The writing exercises turned up some excellent questions. I post them here, with some slight modifications, for you to think about and respond to.
1. What is the purpose of the heroic couplets in this format? You can respond by identifying (and briefly discussing) 2 - 4 lines that illustrate how the poetic form is more expressive than a prose rendition would be.
2. What is it that makes this poem necessary in our study of the Enlightenment?
3. (This question got asked a number of different ways by different people): After all this turmoil within Eloisa does she still have faith? Does her relationship with God remain relevant at the end of the poem?
4. "Reason most certainly has a power over her, but not in a good way, in an oppressive way. She's starving for love and Abelard is a feast: her love of God is just water. Enough to sustain but not fulfill." Discuss.
Specify which question you're responding to, and cite some text to support your response.
Deadline: start of class Friday (10/16).
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5 comments:
I think that this poem is extremely important in our studies on the Enlightenment. It reveals the presence of things of the heart and the strength of desire that was still present during this period of time which is generally associated with reason and rationality. It shows that even though there is extreme emphasis on logic during this time, sometimes matters of the heart trump matters of the mind, as shown in Eloisa's love for Abelard.
1. Heroic couplet question:
"Yet then, to those dread altars as I drew,
Not on the Cross my eyes were fixed, but you;
Not grace, or zeal, love only was my call,
And if I lose my love, I lose my all"
(page 2658, lines 115-119)
The above heroic couplets say so much in just 4 lines. It goes with the saying "less is more" which is part of the reason why the poetic form is more expressive. A prose rendition expressing love and emotion may have appeared like a stream of consciousness format. This form is focused and also has that flow when said aloud. I can imagine Eloisa speaking to Abelard. The poetic form, and especially the heroic couplets emphasize certain words, in this case "you," "love" and "all." Other poetic elements--alliteration (and repetition) contribute to the emphasis as seen in: "If I LOSE thy LOVE, I LOSE my all."
Overall a poem expresses ideas differently than prose and in a more systematic, concise way that effectively conveys feelings.
This is poem is necessary in our study of the Enlightenment because it discusses the topics of “desire and pleasure” that have been central themes in our prior readings. For example, in Edward Gibbon’s “The Progress of Superstition,” the idea of “pleasure” is highly looked down upon. As he states, “The first sensation of pleasure was marked as the first moment of their abuse” (Gibbon 153). However, the idea of “pleasure” is also discussed in Denis Diderot’s “Enjoyment in Tahiti,” where it takes on the role of embracement. As he states, “Among the objects that nature everywhere offers to our desires you who have a soul, tell me if there is anything more worthy of your pursuit, anything that can make you happier than the possession and enjoyment of a being who thinks and feels as you do?” (Diderot 265). In other words, nothing brings more pleasure to your life than indulging in your desire. It is these two conflicting stances made by these authors that are ultimately causing conflict within the character of Eloisa. Should we subdue our desires and pleasures, or should we indulge in them? It is such ideas that therefore make Alexander Pope’s “Eloisa to Abelard” a necessary poem to read in our study of the Enlightenment.
3. Eloisa's faith is still questioned at the end of the poem, but now she is more conflicted than ever. So far, Pope has told us that it was Abelard who taught her about piousness and faith, and her respect of his education would be too much for her to deny religion completely. She also blames society for what has happened to her and the castration of Abelard, but she does not mention it's God's fault (although jealous Cupid is recognized). At the end of the poem, however, Eloisa sees an 'out,' to be with Abelard in death, once they reach heaven. She is now even more conflicted; she mentions alters burning and hellish scenes when she thinks of Abelard instead of God during her prayers; she still loves him and regrets that he isn't around as opposed to regretting her sins. If the next time she can be with him is in Heaven, however, she must renounce her love for him on Earth to reach heaven, or else her false faith and earthly devotion will not allow her in Heaven. At the end, it still seems that she is being religious for all 'earthly' reasons; her love for Abelard, Abelard's own wishes, and the promise of reaching heaven to see him again.
4. This is beautifully stated. I completely agree with this statement. Passion tends to consume people, they desire it, think they need it, but the truth is they don't. In fact, this large "feast" might just be bad for her. While it may feel good, there are some consequences to feasting, such as wanting Abelard forever, not recognizing her other needs, etc. Water is the safe choice: it's easy to understand, you know what you need to do, but it can't fill you like the feast can. You can love God and all that He stands for, but she isn't passionate for her religion, which will never be enough.
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