In some 18th-century works, emphasis on allusions and inspiration from the past proved to be one of the most effective methods of composing a satirical piece. Appearing in two forms, Juvenal or Horatian, a satire is "a poem, or in modern usage sometimes a prose composition, in which the prevailing vices or follies are ridiculed" (Drabble). The first satire of Horace's second book imitated by Alexander Pope alludes to the past as well as the present in a representative piece of Horatian satire. The example of Juvenalian satire is London: a poem by Samuel Johnson, in imitation of Juvenal's third satire. The importance of the allusions present in both pieces is essential to understanding the overall intention of each satire. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get the original essay The first satire of the second book of Horace imitated by Alexander Pope, published in London in 1733, is the effort of Pope to defend himself and his satirical works, writing yet another satire (Pope 1-14). In the poem he defends himself by alluding to some of his previous victims and subjects, stating that satire is the truth as well as his guilty pleasure and that if he stopped writing he would "think/ and for my soul, I can’t sleep a wink.” /... Fools rush into my head, so I write” (Pope 29). Writing, especially about the follies and vices of others, is his main passion. The poem is written as a dialogue between the Pope and a friend who serves as his “learned counsel in law” and while the Pope justifies his satire, the friend attempts to convince him of the dangers of his writing (Pope 27). The fact that the piece is written in dialogue form allows the reader to hear the opinions of a stranger as the text moves from the friend's main concerns followed by the pope's justifications. The incorporation of a dialogue between the pope and another in the poem adds an additional dimension to it by allowing the reader to place themselves in the text as a second character in the dialogue. The controversial nature of his allusions and subjects are the source of dissatisfaction with his poems. . It can be argued that “the precise question is whether the pope’s verses constitute satire or defamation” (Maresca 366). Is he simply mocking those in his works, or is he actually guilty of slander against them? The Pope defends his earlier works, referring to the time when he wrote satires that seemed "too daring / rare to be wise, Peter quite complacent / and something said of Chartres much too crude" (Pope 27). Pope claims that he wrote satire and not libel since both references were to guilty men, thus Pope "undermines the charge of libel in the very act of presenting it by referring to his attacks" (Maresca 367). Pope believes that he is not guilty of defamation even though the words he wrote were those of public opinion. He satirizes the poet's traditional writing methods simply for the pleasure and satisfaction of others, such as the poet "Sir Richard, snarling, rough and fierce/With Arms and George, and Brunswick crowd the Verse", who writes what Pope considers superficial poetry written solely for the affections of royalty (Pope 29). Pope refers to what he considers minor poets, thus providing an example to further argue that he is the one who must satirize the truth, otherwise no one will. The friend encourages Pope to use his poetry to "Let Carolina soften the melodious Lay/Lull with theliquid of Amelia Name the Nine/And flow gently through all the Royal Lineage” because by immortalizing the royal family, he has the greatest possibility of immortalizing his own writing. (Pope 31). Pope writes poetry to provide insight into the human condition and uncover the flaws that exist in everyone. When comparing Pope's satire to Horace's original, and with regard to writing poetry for the glorification of royalty, "Pope and Horace's excuse for not writing heroic poetry is literally true for them; their talents are insufficient” (Maresca 386). The Pope judges royalty unworthy of such immortalization without just cause. The Pope further alludes to the past when he professes his dedication to remaining honest and true in his works: My head and my heart thus flow through my pen, my man in verse or prose designates me that you will do, papist or Protestant, or both, like the good Erasmus in an honest sense. (Pope 33) Erasmus was one of the great scholars of the 16th century, known for a number of works, including translations of the Bible and classics that helped revolutionize European literary culture (Drabble). By referring to Erasmus, Popes draws a comparison between himself and another great intellectual. Erasmus authored The Praise of Folly in 1511, which satirized Church dignitaries and theologians (Drabble). Erasmus satirized others and was always considered "good" and "honest", traits with which the Pope himself wishes he and his satires could also be associated. Pope draws on the past in order to compare and relate them to each other, allowing the association to have a positive impact on Pope's own reception among his readers. Pope further defends his use of satire in the lines: I only wear it in a land of Hectors, thieves, supercargos, Sharpers and directors, save our army! and may Jupiter encrust swords, pikes and guns with eternal rust! (Pope 35)The Pope here alluded to the past as well as the present to defend his satire. He uses satire against the “Land of Hectors/Thieves, Supercargoes, Sharpers and Directors” which represents the “corrupt and vice-versed England” that exists in the present (Maresca 390). His inclusion of government arises from his use of the term "Minister" which "underscores the fact that the court is primarily responsible for the disorder of England and therefore indirectly responsible for the Pope's obligation to write the satire" (Maresca 391) . Pope cleverly brings the satire full circle by claiming that those who criticize his use are the sources of his material for writing it. His ultimate defense is that he has to write it down. Along with these present-day allusions, Pope's use of "Jupiter" alludes to the ancient Roman god, also known as Jupiter. Jupiter is the king of the gods, and the allusion to him underlines the power that the pope gives to the notion of peace. He asks for peace by asking Jupiter to destroy the weapons of their armies, just as he asks for peace from his readers. London: A Poem, In Imitation of the Third Satire of Juvenal by Samuel Johnson was published in London in 1738 (Johnson 1). This poem uses Juvenal satire to express Johnson's disappointment and disgust with the current state of his beloved city of London. As Pope did, Johnson also alludes to the past and present, although because the poem is a juvenile satire, the allusions are less playful and more abrasive and critical (Drabble). The fact that the poem is an imitation of Juvenal's Third Satire immediately associates the poem with the past. By constructing his poem in this way, each verse, although different from the original, still has a link with it. THEThe structures and ideas contained in the lines of Johnson's London were written in a way that reflected the original, bringing the past into his new poem. In the first stanza of the poem, Johnson highlights the poor state of London: I praise the hermit, but I regret. the Friend, who does not decide, from vice and from London far away, to breathe in the distant fields a purer air, and, fixed on the lonely shore of Cambria, gives to Saint David one more true Briton. (Johnson 3) His use of the phrase “of vice and London away” introduces the reader to the association between vice and London, essentially equating one to the other. London has become so corrupt and broken that it is almost synonymous with the term vice. Even a “real Briton” can no longer settle there, seeking relief where “purer Air” reigns (Johnson 3). His use of "real Briton" to describe the speaker's character, Thales, in the poem implies a strong sense of pride, but even this pride is not powerful enough to make us stay in London. Thales acts as "a stereotype of the good man 'harassed' by the baseness of his city... [who] must endure the agony of exile to survive as an 'enemy of vice'" (Bloom 116 ). Johnson draws a crucial distinction between Thales and the vice-ridden Londoners. In presenting the image of this fractured London, Johnson reveals how society has “within itself the elements of its own destruction, an enemy within who will overthrow and betray it” (Varney 204). When Johnson asks "Who would leave, without corruption, Hibernia's Land/Or change the rocks of Scotland for the Strand" he is making subtle allusions to the past by using the more classical names of Cambria and Hibernia to refer to Wales and the Ireland (Johnson 4). These more traditional terms imply a sense of history or the overall passage of time. Some of the most powerful allusions to the past are included in the poem's third stanza: Struck by the siege that gave birth to Eliza, We kneel and kiss the hallowed Ground; in pleasant dreams the blessed age renews itself, and recalls the glories of Brittannia; here is his triumphant cross on the Main, the guard of commerce and the terror of Spain. (Johnson 5) The suggestion of the “hallowed land” where Queen Elizabeth was born evokes what is considered one of England's greatest reigns. Elizabeth I reigned from 1558 to 1603 and, during her successful reign, was immortalized in countless literary and artistic works (Drabble). Its inclusion in the poem establishes a clear distinction between the present-day London of Johnson's poem and the London of its greatest days. By alluding to Elizabeth I, Johnson begs the reader to consider the seriousness of his poem by forcing them to make their own comparisons between the London of the present and the past. Since the poem refers to one of England's most renowned political figures, it draws a stark contrast between past and current administrations. Politics has a huge influence on London and many of the downfalls Johnson sees there. London “reflected and contributed to the volatile political atmosphere of 1738 and its popularity was undoubtedly enhanced by its fiercely committed content and tone,” making it one of Johnson's most publicized works (Varney 203). 1738 are discussed as Johnson asks readers to “remember the glories of Britannia/Behold her triumphant cross on the Main/The guard of commerce and the fear of Spain” (Johnson 5). It is necessary to look to the past to understand Johnson's insistence that London is rapidly falling apart. Compared to the "Glories of Britannia" of the past, London of 1738 appears in yet another disaster, 2011.