The Letters Of Abelard And Heloise Sparknotes
The Letters Of Abelard And Heloise Sparknotes – Eloisa to Abelard is an epistle in verse by Alexander Pope that was published in 1717 and based on a well-known medieval story. Itself an imitation of a Latin poetic Greek, its immediate fame resulted in a large number of glish imitations throughout the rest of the ctura and other poems more loosely based on its later themes. Translations of various levels of fidelity appeared throughout Europe, starting in the 1750s and reaching a peak towards the end of the 18th century and the beginning of the 19th. These were in the vanguard of the change from Classicism and towards the primacy that gives emotion over reason that heralds Romanticism. Artistic depictions of the poem’s themes were often reproduced as prints illustrating the poem; there were also paintings in France of female readers of the love correspondence between lovers.
Pope’s poem was published in 1717 in a small volume entitled The Works of Mr. Alexander Pope. There were two other accompanying poems, the “Elegy to the memory of a disgraced lady” and the original version of the “Ode to Saint Cecilia”. Such was the popularity of the poem that it was republished in 1720 with the retitled “Versi à a memoria di una disgrasta dama” and many other elegiac poems by different authors.
The Letters Of Abelard And Heloise Sparknotes
“Eloise to Abelard” is an Ovidian heroic epistle of which Pope had previously published an example translated from the Latin in 1714, “Sappho to Phaon.”
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His own original exercise in this gre was inspired by the twelfth-century story of Héloïse d’Argteuil’s illicit love for the secret marriage with her master Peter Abelard, a famous Parisian philosopher about twenty years his sir After their affair and marriage, her family brutally turned against Abelard and castrated him, after which he destroyed a monastery and forced Heloise to become a nun. Both led comparatively successful monastic careers. Years later, Abelard completed the Historia Calamitatum (History of calamities), thrown as a letter of consolation to a cold. When he fell into the hands of Heloise, her passion for him reawakened and there was an exchange of four letters between them written in an ornate Latin style. In an effort to make sense of their personal tragedy, they explored the nature of human and divine love. However, their incompatible male and female perspectives made the dialogue painful for both.
In Papa’s poem, Eloisa confesses the suppressed love that her letter has reawakened. She recalls their previous life together and its violent aftermath, comparing the happy state of “the blameless Vestal” with her own reliving of past passion and pain. The memory of this turns the gloomy landscape “and breathes a browner horror on the woods” (line 170). It disturbs the functioning of his religious offices, where the image of Abelard “steals between my God and me” (line 267). But, since relations between them are now impossible, she advises him to distance himself from her memory and wait for the release of death that “a gentle grave” will bring them together (line 343).
The Pope was born a Roman Catholic and so can be assumed to have an insight into, and a particular interest in, history. He had, however, a properly published source to inspire him and guide his readers. It was the Letters of Abelard and Heloise: with a particular account of their lives, loves and misfortunes by the poet John Hughes, published for the first time in 1713 and which was to go through many editions in the years following and more.
As an example, where Heloise exclaims “Among those who are married to God I serve a man; among the heroic supporters of the cross I am a poor slave of a human passion; at the head of a religious community I am dedicated only to Abelard “,
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Ah, wretch! believed the bride of God in vain, confessed in the slave of love and man. — lines 177-78 Imitations and responses 
Such if there is, that you love so long, so well; Let him tell us our sadness, our history; Well-sung woes will calm my psive ghost; It is better that he can paint them, who hears them more.
Whether deliberate or not, some seven imitations and parodies of his poem had been written by the director at the time, all but two edited as Abelard’s reply to Eloisa and written in heroic couplets. Although Pope’s poem provided the main inspiration, and was often cited by the authors in their prefaces, there was always Hughes’s volume with his historical account in the background. In its later editions, the gap between the two was further underlined by the earlier inclusion of Pope’s poem (from 1755) and by some of the main responses in later editions.
In addition to such direct imitations, Pope’s poem inspired heroic epistles among other couples. Charles Augustine Lea stated on the title page that his “Eliza to Comus, an epistle” (1753) was written as an imitation. Noting its excess of redundant verbiage in relation to Pope’s concise style, however, the Monthly Review chided the author for his indiscreet comparison.
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The later poetic epistles of Chrysostome and Marcella (Dublin 1777) also describe themselves as “dedicated to the memory of Abelard and Eloisa”.
In 1785, the fourth edition of Seymour’s imitation was accompanied by two other epistles, “Leonora to Tasso” and “Ovid to Julia.”
The gre was to be expanded by two other imitations whose humorous success led them to frequent reprints. The first was Richard Ow Cambridge’s clever “Elegy Writt in an Empty Assembly-Room” (1756).
Although its preface describes the poem as “being a parody of the most remarkable passages in the famous Epistle of Eloisa to Abelard”, its title also places it among contemporary parodies of Gray’s Elegy written in a country cemetery whose object was to give them an improbable place. The imitation of lines from Pope’s epistle in this context adds a new level of subtlety.
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A later work, Eloisa deshabille, being a new version of that lady’s celebrated epistle to Abelard (1780),
In this a burlesque and witty version corresponds to the original line of Pope and in subsequent editions appeared in front of his poem. It was written in anapastic measure with frequent disyllabic and trisyllabic rhymes, of which one of the most famous was
The poem has been attributed to several authors, of which Richard Porson has been considered the most likely, although a strong case has also been made for John Matthews.
Where the parodies mocked the passages they resembled, the epistolary imitations echoed Pope’s themes and language to demonstrate their kinship. Thus Richard Barford ds his poem with a similar stim to Pope, that true lovers will express their kinship with Eloisa and Abelard in similar words:
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Every afflicted lover borne with pale anguish, Tremulous will trace the tale so flashed. Afflicted by our pains, rder moans for moans, And for our passion without limits they speak. — lines 373-376
And the third and fourth lines of Seymour’s oping, “If cold-blooded, my idle pulse grow, / I am truly allied to the lifeless stone.”
Is very depdt on the Pope “Tho’ cold as thee, unmov’d, and silt grown, / I have not yet forgotten myself to stone.” (lines 23-24)
Samuel Birch compares the bliss of innocent youth to the jealous perturbation of one who has experienced passion.
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Thro’ terrible dark, and solemn caverns I wander; Where the passive flint, and his lean train, Breathe their brown horrors o’er the extended Plain,  - lines 28-30
James Cawthorne also speaks of “dark, cheerless lonely caves, deep-breathing woods and daily graves” (which also figure in Pope) subject to “imbrowning darkness” (p. 143). Th, as a final example, the passage of the Pope that begins “Your voice seems to me in every hymn to hear” (line 269), in which the progress of the religious service is invaded by thoughts of the beloved object , has its parallel in Edward. Jerningham’s similar description of sacred rites, from which “My guilty thoughts to other altars rov’d” (page 4).
Imitation in these cases, as a commtator points out, is far from being plagiarism, but it is a valid constituent of the gre. Moreover, “since an author of an Abelard to Eloisa presupposes to his readers a thorough knowledge of Pope’s poem, the numerous responses are evidence of the popularity of Eloisa to Abelard and are evidence, also, of its importance as literary force”.
One of the reasons for the continued popularity of Eloisa to Abelard was the fact that emotions were given primacy over reason in a way that announced later literary traditions. The poem, comments a critic, “makes the Pope one of the forerunners of the Romanticists”.
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Amorous melancholy had already been identified as a variety of this emotion by Robert Burton shortly before Pope’s poem. Melancholy is mentioned in its third line and recurs later, fittingly inspired by a Gothic landscape of gloomy forests, overhanging cliffs, wobbly corridors and ancient tombs.
It is equally the stimt emphasized in the “canzonet” of George Pinto near the beginning of the 19th century, which is a setting of the passage that begins “Soon as the letters trembly I unclose, That well known name waaks all my worries” (Line 29). -48),