Alexander PopeAlexander Pope (21 May 1688 30 May 1744) is a famous eighteenth century English poet, best known for his satirical verse and for his translation of Homer. He is the third most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare and Tennyson.[1] Pope is famous for his use of the heroic couplet.Pope was born to Alexander Pope Snr. (1646 1717) a linen merchant of Plough Court, Lombard Street, London, and Edith Pope (ne Turner) (16431733), who were both Catholics.[2] Pope's education was affected by the penal law in force at the time upholding the status of the established Church of England, which banned Catholics from teaching, attending a university, voting, or holding public office on pain of perpetual imprisonment. Pope was taught to read by his aunt, then went to Twyford School in about 16989.[2] He then went to two Catholic schools in London.[2] Such schools, while illegal, were tolerated in some areas.[3]In 1700, his family moved to a small estate in Binfield, Berkshire, close to the royal Windsor Forest.[2] This was due to strong anti-Catholic sentiment and a statute preventing Catholics from living within 10 miles (16km) of either London or Westminster.[4] Pope would later describe the countryside around the house in his poem Windsor Forest. Pope's formal education ended at this time, and from then on he mostly educated himself by reading the works of classical writers such as the satirists Horace and Juvenal, the epic poets Homer and Virgil, as well as English authors such as Geoffrey Chaucer, William Shakespeare and John Dryden.[2] He also studied many languages and read works by English, French, Italian, Latin, and Greek poets. After five years of study, Pope came into contact with figures from the London literary society such as William Wycherley, William Congreve, Samuel Garth, William Trumbull, and William Walsh.[2][3]At Binfield, he also began to make many important friends. One of them, John Caryll (the future dedicatee of The Rape of the Lock), was twenty years older than the poet and had made many acquaintances in the London literary world. He introduced the young Pope to the aging playwright William Wycherley and to William Walsh, a minor poet, who helped Pope revise his first major work, The Pastorals. He also met the Blount sisters, Teresa and (his alleged future lover) Martha, both of whom would remain lifelong friends.[3]From the age of 12, he suffered numerous health problems, such as Pott's disease (a form of tuberculosis that affects the bone) which deformed his body and stunted his growth, leaving him with a severe hunchback. His tuberculosis infection caused other health problems including respiratory difficulties, high fevers, inflamed eyes, and abdominal pain.[2] He never grew beyond 1.37 metres (4 feet, 6 inches) tall. Pope was already removed from society because he was Catholic; his poor health only alienated him further. Although he never married, he had many female friends to whom he wrote witty letters. He did have one alleged lover, his lifelong friend, Martha Blount.[3][5][6][7]An Essay on Criticism was first published anonymously on May 15th 1711. Pope began writing the poem early in his career and took about three years to finish it.At the time the poem was published, the heroic couplet style (in which it was written) was a moderately new genre of poetry, and Pope's most ambitious work. "An Essay on Criticism" was an attempt to identify and refine his own positions as a poet and critic. The poem was said to be a response to an ongoing debate on the question of whether poetry should be natural, or written according to predetermined artificial rules inherited from the classical past.[8]The poem begins with a discussion of the standard rules that govern poetry by which a critic passes judgment. Pope comments on the classical authors who dealt with such standards, and the authority that he believed should be accredited to them. He concludes that the rules of the ancients are identical with the rules of Nature, and fall in the category of poetry and painting, which like religion and morality, reflect natural law.[8]The poem is purposefully unclear and full of contradictions. Pope admits that rules are necessary for the production and criticism, but gives importance to the mysterious and irrational qualities of poetry.[9]He discusses the laws to which a critic should adhere while critiquing poetry, and points out that critics serve an important function in aiding poets with their works, as opposed to the practice of attacking them.[9]The final section of "An Essay on Criticism" discusses the moral qualities and virtues inherent in the ideal critic, who, Pope claims, is also the ideal man.The Essay on Man is a philosophical poem, written in heroic couplets and published between 1732 and 1734. Pope intended this poem to be the centrepiece of a proposed system of ethics that was to be put forth in poetic form. It was a piece of work that Pope intended to make into a larger work; however, he did not live to complete it.[12]The Essay on Man is an attempt to justify the ways of God to Man, and that man is not himself the centre of all things. The essay is not solely Christian; however, it makes an assumption that man has fallen and must seek his own salvation.[12]The Essay on Man consists of ten epistles that are addressed to Lord Bolingbroke. Pope presents an idea or his view on the Universe; he says that no matter how imperfect, complex, inscrutable and disturbing the Universe appears to be, it functions in a rational fashion according to the natural laws. The natural laws consider the Universe as a whole a perfect work of God. To humans it appears to be evil and imperfect in many ways; however, Pope points out that this is due to our limited mindset and limited intellectual capacity. Pope gets the message across that humans must accept their position in the "Great Chain of Being" which is at a middle stage between the angels and the beasts of the world. If we are able to accomplish this then we potentially could lead happy and virtuous lives.[12]The Essay on Man is an affirmative poem of faith: life seems to be chaotic and confusing to man when he is in the center of it, but it according to Pope it is really divinely ordered. In Pope's world God exists and is what he centers the Universe around in order to have an ordered structure. The limited intelligence of man can only take in tiny portions of this order and can experience only partial truths, hence man must rely on hope which then leads into faith. Man must be aware of his existence in the Universe and what he brings to it, in terms of riches, power and fame. It is man's duty to strive to be good regardless of other situations: this is the message Pope is trying to get across to the reader.[13

The Rape Of the lockThe poem satirises a petty squabble by comparing it to the epic world of the gods. It was based on an incident recounted by Pope's friend, John Caryll. Arabella Fermor and her suitor, Lord Petre, were both from aristocratic Catholic families at a period in England when Catholicism was legally proscribed. Petre, lusting after Arabella, had cut off a lock of her hair without permission, and the consequent argument had created a breach between the two families. Pope wrote the poem at the request of friends in an attempt to "comically merge the two." He utilised the character Belinda to represent Arabella and introduced an entire system of "sylphs," or guardian spirits of virgins, a parodic version of the gods and goddesses of conventional epic.Popes poem mocks the traditions of classical epics: the abduction of Helen of Troy becomes here the theft of a lock of hair; the gods become minute sylphs; the description of Achilles shield becomes one of Belindas petticoats. He also uses the epic style of invocations, lamentations, exclamations and similes, and in some cases adds parody to imitation by following the framework of actual speeches in Homers Iliad. Although the poem is extremely funny at times, Pope keeps a sense that beauty is fragile, and that the loss of a lock of hair touches Belinda deeply. As his introductory letter makes clear, women in that period were essentially supposed to be decorative rather than rational, and the loss of beauty was a serious matter.The humour of the poem comes from the tempest in a teapot of vanity being couched within the elaborate, formal verbal structure of an epic poem.Three of Uranus's moons are named after characters from "The Rape of the Lock": Belinda, Umbriel, and Ariel, the last name also (previously) appearing in Shakespeare's The Tempest.

Jonathan SwiftGulliver's Travels, which Swift wrote a large portion of in Woodbrook House, County Laois was first published in 1726, and is regarded as his masterpiece. As with his other writings, the Travels was published under a pseudonym, the fictional Lemuel Gulliver, a ship's surgeon and later a sea captain. Some of the correspondence between printer Benj. Motte and Gulliver's also-fictional cousin negotiating the book's publication has survived. Though it has often been mistakenly thought of and published in bowdlerized form as a children's book, it is a great and sophisticated satire of human nature based on Swift's experience of his times. Gulliver's Travels is an anatomy of human nature, a sardonic looking-glass, often criticized for its apparent misanthropy. It asks its readers to refute it, to deny that it has not adequately characterized human nature and society. Each of the four books--recounting four voyages to mostly-fictional exotic lands--has a different theme, but all are attempts to deflate human pride. Critics hail the work as a satiric reflection on the failings of Enlightenment modernism.In 1729, he published A Modest Proposal for Preventing the Children of Poor People in Ireland Being a Burden to Their Parents or Country, and for Making Them Beneficial to the Public, a satire in which the narrator, with intentionally grotesque logic, recommends that Ireland's poor escape their poverty by selling their children as food to the rich: I have been assured by a very knowing American of my acquaintance in London, that a young healthy child well nursed is at a year old a most delicious, nourishing, and wholesome food... Following the satirical form, he introduces the reforms he is actually suggesting by deriding them:Therefore let no man talk to me of other expedients...taxing our absentees...using [nothing] except what is of our own growth and manufacture...rejecting...foreign luxury...introducing a vein of parsimony, prudence and temperance...learning to love our country...quitting our animosities and factions...teaching landlords to have at least one degree of mercy towards their tenants....Therefore I repeat, let no man talk to me of these and the like expedients, 'till he hath at least some glympse of hope, that there will ever be some hearty and sincere attempt to put them into practice.John GayGay was born in Barnstaple, England and was educated at the town's grammar school and secondly at Blundell's School. Interestingly, though Barnstaple Grammar School currently exists as Park Community School, the actual building in which Barnstaple Grammar School existed has now been transformed into a chapel: St Anne's Chapel. On leaving school he was apprenticed to a silk mercer in London, but being weary, according to Samuel Johnson, "of either the restraint or the servility of his occupation", he soon returned to Barnstaple, where he spent some time with his uncle, the Rev. John Hanmer, the Nonconformist minister of the town. He then returned to London.He certainly did nothing to conciliate the favour of the government by his next work, The Beggar's Opera, a Ballad opera produced on the January 29, 1728 by John Rich, in which Sir Robert Walpole was caricatured. This famous piece, which was said to have made "Rich gay and Gay rich", was an innovation in many respects. The satire of the play has a double allegory. The characters of Peachum and Macheath represent the famous highwayman and gangster Jonathan Wild and the cockney housebreaker Jack Sheppard. At the same time, Jonathan Wild was understood to represent Robert Walpole, whose government had been tolerant of Wild's thievery and the South Sea directors' escape from punishment. Under cover of the thieves and highwaymen who figured in it was disguised a satire on society, for Gay made it plain that in describing the moral code of his characters he had in mind the corruptions of the governing class. Part of the success of The Beggar's Opera may have been due to the acting of Lavinia Fenton, afterwards Duchess of Bolton, in the part of Polly Peachum. The play ran for sixty-two nights. Swift is said to have suggested the subject, and Pope and Arbuthnot were constantly consulted while the work was in progress, but Gay must be regarded as the sole author. After seeing an early version of the work, Swift was optimistic of its commercial prospects but famously warned Gay to be cautious with his earnings: "I beg you will be thrifty and learn to value a shilling."Oliver GoldsmithGoldsmith's birth date and year are not known with certainty. According to the Library of Congress authority file, he told a biographer that he was born on 29 November, 1731, or perhaps in 1730. Other sources have indicated 10 November, on any year from 1727 to 1731. 10 November 1730 is now the most commonly accepted birth date.Neither is the location of his birthplace certain. He was born either in the townland of Pallas, near Ballymahon, County Longford, Ireland, where his father was the Anglican curate of the parish of Forgney, or at the residence of his maternal grandparents, at the Smith Hill House in the diocese of Elphin, County Roscommon where his grandfather Oliver Jones was a clergyman and master of the Elphin diocesan school. When he was two years old, Goldsmith's father was appointed the rector of the parish of "Kilkenny West" in County Westmeath. The family moved to the parsonage at Lissoy, between Athlone and Ballymahon, and continued to live there until his father's death in 1747.In 1744 Goldsmith went up to Trinity College, Dublin. Neglecting his studies in theology and law, he fell to the bottom of his class. His tutor was Theaker Wilder. He was graduated in 1749 as a Bachelor of Arts, but without the discipline or distinction that might have gained him entry to a profession in the church or the law; his education seemed to have given him mainly a taste for fine clothes, playing cards, singing Irish airs and playing the flute. He lived for a short time with his mother, tried various professions without success, studied medicine desultorily at the University of Edinburgh and the University of Leiden, and set out on a walking tour of Flanders, France, Switzerland and Northern Italy, living by his wits (busking with his flute).He settled in London in 1756, where he briefly held various jobs, including apothecary's assistant and usher of a school. Perennially in debt and addicted to gambling, Goldsmith produced a massive output as a hack writer for the publishers of London, but his few painstaking works earned him the company of Samuel Johnson, with whom he was a founding member of "The Club". The combination of his literary work and his dissolute lifestyle led Horace Walpole to give him the epithet inspired idiot. During this period he used the pseudonym "James Willington" (the name of a fellow student at Trinity) to publish his 1758 translation of the autobiography of the Huguenot Jean Marteilhe.Goldsmith was described by contemporaries as prone to envy, a congenial but impetuous and disorganised personality who once planned to emigrate to America but failed because he missed his ship.His premature death in 1774 may have been partly due to his own misdiagnosis of his kidney infection. Goldsmith was buried in Temple Church. The inscription reads; "HERE LIES/OLIVER GOLDSMITH". There is a monument to him in the center of Ballymahon, also in Westminster Abbey with an epitaph written by Samuel Johnson.[1]Wealthy country man Mr Hardcastle arranges for his daughter Kate to meet Charles Marlow, the son of a wealthy aristocrat, hoping the pair will marry. Unfortunately Marlow is nervous around upper-class women, yet the complete opposite around the lower-class females. On his first acquaintance with Kate, the latter realizes she will have to pretend to be common, to make marital relations with the man possible. Thus Kate stoops to conquer, by posing as a barmaid, hoping to put Marlow at his ease so he falls for her in the process.One of the sub-plots to this is a comic misunderstanding between Hastings, Marlow and Mr Hardcastle. Before his acquaintance with Kate, Marlow sets out for the Hardcastles' manor with his friend George Hastings, himself an admirer of Miss Constance Neville, another young lady who lives with the Hardcastles. During the journey, the two men become lost and stop off at The Three Pigeons pub for directions. Tony Lumpkin (the son of Mrs Hardcastle and who will acquire a fortune when becoming of "age"), encounters the two strangers at the alehouse, and realising their identities, plays a practical joke by telling them that they are a long way from their destination and will have to stay overnight at an inn. He furthers the joke by telling the twosome the Hardcastles' old house is the inn, thus the pair arrive and treat it as such, and also treat Hardcastle as the mere inn keeper. This leads to Hardcastle becoming both enraged and convinced that Marlow is inappropriate for his beloved Kate; he changes his mind when realising the truth behind Marlows behaviour.Another sub-plot is that of the secret affair between Miss Neville and Hastings. Neville desperately wants her jewels that were left for her, and that are guarded by her aunt and Tony's mother, Mrs Hardcastle; the latter wants Neville to marry her son to keep the jewels in the family. Tony despises Constance (Miss Neville), and thus agrees to steal his mother's jewels for Miss Neville, so she will then flee to France with Hastings.The play concludes with Kate's plan succeeding, thus she and Marlow become engaged. Tony discovers he is of "age", despite his mother not telling him so, thus he receives the money he is entitled to. He refuses to marry Neville, who then is eligible to receive her jewels and to get engaged to Hastings; this she does.[1]Richard Brinsley Sheridan

R.B. Sheridan was born in 1751 in Dublin, Ireland, where his family had a house on then-fashionable Dorset Street. He was a pupil at Harrow Boarding School outside London from 1762 to 1768. His mother, Frances Sheridan, was a playwright and novelist. She had several plays produced in London in the 1760s, though she is best known for her novel The Memoirs of Sidney Biddulph (1761). His father, Thomas Sheridan, was for a while an actor-manager at the Theatre Royal, Dublin but, following his move to England, he gave up acting and wrote a number of books concerning education and, especially, the standardisation of the English language in education. In 1771 the family settled in Bath.[1]In 1772 Richard Sheridan fought a famous duel against Captain Thomas Mathews. Mathews had written a newspaper article defaming the character of Elizabeth Linley, the woman Sheridan intended to marry, and honour dictated that a duel must be fought. A first duel was fought in London where they agreed to fight in Hyde park, but finding it too crowded they went to the Castle Tavern in Henrietta Street, Covent Garden. Far from its romantic image, the duel was short and bloodless. Mathews lost his sword and, according to Sheridan, was forced to 'beg for his life' and sign a retraction of the article. The apology was made public and Mathews, infuriated by the publicity the duel had received, refused to accept his defeat as final and challenged Sheridan to another duel. Sheridan was not obliged to accept this challenge, but would have become a social pariah if he had not. The second duel, fought in August 1772 at Kingsdown near Bath, was a much more ferocious affair. This time both men broke their swords but carried on fighting in a 'desperate struggle for life and honour'. Both were wounded, Sheridan dangerously, being 'borne from the field with a portion of his antagonist's weapon sticking through an ear, his breast-bone touched, his whole body covered with wounds and blood, and his face nearly beaten to jelly with the hilt of Mathews' sword'. Fortunately his remarkable constitution pulled him through, and eight days after this bloody affair the Bath Chronicle was able to announce that he was out of danger. Mathews escaped in a post chaise.In 1773, Richard Sheridan at age 21 married Elizabeth Linley and set up house in London on a lavish scale with little money and no immediate prospects of anyother than his wife's dowry. The young couple entered the fashionable world and apparently held up their end in entertaining. Less than two years later, his first play, The Rivals, was produced at London's Covent Garden Theatre. It was a success and established him in the favour of fashionable London.Shortly after the success of The Rivals, Sheridan and his father-in-law Thomas Linley, a successful composer, produced the opera, The Duenna. This piece was accorded such a warm reception that it played for seventy-five performances.In 1776, Sheridan, his father-in-law, and one other partner, bought a half interest in the Drury Lane theatre and, two years later, bought out the other half. Sheridan was the manager of the theatre for many years, and later became sole owner with no managerial role.On May 8, 1777, Sheridan directed his masterpiece, A School for Scandal, in the Drury Lane theatre of which he was now manager, with Mrs. Abington in the rle of Lady Teazle. It was an immediate and lasting success.[1] He wrote the last of his three great comedies, The Critic, in 1779.In 1780, Sheridan entered Parliament as the ally of Charles James Fox on the side of the American Colonials in the political debate of that year. He is said to have paid the burgesses of Stafford five guineas apiece for the honour of representing them. As a consequence, his first speech in Parliament had to be a defence against the charge of bribery. When he failed to be re-elected to Parliament 32 years later, in 1812, his creditors closed in on him and his last years were harassed by debt and disappointment. On hearing of his debts, the American Congress offered Sheridan 20,000 in recognition of his efforts to prevent the Revolutionary War. The offer was refused.