The Temple Of Fame: A Vision

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An Essay On Criticism (London: Printed for W. Lewis & sold by W. Taylor, T. Osborn & J. Graves, 1711). For an intelligent discussion of looking and longing in other poems besides The Temple of Glas, see Spearing’s Medieval Poet as Voyeur. R. H. Griffith, Alexander Pope: A Bibliography, 2 volumes (Austin: University of Texas Press, 1922, 1927).

Chaucer enters the house and sees a massive crowd of people, representing the spread of rumor and hearsay. He spends some time listening to all he can, all the lies and all the truth, but then the crowd falls silent at the approach of an unnamed man who Chaucer believes to be of "great authority". The poem ends at this point, and the identity of this man remains a mystery.

THE TEMPLE OF FAME.

Of The Use of Riches, An Epistle To the Right Honorable Allen Lord Bathurst (London: Printed by J. Wright for Lawton Gilliver, 1732). The extraordinary erasure of Emmeline Pankhurst is superbly documented in Emmeline Pankhurst: A Biography (Routledge 2002) by June Purvis, the first full-fledged treatment in nearly 70 years of “that weapon of will-power by which British women freed themselves from being classed with children and idiots in the matter of exercising the franchise,” wrote the London Evening Standard, and the “most remarkable political and social agitator of the early part of the twentieth century,” The New York Herald Tribune declared. Purvis not only takes her cue from West, her biography goes well beyond West’s essay by repudiating much of the left-controlled historiography on the votes for women movement. Both in her narrative and in her notes, Purvis shows just how elaborately Mrs. Pankhurst’s trajectory from Labor Party supporter to Conservative candidate for Parliament has been misunderstood anddiminished. St Mary's church (1871-8, listed grade I) was designed by William Burges for Lady Mary Vyner. The building is considered to be a triumph of High Victorian architecture and one of Burges' finest works. Chaucer climbs the hill and sees the House of Fame and thousands of mythological musicians still performing their music. He enters the palace itself and sees Fame. He describes her as having countless tongues, eyes, and ears, to represent the spoken, seen, and heard aspects of fame. She also has partridge wings on her heels, to represent the speed at which fame can move. Every kind of insult and abuse is hurled at the women who have adopted these methods. . . . But I hope the more old-fashioned suffragists will stand by them. . . . in my opinion, far from having injured the movement, they have done more during the last 12 months to bring it within the region of practical politics than we have been able to accomplish in the same number ofyears.

When public interest in the group's activities made their meetings at the abbey untenable, Dashwood decided to create a setting at his own home, West Wycombe. A set of caves was dug beneath the parish church, which sits on chalky hills overlooking the house. Some say the caves themselves were designed to mimic the female anatomy. In any case, Dashwood designed other parts of his West Wycombe estate in keeping with his club's endeavors. His was clearly an X-rated garden. Douglas Brooks-Davies, Pope's Dunciad and the Queen of Night: A Study in Emotional Jacobitism (Manchester: Manchester University Press, 1985). Indeed the work eschews what Schirmer refers to as Lydgate’s “late style” with its pre­tentious polysyllables, archaic diction, and general ostentation. 57 However, The Temple of Glas does have a few examples of Lydgate’s characteristically elastic and sometimes involuted syntax, although readers of modern poetry and fiction should not find such passages very taxing. 58 Pearsall has occasion to speak of the poet’s “compulsive accumulation” or “encyclo­paedism,” exem­plified in the way references pile up seemingly without purpose. 59 For example, in Lydgate’s account of the temple mural the painted lovers are catalogued as though for the sake of quantity rather than for sense or sequence, putatively so unlike the way Chaucer does things: e.g., as in Dorigen’s lament in The Franklin’s Tale. Lydgate has long been criticized for being voluminous and verbose and for going off on tangents — so it has also come as some relief to critics that this poem is so short. Nor does it rely too heavily on narrational descrip­tion, giving the poet few opportunities to digress or overwork his verse. The Works of Mr. Alexander Pope (London: Printed by W. Bowyer for Bernard Lintot, 1717; enlarged edition, Dublin: Printed by & for George Grierson, 1727). Note that the Elysian Fields are as demanding intellectually as the section of Pope's garden described above. Hunt and Willis sum up the challenges this section of the garden presents to its "reader":Architectural Conservation student Anushka Desouza says: “It’s brilliant to get a hands-on experience of things that we are learning in class.” Emmett G. Bedford and Robert J. Dilligan, A Concordance to the Poems of Alexander Pope (Detroit: Gale, 1974).