinking about the correctness and grammar of my writing and begin to let my hand write my ideas as soon as they come to mind. I don’t examine an idea as it comes to mind, I simply write how I feel. This parallels the way my dancing becomes a natural movement. In both writing and dancing, I start out constrained and move into a relaxed flow.

Dancing and writing both lead to a discovery of new abilities. When I am engaged in either activity, I manifest uncanny skills that even I was unaware of. This elevated consciousness is my greatest strength as a writer. I have the ability to put my ideas down on paper in a captivating manner. This parallels a choreographer’s challenge. She must have able dancers to perform her design, or it will never be fully realized. I am also fluent with both my sentence structure and the work as a whole. A dancer must be able to execute each move with grace, and the entire production must flow from prelude to curtain call.

My most prevalent weakness is my tendency to write only what I want. This assignment has been a huge challenge because I write what I feel. It is hard for me to stay within the guidelines of many assignments. I also need to work on my editing process. I have never been a great speller, and when there are no dictionaries or spell checks, I find myself in trouble.

Why must we write? The answer is the same as it would be if the question were posed: Why do we dance? The answer is expression and communication. While dancing, our bodies are inebriated with passion, expressing both our views of how dance should look and our physical ability to achieve that ideal. When we write, we are giving the world a look at the way we view it. We express ourselves through writing. We give our interpretation of the how and why of our reality. The only limit to expressing this view is the skills to relay the message. Writing is essential for the continued existence of man, and the birth of new ideas.

The other necessity that writing appeases is a need for communication. Writing allows ideas to pass through the barrier of time. It allows minds of past and present to collaborate with each other. Writing gives us everything from history to philosophy. After all, we would not know Socrates if it were not for Plato.
الرجوع الى أعلى الصفحة اذهب الى الأسفل
https://bright-center.7olm.org
 
Pope's Essay on Criticism
الرجوع الى أعلى الصفحة 
صفحة 1 من اصل 1
 مواضيع مماثلة
-
» Essay about the novel Robinson Crosoe

صلاحيات هذا المنتدى:لاتستطيع الرد على المواضيع في هذا المنتدى
مركز برايت للغات والترجمة وتقنية المعلومات :: Literary Criticism-
انتقل الى: