The Role of NatureThe Role of NatureIntroductionConsidering the history of literature, the conception of Nature seems to be a quite complex question. Nature is not a concept that can be grasped easily and it often requires discussing some great philosophical conceptions like Pantheism or Deism. However, my paper will not deal in detail with such vast enquiries. I rather want to focus more accurately on how Nature is used by Pope and Coleridge, respectively. With other words, I would like to analyse the function of the concept of Nature. The fact is, that even if these poets do not exhaustively characterise ‘Nature’ itself, they employ it in a lot of different analogies and metaphors to articulate and embody for example ideas about morality (Pope) or the intimate self (Coleridge). My argument would be to show that in both cases, nature has a sort of epistemological function. The apprehension of nature, its perception or its examination leads to knowledge of something that is not directly obvious; one can name it God or the divine. Thus, to mention of nature is a kind of disclosure that guides us to be aware of some reality that is meta-physical.
As a matter of fact, the ways Nature is described by Pope and by Coleridge are very different: Pope uses a sort of analogical technique, whereas Coleridge exploits the more suggestive power of metaphors. That point shows that, even though Nature has the same overall function, that is reveal something that is beyond the mere material world, the way it can and should be perceived is not the same. I would like to argue that Coleridge considers a sort of intuitive faculty, whereas Pope thinks that a reasonable examination of Nature unveils the divine order of the universe.
The present analysis will spotlight Pope’s Essay On Man and Coleridge’s Rime of an Ancient Mariner. First, I want to show that Coleridge and Pope advocate a pantheistic and a deistic conception of Nature, respectively. This should be the general framework through which I will try to show some other differences. Then, in a second time, the use of a concept like “reason” will be analysed in regard to Pope’s Essay on Man. This step shows that even if Pope is a writer of the Enlightenment, the Age of Reason, he deeply condemns the arrogance that results of a pretentious use of reason. In fact, reason should therefore be seen as an important but limited resource, for one cannot pretend to grasp through reason the whole system of the universe. In a third time, I will try to proceed to the same analysis in Coleridge’s Rime of an Ancient Mariner. In contrast to Pope’s text, Coleridge emphasises the role of emotion and experience and he doesn’t seem to really accord great importance to reason. In this sense we will see that unsurprisingly Coleridge’s poetry raises typical Romantic topics.
Nature in Pope’s Essay on ManAn Essay on Man is a didactic and quasi-philosophical poem. Etalons for that genre can be found in antiquity, especially in Lucretiuss De Rerum Natura (Nuttall Pope’s ‘Essay on Man’ 44). Lucretiuss poem is an exposition of Epicurean philosophy and a vast speculation about natural phenomena and more fundamentally about the whole universe. Pope’s poem seems to have fairly the same far-reaching scope in its subject matter, but unlike Lucretius’s one, it is guided by a Christian faith. In addition, in the vein of Augustan poets, Pope’s ambition is to define some “general truths”; he wants to show the orderly and logical structure of the universe and the place of “Man” and “Nature” within it. The first Epistle on which I would like to focus is titled “The Nature and State of Man with respect to the universe”. Nature is thus a topic, but the question is: what exactly is the function of Nature in Pope’s work?
Epistle I is deliberately ordered, growing out of Popes central premise that the world man inhabits might appear to be a “mighty maze” (I, 7), but it is not without “plan” (I, 7). As he declares “frame”, “bearings” and “ties” (I, 29) provide a coherent structure that informs the world. Thus, Pope’s aim is to reveal someway that “plan” and to describe this prior established order1. In that context, the poet defends a very specific conception of ‘order’ and claims in favour of an idea that was very popular at that time: the Great Chain of Beings. The latter is a philosophical doctrine that, a priori, explains the unity of creation. Of course, all arguments assume the existence of God. In vindicating the perfect unity of creation, this doctrine leads to a sort of theodicy-like conclusion, that is, the claim that the world is the best that God could have created. This is an important point that I will consider again later.
The Epic of Adam 2:1 in the second and fourth lines of the fourth edition of Pope John Chrysostom’s The Church of Christ, is the main piece of the Pope’s work on The Divine Plan, based on three primary points. First, he argues that, in addition to his own writings, and especially with the aid of the Church of Christ, the Pope had used his own sources (especially his epistle) to create the divine plan of things2, in order to demonstrate: how great is this plan the God and human creatures? Second, he argues that, although the vision of creation was a ‘mighty maze” (I, 20), in reality it has not been so big as in the imagination of God.
For a comprehensive list of this primary point, see the work of Rimbaud de Balcket, “A Study of the Idea of the Divine Plan in the Pope’s Thebans and Heruchins”, translated in French in 1996.
Secondly, a key point of his essay is that all the great and final stages of human history have been constructed from the same basic assumptions of the Epic and of its own time, thus allowing the development of a sense of order (cf. L’Eclercité du Revolution, pp. 15–19).
Thirdly, he argues that the present form of humanity is, in fact, a ‘mighty maze” (I, 30).
Fourthly, he contends that human life and the universe have had a ‘double tap’ under the same ‘mighty cycle’‡. For at least some time, the world has been created as something that has passed down from one end to the other (I, 39), by the power of the Holy Spirit which was once omnipotent to any that might have come after it. Thus, this dual link has now been lost by all those that follow after it.
The Epic of Adam is one of the themes of this essay, and, like his earlier essays, it uses a complex structure of assumptions and constructions. First, for Adam’s conception of the Divine Order, it is not the existence of the human being that has led to the order. Secondly, it is not an ‘evil’ or an ‘impossible’ form to live in; rather, it is the kind of life that emerges from the divine order in which it is achieved. Finally, it is a way of living from the ‘ex-existence‡’‡ of human life and the divine order (I, 47).
The Epic of Adam sets a good example of how a transcendentalist approach to philosophical philosophy can make use of the richness of its sources and of its analysis (e.g. Cepheid, “Praxis”, p. 29). Its arguments are not only good, but also insightful.
I am indebted to Rimbaud de Balcket for providing this text for the purpose of this blog and for the many other projects that I’ve undertaken through this blog at the time. This work may not always meet my personal needs, but at certain times I hope readers find it useful, and they will be happy to know that I have been well received by critics, supporters and supporters of mine and that the book has received some useful feedback from those who have not participated in my work thus far (e.g. L’Eclerc