Read the poem. An Essay on Criticism
from True Ease in Writing
by Alexander Pope

But most by numbers judge a poet’s song;
And smooth or rough, with them is right or wrong:
In the bright Muse though thousand charms conspire,
Her voice is all these tuneful fools admire,
Who haunt Parnassus but to please their ear,
Not mend their minds; as some to church repair,
Not for the doctrine, but the music there.
These equal syllables alone require,
Tho’ oft the ear the open vowels tire,
While expletives their feeble aid do join,
And ten low words oft creep in one dull line,
While they ring round the same unvaried chimes,
With sure returns of still expected rhymes.
Where’er you find “the cooling western breeze”,
In the next line, it “whispers through the trees”:
If “crystal streams with pleasing murmurs creep”,
The reader’s threaten’d (not in vain) with “sleep”.
Then, at the last and only couplet fraught
With some unmeaning thing they call a thought,
A needless Alexandrine ends the song,
That, like a wounded snake, drags its slow length along.
Leave such to tune their own dull rhymes, and know
What’s roundly smooth, or languishingly slow;
And praise the easy vigour of a line,
Where Denham’s strength, and Waller’s sweetness join.
True ease in writing comes from art, not chance,
As those move easiest who have learn’d to dance.
‘Tis not enough no harshness gives offence,
The sound must seem an echo to the sense.
Soft is the strain when Zephyr gently blows,
And the smooth stream in smoother numbers flows;
But when loud surges lash the sounding shore,
The hoarse, rough verse should like the torrent roar.
When Ajax strives some rock’s vast weight to throw,
The line too labours, and the words move slow;
Not so, when swift Camilla scours the plain,
Flies o’er th’ unbending corn, and skims along the main.
Hear how Timotheus’ varied lays surprise,
And bid alternate passions fall and rise!
While, at each change, the son of Libyan Jove
Now burns with glory, and then melts with love;
Now his fierce eyes with sparkling fury glow,
Now sighs steal out, and tears begin to flow:
Persians and Greeks like turns of nature found,
And the world’s victor stood subdu’d by sound!
The pow’r of music all our hearts allow,
And what Timotheus was, is Dryden now.
Avoid extremes; and shun the fault of such,
Who still are pleas’d too little or too much.
At ev’ry trifle scorn to take offence,
That always shows great pride, or little sense;
Those heads, as stomachs, are not sure the best,
Which nauseate all, and nothing can digest.
Yet let not each gay turn thy rapture move,
For fools admire, but men of sense approve;
As things seem large which we through mists descry,
Dulness is ever apt to magnify.

Read this excerpt from the poem.

Then, at the last and only couplet fraught
With some unmeaning thing they call a thought,
A needless Alexandrine ends the song,
That, like a wounded snake, drags its slow length along.

Which statement best explains Pope’s use of imagery?

It produces a sympathetic mood that conveys Pope's understanding of the challenges writers face.

It creates a disdainful and biting tone that helps indicate how much Pope dislikes convoluted poetry.

It indicates a contempt for critics that captures Pope's feeling that his work has been unfairly judged by others.

It illustrates how adhering to specific syllable counts and complex meters drags poems on too long.

answer:   a good wench, give it me.

iago

good girl, give it to me.

emilia

what will you do with ’t, that you have been so earnest

325to have me filch it?

emilia

and what are you going to do with it? why did you want it so much that you begged me to steal it?

iago

  why, what is that to you?

iago

what’s it to you?

emilia

if it be not for some purpose of import,

give ’t me again. poor lady, she’ll run mad

when she shall lack it.

emilia

if you don’t need it for some important reason, then give it back to me. poor lady, she’ll go crazy when she sees it’s missing.

iago

be not acknown on ’t,

330i have use for it. go, leave me.

iago

don’t admit to knowing anything about it. i need it. now go, leave me.

exit emilia

emilia exits.

i will in cassio’s lodging lose this napkin

and let him find it. trifles light as air

are to the jealous confirmations strong

as proofs of holy writ. this may do something.

335the moor already changes with my poison.

dangerous conceits are in their natures poisons

which at the first are scarce found to distaste,

but with a little act upon the blood

burn like the mines of sulfur.

i’ll leave this handkerchief at cassio’s house and let him find it.to a jealous man, a meaningless little thing like this looks like absolute proof. this handkerchief may be useful to me. the moor’s mind has already become infected with my poisonous suggestions. ideas can be like poisons. at first they hardly even taste bad, but once they get into your blood they start burning like hot lava.

enter othello

othello enters.

    i did say so.

340look, where he comes. not poppy nor mandragora

nor all the drowsy syrups of the world,

shall ever medicine thee to that sweet sleep

which thou owedst yesterday.

here he comes. no drugs or sleeping pills will ever give you the restful sleep that you had last night.

othello

    ha! ha! false to me?

othello

argh! she’s cheating on me?

iago

why, how now, general? no more of that.

iago

oh, general, , no more of that!

explanation:

they would have to clean it very clean

what: when quoting a source, use the author’s words verbatim, or word-for-word. this means you shouldn’t change any grammar, punctuation, spelling, etc. put quotations around the words to tell your reader where the quote begins and where it ends.

you also need to acknowledge the author. for example, if using mla format for your research paper, you should have in-text citations with the author’s name and page number listed at the end of each quote.

when: use quotations to provide concrete examples to support your claims. using direct quotations is a great way to build your credibility on the subject. it’s also a good idea to quote your source when the author states things in a powerful way. if you think he or she said it best, then use the exact words to share the ideas.

example: in the short story “a jury of her peers”, mrs. hale compares mrs. wright to her caged bird, saying “she—come to think of it, she was kind of like a bird herself. real sweet and pretty, but kind of timid and—fluttery. how—she—did—change” (glaspell).

paraphrasing

what: paraphrasing differs from quoting because you restate the passage in your own words. since you don’t use the author’s words, you don’t need to use quotation marks. however, you still need to acknowledge the author for his or her ideas.

when paraphrasing a text, you should communicate the full meaning of the text; don’t change the meaning. it can be a condensed version of the text, or it could end up being longer than the source it’s paraphrasing.

when: you use paraphrasing when you take notes, or explain a chart or diagram to someone. paraphrasing highlight the important parts of a larger text. it also allows you to simplify the ideas for your readers.

example:

original: “it was no ordinary thing that called her away–it was probably further from ordinary than anything that had ever happened in dickson county. but what her eye took in was that her kitchen was in no shape for leaving: her bread all ready for mixing, half the flour sifted and half unsifted” (glaspell).

paraphrase: as mrs. hales walks around mrs. wright’s home, she notices that the kitchen is in disarray as if she was in the middle of baking bread (glaspell).

a line graph will be best to show the income.