Jonathan Swift’s On Poetry: A Rhapsody consists of 494 lines of iambic tetrameter couplets that satirize the relationship of poetic inspiration, vocation, and flattery of those in positions of political power, both kings and prime ministers. The poem dramatizes the corrupting results of misplaced human ambition that ignores one’s true aptitudes and that transforms poetry from an inspired art form into a debased and chaotic utterance.
In the first verse paragraph of the poem, animals are presented as wiser than people because animals follow their natural abilities. A human being is “the only Creature,/ Who, led by Folly, fights with Nature.” This human folly involves seeking work where one’s “Genius least inclines.” The first seventy lines of the poem examine this destructive desire to reject one’s proper vocation by presuming to become a poet. Swift insists in the second and third verse paragraphs that all other careers, whether in government, law, or science, require less “heavenly Influence” than poetry. However, if poetry is a heavenly pursuit for true poets, who receive little or no money or public respect, for those who have misjudged their abilities, writing poetry involves a series of trials that cannot be won and a curse from which there is no escape. This dire “Fate” comes from Apollo, the god of poetry and prophecy: “whom Phebus in his Ire/ Hath blasted with poetick...
(The entire section is 500 words.)