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Epistle to Dr Arbuthnot by Alexander Pope

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Pope writes a lengthy, conversational letter to his doctor and friend John Arbuthnot, seizing the opportunity to express his frustrations about the numerous bad poets, insincere friends, and literary leeches who have bothered him over the years.

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The PoemFull text

Epistle to Dr Arbuthnot

Alexander Pope

_P_. Shut, shut the door, good John! fatigued, I said, Tie up the knocker, say I'm sick, I'm dead. The Dog-star rages! nay, 'tis past a doubt, All Bedlam, or Parnassus, is let out: Fire in each eye, and papers in each hand, They rave, recite, and madden round the land. What walls can guard me, or what shades can hide? They pierce my thickets, through my grot they glide, By land, by water, they renew the charge, They stop the chariot, and they board the barge. 10 No place is sacred, not the church is free, Even Sunday shines no Sabbath-day to me: Then from the Mint walks forth the man of rhyme, Happy! to catch me, just at dinner-time. Is there a parson, much bemused in beer, A maudlin poetess, a rhyming peer, A clerk, foredoom'd his father's soul to cross, Who pens a stanza, when he should engross? Is there, who, lock'd from ink and paper, scrawls With desperate charcoal round his darken'd walls? 20 All fly to Twit'nam, and in humble strain Apply to me, to keep them mad or vain. Arthur, whose giddy son neglects the laws, Imputes to me and my damn'd works the cause: Poor Cornus sees his frantic wife elope, And curses wit, and poetry, and Pope. Friend to my life! (which did not you prolong, The world had wanted many an idle song) What drop or nostrum can this plague remove? Or which must end me, a fool's wrath or love? 30 A dire dilemma! either way I'm sped, If foes, they write, if friends, they read me dead. Seized and tied down to judge, how wretched I! Who can't be silent, and who will not lie: To laugh, were want of goodness and of grace, And to be grave, exceeds all power of face. I sit with sad civility, I read With honest anguish, and an aching head; And drop at last, but in unwilling ears, This saving counsel, 'Keep your piece nine years.' 40 'Nine years!' cries he, who high in Drury-lane, Lull'd by soft zephyrs through the broken pane, Rhymes ere he wakes, and prints before Term ends, Obliged by hunger, and request of friends: 'The piece, you think, is incorrect? why take it, I'm all submission, what you'd have it, make it.' Three things another's modest wishes bound, My friendship, and a prologue, and ten pound. Pitholeon sends to me: 'You know his Grace, I want a patron; ask him for a place.' 50 Pitholeon libell'd me--'But here's a letter Informs you, sir, 'twas when he knew no better. Dare you refuse him? Curll invites to dine, He'll write a journal, or he'll turn divine.' Bless me! a packet.--''Tis a stranger sues, A virgin tragedy, an orphan Muse.' If I dislike it, 'Furies, death, and rage!' If I approve, 'Commend it to the stage.' There (thank my stars) my whole commission ends, The players and I are, luckily, no friends. 60 Fired that the house reject him, ''Sdeath! I'll print it, And shame the fools--Your interest, sir, with Lintot.' Lintot, dull rogue! will think your price too much: 'Not, sir, if you revise it, and retouch.' All my demurs but double his attacks; At last he whispers, 'Do; and we go snacks.' Glad of a quarrel, straight I clap the door: Sir, let me see your works and you no more. 'Tis sung, when Midas' ears began to spring (Midas, a sacred person and a king), 70 His very minister who spied them first, (Some say his queen) was forced to speak, or burst. And is not mine, my friend, a sorer case, When every coxcomb perks them in my face? _A_. Good friend, forbear! you deal in dangerous things. I'd never name queens, ministers, or kings; Keep close to ears, and those let asses prick, 'Tis nothing---- _P_. Nothing? if they bite and kick? Out with it, Dunciad! let the secret pass, That secret to each fool, that he's an ass: 80 The truth once told (and wherefore should we lie?) The queen of Midas slept, and so may I. You think this cruel? Take it for a rule, No creature smarts so little as a fool. Let peals of laughter, Codrus! round thee break, Thou unconcern'd canst hear the mighty crack: Pit, box, and gallery in convulsions hurl'd, Thou stand'st unshook amidst a bursting world. Who shames a scribbler? break one cobweb through, He spins the slight, self-pleasing thread anew: 90 Destroy his fib or sophistry, in vain, The creature's at his dirty work again, Throned in the centre of his thin designs, Proud of a vast extent of flimsy lines! Whom have I hurt? has poet yet, or peer, Lost the arch'd eyebrow, or Parnassian sneer? And has not Colly still his lord, and whore? His butchers, Henley, his freemasons, Moore? Does not one table Bavius still admit? Still to one bishop, Philips seem a wit 100 Still Sappho---- _A_. Hold! for God-sake--you'll offend, No names--be calm--learn prudence of a friend: I too could write, and I am twice as tall; But foes like these---- _P_. One flatterer's worse than all. Of all mad creatures, if the learn'd are right, It is the slaver kills, and not the bite. A fool quite angry is quite innocent: Alas! 'tis ten times worse when they repent. One dedicates in high heroic prose, And ridicules beyond a hundred foes: 110 One from all Grub-street will my fame defend, And, more abusive, calls himself my friend. This prints my letters, that expects a bribe, And others roar aloud, 'Subscribe, subscribe!' There are, who to my person pay their court: I cough like Horace, and, though lean, am short, Ammon's great son one shoulder had too high, Such Ovid's nose, and, 'Sir! you have an eye'-- Go on, obliging creatures! make me see All that disgraced my betters, met in me. 120 Say for my comfort, languishing in bed, 'Just so immortal Maro held his head:' And, when I die, be sure you let me know Great Homer died three thousand years ago. Why did I write? what sin to me unknown Dipp'd me in ink, my parents', or my own? As yet a child, nor yet a fool to fame, I lisp'd in numbers, for the numbers came. I left no calling for this idle trade, No duty broke, no father disobey'd. 130 The Muse but served to ease some friend, not wife, To help me through this long disease, my life, To second, Arbuthnot! thy art and care, And teach the being you preserved to bear. But why then publish? Granville the polite, And knowing Walsh, would tell me I could write; Well-natured Garth inflamed with early praise, And Congreve loved, and Swift endured my lays; The courtly Talbot, Somers, Sheffield read, Even mitred Rochester would nod the head, 140 And St John's self (great Dryden's friends before) With open arms received one poet more. Happy my studies, when by these approved! Happier their author, when by these beloved! From these the world will judge of men and books, Not from the Burnets, Oldmixons, and Cookes. Soft were my numbers; who could take offence While pure description held the place of sense? Like gentle Fanny's was my flowery theme, 'A painted mistress, or a purling stream.' 150 Yet then did Gildon draw his venal quill; I wish'd the man a dinner, and sat still. Yet then did Dennis rave in furious fret; I never answer'd--I was not in debt. If want provoked, or madness made them print, I waged no war with Bedlam or the Mint. Did some more sober critic come abroad-- If wrong, I smiled; if right, I kiss'd the rod. Pains, reading, study, are their just pretence, And all they want is spirit, taste, and sense. 160 Commas and points they set exactly right, And 'twere a sin to rob them of their mite. Yet ne'er one sprig of laurel graced these ribalds, From slashing Bentley down to piddling Tibbalds: Each wight, who reads not, and but scans and spells, Each word-catcher, that lives on syllables, Even such small critics some regard may claim, Preserved in Milton's or in Shakspeare's name. Pretty! in amber to observe the forms Of hairs, or straws, or dirt, or grubs, or worms! 170 The things, we know, are neither rich nor rare, But wonder how the devil they got there. Were others angry--I excused them too; Well might they rage, I gave them but their due. A man's true merit 'tis not hard to find; But each man's secret standard in his mind, That casting-weight pride adds to emptiness, This, who can gratify for who can guess? The bard whom pilfer'd Pastorals renown, Who turns a Persian tale for half-a-crown, 180 Just writes to make his barrenness appear, And strains from hard-bound brains eight lines a year; He who, still wanting, though he lives on theft, Steals much, spends little, yet has nothing left: And he who, now to sense, now nonsense leaning, Means not, but blunders round about a meaning: And he, whose fustian's so sublimely bad, It is not poetry, but prose run mad: All these, my modest satire bade translate, And own'd that nine such poets made a Tate. 190 How did they fume, and stamp, and roar, and chafe! And swear, not Addison himself was safe. Peace to all such! but were there one whose fires True genius kindles, and fair fame inspires; Blest with each talent and each art to please, And born to write, converse, and live with ease: Should such a man, too fond to rule alone, Bear, like the Turk, no brother near the throne, View him with scornful, yet with jealous eyes, And hate for arts that caused himself to rise; 200 Damn with faint praise, assent with civil leer, And, without sneering, teach the rest to sneer; Willing to wound, and yet afraid to strike, Just hint a fault, and hesitate dislike; Alike reserved to blame, or to commend, A timorous foe, and a suspicious friend; Dreading e'en fools, by flatterers besieged, And so obliging, that he ne'er obliged; Like Cato, give his little senate laws, And sit attentive to his own applause; 210 While wits and Templars every sentence raise, And wonder with a foolish face of praise-- Who but must laugh, if such a man there be? Who would not weep, if Atticus were he? What though my name stood rubric on the walls, Or plaster'd posts, with claps, in capitals? Or smoking forth, a hundred hawkers' load, On wings of winds came flying all abroad? I sought no homage from the race that write; I kept, like Asian monarchs, from their sight: 220 Poems I heeded (now be-rhymed so long) No more than thou, great George! a birthday song. I ne'er with wits or witlings pass'd my days, To spread about the itch of verse and praise; Nor like a puppy, daggled through the town, To fetch and carry sing-song up and down; Nor at rehearsals sweat, and mouth'd, and cried, With handkerchief and orange at my side; But sick of fops, and poetry, and prate, To Bufo left the whole Castalian state. 230 Proud as Apollo on his forkèd hill, Sat full-blown Bufo, puff'd by every quill; Fed with soft dedication all day long, Horace and he went hand in hand in song. His library (where busts of poets dead And a true Pindar stood without a head) Received of wits an undistinguish'd race, Who first his judgment ask'd, and then a place: Much they extoll'd his pictures, much his seat, And flatter'd every day, and some days eat: 240 Till, grown more frugal in his riper days, He paid some bards with port, and some with praise, To some a dry rehearsal was assign'd, And others (harder still) he paid in kind. Dryden alone (what wonder?) came not nigh, Dryden alone escaped this judging eye: But still the great have kindness in reserve, He help'd to bury whom he help'd to starve. May some choice patron bless each gray-goose quill! May every Bavius have his Bufo still! 250 So when a statesman wants a day's defence, Or envy holds a whole week's war with sense, Or simple pride for flattery makes demands, May dunce by dunce be whistled off my hands! Bless'd be the great! for those they take away, And those they left me; for they left me Gay; Left me to see neglected genius bloom, Neglected die, and tell it on his tomb: Of all thy blameless life, the sole return My verse, and Queensberry weeping o'er thy urn! 260 Oh let me live my own, and die so too! (To live and die is all I have to do:) Maintain a poet's dignity and ease, And see what friends, and read what books I please: Above a patron, though I condescend Sometimes to call a minister my friend. I was not born for courts or great affairs; I pay my debts, believe, and say my prayers; Can sleep without a poem in my head, Nor know if Dennis be alive or dead. 270 Why am I ask'd what next shall see the light? Heavens! was I born for nothing but to write? Has life no joys for me? or (to be grave) Have I no friend to serve, no soul to save? 'I found him close with Swift--Indeed? no doubt (Cries prating Balbus) something will come out.' 'Tis all in vain, deny it as I will. 'No, such a genius never can lie still;' And then for mine obligingly mistakes The first lampoon Sir Will or Bubo makes. 280 Poor guiltless I! and can I choose but smile, When every coxcomb knows me by my style? Cursed be the verse, how well soe'er it flow, That tends to make one worthy man my foe, Give virtue scandal, innocence a fear, Or from the soft-eyed virgin steal a tear! But he who hurts a harmless neighbour's peace, Insults fallen worth, or beauty in distress, Who loves a lie, lame slander helps about, Who writes a libel, or who copies out: 290 That fop, whose pride affects a patron's name, Yet, absent, wounds an author's honest fame: Who can your merit selfishly approve, And show the sense of it without the love; Who has the vanity to call you friend, Yet wants the honour, injured, to defend; Who tells whate'er you think, whate'er you say, And, if he lie not, must at least betray: Who to the dean, and silver bell can swear, And sees at Canons what was never there; 300 Who reads, but--with a lust to misapply, Make satire a lampoon, and fiction, lie; A lash like mine no honest man shall dread, But all such babbling blockheads in his stead. Let Sporus tremble-- _A_. What? that thing of silk, Sporus, that mere white curd of ass's milk? Satire or sense, alas! can Sporus feel? Who breaks a butterfly upon a wheel? _P_. Yet let me flap this bug with gilded wings, This painted child of dirt, that stinks and stings; 310 Whose buzz the witty and the fair annoys, Yet wit ne'er tastes, and beauty ne'er enjoys; So well-bred spaniels civilly delight In mumbling of the game they dare not bite. Eternal smiles his emptiness betray, As shallow streams run dimpling all the way. Whether in florid impotence he speaks, And, as the prompter breathes, the puppet squeaks; Or at the ear of Eve, familiar toad! Half-froth, half-venom, spits himself abroad, 320 In puns or politics, or tales, or lies, Or spite, or smut, or rhymes, or blasphemies. His wit all see-saw, between that and this, Now high, now low, now master up, now miss, And he himself one vile antithesis. Amphibious thing! that, acting either part, The trifling head, or the corrupted heart, Fop at the toilet, flatterer at the board, Now trips a lady, and now struts a lord. Eve's tempter thus the Rabbins have express'd, 330 A cherub's face, a reptile all the rest, Beauty that shocks you, parts that none will trust, Wit that can creep, and pride that licks the dust. Not Fortune's worshipper, nor Fashion's fool, Not Lucre's madman, nor Ambition's tool, Not proud, nor servile; be one poet's praise, That, if he pleased, he pleased by manly ways: That flattery, even to kings, he held a shame, And thought a lie in verse or prose the same. That not in Fancy's maze he wander'd long, 340 But stoop'd to Truth, and moralised his song: That not for Fame, but Virtue's better end, He stood the furious foe, the timid friend, The damning critic, half-approving wit, The coxcomb hit, or fearing to be hit; Laugh'd at the loss of friends he never had, The dull, the proud, the wicked, and the mad; The distant threats of vengeance on his head, The blow unfelt, the tear he never shed; The tale revived, the lie so oft o'erthrown, 350 Th' imputed trash, and dulness not his own; The morals blacken'd when the writings 'scape, The libell'd person, and the pictured shape; Abuse, on all he loved, or loved him, spread, A friend in exile, or a father dead; The whisper that, to greatness still too near, Perhaps yet vibrates on his sovereign's ear-- Welcome for thee, fair Virtue! all the past: For thee, fair Virtue! welcome even the last! _A_. But why insult the poor, affront the great? 360 _P_. A knave's a knave, to me, in every state: Alike my scorn, if he succeed or fail, Sporus at court, or Japhet in a jail, A hireling scribbler, or a hireling peer, Knight of the post corrupt, or of the shire; If on a pillory, or near a throne, He gain his prince's ear, or lose his own. Yet soft by nature, more a dupe than wit, Sappho can tell you how this man was bit: This dreaded satirist Dennis will confess 370 Foe to his pride, but friend to his distress: So humble, he has knock'd at Tibbald's door, Has drunk with Cibber, nay, has rhymed for Moore. Full ten years slander'd, did he once reply? Three thousand suns went down on Welsted's lie. To please a mistress one aspersed his life; He lash'd him not, but let her be his wife: Let Budgell charge low Grub-street on his quill, And write whate'er he pleased, except his will; Let the two Curlls of town and court abuse 380 His father, mother, body, soul, and Muse. Yet why that father held it for a rule, It was a sin to call our neighbour fool: That harmless mother thought no wife a whore: Hear this, and spare his family, James Moore! Unspotted names, and memorable long! If there be force in virtue, or in song. Of gentle blood (part shed in honour's cause, While yet in Britain honour had applause) Each parent sprung---- _A._ What fortune, pray?---- _P._ Their own, 390 And better got, than Bestia's from the throne. Born to no pride, inheriting no strife, Nor marrying discord in a noble wife, Stranger to civil and religious rage, The good man walk'd innoxious through his age. No courts he saw, no suits would ever try, Nor dared an oath, nor hazarded a lie. Unlearn'd, he knew no schoolman's subtle art, No language but the language of the heart. By nature honest, by experience wise, 400 Healthy by temperance, and by exercise; His life, though long, to sickness pass'd unknown, His death was instant, and without a groan. O grant me thus to live, and thus to die! Who sprung from kings shall know less joy than I. O friend! may each domestic bliss be thine! Be no unpleasing melancholy mine: Me, let the tender office long engage, To rock the cradle of reposing age, With lenient arts extend a mother's breath, 410 Make languor smile, and smooth the bed of death, Explore the thought, explain the asking eye, And keep a while one parent from the sky! On cares like these if length of days attend, May Heaven, to bless those days, preserve my friend, Preserve him social, cheerful, and serene, And just as rich as when he served a Queen. _A_. Whether that blessing be denied or given, Thus far was right, the rest belongs to Heaven.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Pope writes a lengthy, conversational letter to his doctor and friend John Arbuthnot, seizing the opportunity to express his frustrations about the numerous bad poets, insincere friends, and literary leeches who have bothered him over the years. Throughout the letter, he defends his own character, celebrates those he truly cared for, and takes sharp shots at a few adversaries — most notably the courtier Lord Hervey, whom he refers to as "Sporus" — with pinpoint accuracy. You could view it as a cleverly crafted resignation letter from someone who never really resigned.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Shut, shut the door, good John! fatigued, I said, / Tie up the knocker, say I'm sick, I'm dead.

    Editor's note

    Pope opens in the middle of a scene, shouting at his servant to keep visitors away. He uses the Dog-star (Sirius, linked to the madness of summer) as a metaphor for the time when mediocre poets seem to spring up everywhere. He portrays himself as a man besieged by untalented writers who pursue him relentlessly — in the church, carriage, and barge — seeking his approval.

  2. Is there a parson, much bemused in beer, / A maudlin poetess, a rhyming peer,

    Editor's note

    Pope lists the colorful array of amateur poets: the inebriated clergyman, the emotional female poet, the aristocrat who plays with verse, and the clerk who writes on walls when paper is out of reach. They all gather at his home in Twickenham ('Twit'nam'), hoping he'll endorse their mediocrity. He also points out that some hold him responsible when their loved ones become obsessed with poetry.

  3. Friend to my life! (which did not you prolong, / The world had wanted many an idle song)

    Editor's note

    Here, Pope speaks to Arbuthnot directly for the first time, recognizing that the doctor's medical care has genuinely saved his life. He describes his situation as a 'dire dilemma': when enemies attack, they hurl insults; when friends show affection, they put him to sleep by reading their own work aloud. His only straightforward advice to bad poets is the classic rule — wait nine years before publishing — which they promptly disregard.

  4. 'Nine years!' cries he, who high in Drury-lane, / Lull'd by soft zephyrs through the broken pane,

    Editor's note

    A starving Grub Street writer mocks the 'nine years' rule because his hunger makes him publish right away. Then, more petitioners arrive: 'Pitholeon' is looking for a patron, another asks for a prologue and ten pounds, and yet another brings an unsolicited tragedy. Pope illustrates how each refusal only increases the demands, culminating in him slamming the door in the last couplet of this sequence.

  5. 'Tis sung, when Midas' ears began to spring / (Midas, a sacred person and a king),

    Editor's note

    Pope alludes to the legend of King Midas, whose barber had to bury the secret of his donkey ears because he couldn't remain silent. Pope's message: he finds himself in a similar situation, compelled to reveal uncomfortable truths about foolish people. Arbuthnot cautions him about the risks of naming royals and ministers; Pope dismisses the warning, arguing that fools don't truly suffer from satire.

  6. Who shames a scribbler? break one cobweb through, / He spins the slight, self-pleasing thread anew:

    Editor's note

    Pope suggests that criticizing a poor writer is futile—similar to destroying a spider's web, as the spider simply reconstructs it. He lists some current hacks (Colley Cibber, Henley, Moore, Philips) to demonstrate that his satire hasn't affected their careers or self-esteem at all. The section concludes with Arbuthnot interrupting him before he can mention 'Sappho'—a jab at the poet Lady Mary Wortley Montagu.

  7. Of all mad creatures, if the learn'd are right, / It is the slaver kills, and not the bite.

    Editor's note

    Pope believes that false friends pose a greater threat than open enemies. He lists the ways sycophants torment him: showering him with exaggerated praise, pretending to protect his reputation while insulting him, publishing his private letters, and demanding subscriptions. The most insidious flatterers draw comparisons between his physical deformities, such as his curved spine, and those of great classical poets, which he finds more grotesque than reassuring.

  8. Why did I write? what sin to me unknown / Dipp'd me in ink, my parents', or my own?

    Editor's note

    This is the emotional turning point of the poem. Pope questions why he ever became a writer, then responds candidly: he was meant for it, lisping in verse as a child before he even grasped what verse meant. He asserts that he sacrificed nothing to write — no career, no obligation — and that poetry served as his means of dealing with chronic illness ('this long disease, my life') and nurturing his friendship with Arbuthnot.

  9. But why then publish? Granville the polite, / And knowing Walsh, would tell me I could write;

    Editor's note

    Pope names the notable figures — Walsh, Garth, Congreve, Swift, and Dryden's old circle — who supported him in his early career, setting them apart from the petty critics (Gildon, Dennis) who unjustly targeted him. He explains that he chose not to engage with those critics, feeling he owed them nothing and found no dignity in arguing with fools or those in debt.

  10. Peace to all such! but were there one whose fires / True genius kindles, and fair fame inspires;

    Editor's note

    This is the well-known 'Atticus' portrait, commonly recognized as a depiction of Joseph Addison. Pope paints a picture of a genuinely talented individual who struggles to tolerate competition: he 'damns with faint praise,' suggests flaws without outright criticism, keeps company with sycophants, and acts as a literary tyrant. The final couplet — 'Who but must laugh, if such a man there be? / Who would not weep, if Atticus were he?' — delivers one of the most cutting moments in English satire.

  11. What though my name stood rubric on the walls, / Or plaster'd posts, with claps, in capitals?

    Editor's note

    Pope emphasizes that he never sought literary fame or tried to gain favor in the poetry world. He presents 'Bufo,' a pompous, self-important patron (which means toad in Latin) who gathers poets like others collect art, feeding them flattery and port while they grovel for his approval. Pope highlights his own independence by pointing out that even Dryden wasn't immune to these patrons — Bufo played a role in burying the very man he had once helped starve.

  12. Oh let me live my own, and die so too! / (To live and die is all I have to do:)

    Editor's note

    Pope shares his personal beliefs: settle his debts, offer his prayers, enjoy his reading, and maintain his dignity. He has no interest in being a courtier. He grieves for his friend John Gay, whose brilliance went unrecognized by the powerful, and whose only remembrance comes from Pope's own poetry and the sorrow of the Duchess of Queensberry.

  13. Cursed be the verse, how well soe'er it flow, / That tends to make one worthy man my foe,

    Editor's note

    Pope sets a clear moral boundary: while satire that hurts innocent people is unacceptable, satire targeting real villains—like liars, flatterers, and slanderers—is a responsibility. He then brings up 'Sporus,' referring to Lord Hervey, but Arbuthnot attempts to dissuade him, arguing that Hervey is too insignificant to be worth the effort.

  14. Yet let me flap this bug with gilded wings, / This painted child of dirt, that stinks and stings;

    Editor's note

    Pope presents the Sporus portrait, marking one of the most intense personal attacks in English poetry. Hervey is portrayed as a butterfly, a toad whispering in Eve's ear, a puppet, and a 'vile antithesis' — a mix of fop and flatterer, caught in Pope's disdain as neither fully male nor female. The reference to Satan tempting Eve in the Garden transforms the attack from mere spite into a moral allegory: Sporus symbolizes the corruption embedded within power.

  15. Not Fortune's worshipper, nor Fashion's fool, / Not Lucre's madman, nor Ambition's tool,

    Editor's note

    Having identified his enemy, Pope sets himself apart: he is independent, honest, and unafraid to speak the truth even to those in power, prioritizing virtue over fame. Reflecting on a career filled with mistreatment — slanders, libels, assaults on his family, and the exile of a friend — he claims to embrace all of it in the name of virtue. This serves as his official self-portrait as a moral satirist.

  16. Yet soft by nature, more a dupe than wit, / Sappho can tell you how this man was bit:

    Editor's note

    Pope softens his self-portrait a bit, acknowledging that he's more easily deceived than clever. He points to personal acts of kindness toward his enemies—putting up with Tibbald, sharing drinks with Cibber, and enduring years of Welsted's lies without a word. Then he shifts his focus to his parents: his father, a humble and honest Catholic merchant, and his mother, who is gentle and blameless. He presents them as the true standard of virtue, making his attackers look shabby by comparison.

  17. Of gentle blood (part shed in honour's cause, / While yet in Britain honour had applause)

    Editor's note

    Pope reflects on his father's lineage and character with admiration—a man who stayed away from courts, lawsuits, and oaths, living by simple honesty and passing away quickly and painlessly. Pope hopes to live and die in a similar manner. The poem concludes with shared blessings: Pope wishes Arbuthnot happiness at home; Arbuthnot, who is already unwell and close to death, replies that the rest is up to Heaven.

§04Tone & mood

How this poem feels

The main tone is one of exasperated wit — it's the voice of a man who has finally reached his limit and is letting out everything he's held back for years. It shifts frequently: there's mock-heroic humor when Pope talks about the masses of bad poets, a cool, surgical contempt in the portraits of Atticus and Sporus, genuine warmth when he mentions Arbuthnot and his parents, and a touch of quiet dignity in his closing defense. The anger remains controlled, always crafted into couplets that are tight enough to snap. Even at its harshest, the poem maintains its composure.

§05Symbols & metaphors

Symbols & metaphors

The knocker on the door
The poem begins with Pope instructing his servant to tie up the door-knocker, putting an end to the constant flow of visitors. The knocker symbolizes the unyielding expectations that the literary world places on a renowned poet — the clamor of unwanted attention that he can never completely silence.
Midas's ears
The myth of King Midas, who had to bury his ass's ears to hide his shameful secret, reflects the satirist's need to reveal uncomfortable truths. Pope references this to explain his tendency to publicly call out fools: eventually, the truth will come to light, no matter what.
The cobweb
Pope likens poor writers to spiders that just weave a new web whenever you destroy the previous one. This cobweb symbolizes the futility of confronting mediocrity head-on — it's self-repairing, delicate yet tenacious, and ultimately not worth significant effort.
Sporus / the toad at Eve's ear
Lord Hervey, dressed as Sporus, is likened to the serpent-toad that whispers poison into Eve's ear in Milton's *Paradise Lost*. This comparison transforms Hervey's courtly flattery into a form of cosmic corruption — portraying it not merely as a personal flaw but as a kind of evil that has persisted since the Fall.
Bufo the patron
'Bufo' is Latin for toad, and the Pope's plump, self-satisfied patron inflates himself on the dedications of eager poets. He represents the entire corrupt system of literary patronage, where art is exchanged for port and flattery, leaving true talent (like Dryden) to starve before receiving a lavish funeral.
The long disease, my life
Pope's characterization of his life as a 'long disease'—stemming from his battle with tuberculosis of the spine and ongoing pain—transforms his physical weakness into a broader symbol of the poet's experience: using writing as a means to endure and create something lasting from suffering.

§06Historical context

Historical context

Alexander Pope composed the *Epistle to Dr Arbuthnot* in 1734 and released it in January 1735, just a few months before his friend John Arbuthnot passed away. Arbuthnot, a physician, wit, and fellow member of the Scriblerus Club with Pope and Swift, was facing his own mortality, which lent an elegiac tone to the poem. Pope had spent years at the heart of London's literary conflicts—his *Dunciad* (1728) had earned him powerful adversaries—and the epistle serves as a formal defense against the charges of malice, vanity, and low birth that his rivals had spread. The poem is rooted in the classical tradition of the verse epistle, particularly drawing on Horace's *Satires*, and showcases Pope's heroic couplets at their finest. The depictions of 'Atticus' (Joseph Addison) and 'Sporus' (Lord Hervey) had appeared in earlier drafts, but the complete poem positions them within a broader discussion about the moral aim of satire and the dignity of the independent writer.

§07FAQ

Questions readers ask

Atticus refers to Joseph Addison, the renowned essayist and co-founder of *The Spectator*. Pope and Addison fell out after Pope suspected Addison of promoting a competing translation of Homer to undermine his own. The portrait is striking because Pope recognizes Addison's real talent — the cruelty lies in the fact that such a gifted individual opted for envy instead of generosity. The phrase 'Damn with faint praise' has entered common English usage due to this passage.

Adjacent texts in the archive