Weber's own writings support Lassman and Speirs' conclusion that Weber considered ultimate values and their subsequent political values to be subjectively determined. For instance, in "Between Two Laws" Weber writes that certain communities are able to provide the conditions for not only such "bourgeois" values as citizenship and true democracy, "but also much more intimate and yet eternal values, including artistic ones." 20 The language that Weber uses to characterize these two types of values leads to the interpretation that he held them to be a subjective matter. Regarding the first set of values, labeling them "bourgeois" brings to light their contingent nature: They are the product of a class, a strata. Regarding the second set, the labels "intimate" and "eternal" clearly set them apart from any objective foundation. An "intimate" value is by definition personal, an opinion. Further: It carries the connotation of emotion, of mystification. Likewise with "eternal."
Finally, Frye proposes an anagogic phase wherein a symbol is treated as a monad. The anagogic level of medieval allegory treated a text as expressing the highest spiritual meaning. For example, Dante's Beatrice in the Divine Comedy would represent the bride of Christ. Frye makes the argument that not only is there a lateral connection of archetypes through intertextuality, but that there is a transcendent almost spiritual unity within the body of literature. Frye describes the anagogic in literature as "the imitation of infinite social action and infinite human thought, the mind of a man who is all men, the universal creative word which is all words."
An Essay on Criticism is one of the first major poems written by the English writer Alexander Pope (1688–1744). It is the source of the famous quotations "To err is human, to forgive divine," "A little learning is a dang'rous thing" (frequently misquoted as "A little knowledge is a dang'rous thing"), and "Fools rush in where angels fear to tread." It first appeared in 1711  after having been written in 1709, and it is clear from Pope's correspondence  that many of the poem's ideas had existed in prose form since at least 1706. Composed in heroic couplets (pairs of adjacent rhyming lines of iambic pentameter ) and written in the Horatian mode of satire, it is a verse essay primarily concerned with how writers and critics behave in the new literary commerce of Pope's contemporary age. The poem covers a range of good criticism and advice, and represents many of the chief literary ideals of Pope's age.