Alexander Pope’s poem The Rape of the Lock Essay

There be s ever soal(prenominal) aspects to black lovage popes song, The Rape of the Lock which cement it as a unique and important work. Not only do pontiffs use of imagery and other literary tools attain a landscape of the gentlemans gentleman which is represented here, but pontiff also manufactures the olfactory modality of total emersion into the story for the indorser. There argon also umpteen individual issues, within the work itself, which utilize their hearty standing to force emotion for the reviewer, such as the consumption of drugs d iodin with(predicate)out The Rape of the Lock. This creates an ablaze bond with surrounded by the reader and the character within the meter by forcing the reader to make judgments on the characters. This judgment, then, becomes part of the readers dream of the world Pope created within the poem. While the poem itself was called to be pen by Popes close friend, to end the feud between dickens families, what Pope succeeds in creating was an epic of lust, debauchery and social posturing. This tale, spun by Alexander Pope, seems just as oft a condemnation of the social stratification of his era, as it is a plea for intumesce-born families to put aside their petty squabbles.The events leading up to the writing of the poem, as explained by Pope were The larceny of Miss Belle Fermors vibrissa, was taken too seriously, and ca utilize an estrangement between the twain families, though they had lived so long in great friendship before. A common acquaintance and well wisher to both desired me to write a poem to make a jest of it, and laugh them together again. It was with this suasion that I wrote the Rape of the Lock. (Pope)This partly explains the use of the term Rape in the title. The use of such a strong word to describe such an inane event illustrates Alexander Popes fondness of act as well as his ability to illustrate the strange and often humorous idiosyncrasies of the wealthy elite. As Pop e begins his five act poem, his fore intimately line both inquirys and accuses the parties involved in the rivalry by inquire what trivial things could have been seen as such a dire offense. The assault which is spoken of by Pope in this primary canto is expound as being committed by a well-bred lord upon a gentle Belle. This assault is also questioned, in that Pope asked how a Belle could refuse the advances of such a well-born man. It is the assumption, from this early exchange, that it was socially expected that these two individuals, most certainly due to their social standing, would have no superior but to form a physical union completely ignoring whatever personal choice in the matter. Throughout the first canto, there are several good examples of instances where Pope created a strange sense of reality through with(predicate) his use of word choice and localize. Calling to attention the vision of a birth-night beau, a genuinely festive and happy image, Pope juxtap oses the image of non-consensual relations and enters into a dream-state. The allusions that Pope creates here are a very white and pure scene. The use of imagery such as the slippers, silvern sound, and Belinda laying her head against her downy pillow creates a view of safety and warmth. In line twenty four of the first canto, the poem begins to take on a decidedly fantastic feel. This is used to create the sense that Belinda is truly a slothful person. As she arises at noon, the reader is told that she returns to sleep creating a sense of an unpressured and possibly spoiled girl with no responsibilities. The dreams of Belinda are also illustrated here. Pope mentions several types of fantastic characters in this scratch which illustrate the unrealistic world Belinda inhabits. The angels and elves which Pope mentions number in the thousands and through them, illustrate the mental age of Belinda that of a child. These creatures also set up the meaning of the first canto, the w arning of Belinda. In the clear Mirror of thy regnant StarI saw, alas round dread Event impend,Ere to the Main this Morning Sun descend.But Heavn reveals not what, or how, or whereWarnd by thy Sylph, oh Pious maiden over bewareThis to disclose is all thy Guardian can.Beware of all, but most beware of Man (Pope 1.108-114)This warning shows the reader, in Popes mock-epic style, that some sort of tragedy is about to unfold for Belinda. This fantastical representative continues through the end of the first canto. Pope uses the personification of the items in Belindas populate to create the creatures which she sees through her dreams. Line 135 is a perfect example of this as Pope writes The Tortoise here and Elephant unite, / Transformd to Combs. It is obvious to the reader that Pope is describing a tortoise shell and ivory comb. However, in the dream world of Belinda, this object is represented by its literal components before losing this personification and beseeming a tool to cre ate Belindas physical yellowish pink. The second canto is used to by Pope to illustrate the grandeur of pilus to the physical beauty of Belinda. Her majestic persona is described by Pope in order to place a heavy weight on the locks of hair she testament eventually lose to the impetuous Lord. Pope exaggerates Belindas physical draw and the attractiveness of her jewelry as well. Though she is surrounded by galore(postnominal) well presented youths, all adorned in splendor, evry Eye was spend a pennyd on her alone (Pope 2.6) Her physical beauty, as Pope describes it, is accentuated by the cross around her neck which was so spectacular that Jews might kiss, and Infidels applaud. (2.8)The occasion of a piece of jewelry to overcome religious assurance is very unlikely, nonetheless, for Pope, this is a perfect way to illustrate the perceived power of high social standing of the wealthy elite. For the members of the elite families of England, the importance of opthalmic presen tation cannot be over-stated, not even when compared to religion. Though the symbol she wears is a Christian icon, its beauty both from its construction and the fact that it is being cadaverous by a small girl of such attractiveness as Belinda, it could seemingly convert Jews and heathens from their chosen dogmas. It is also in canto two that the Baron, who leave alone perpetrate the rape of the lock, is introduced. Lines twenty nine and thirty of the second canto reads Th Adventrous Baron the bright Locks admird, / He saw, he wishd, and to the Prize aspird. This introduction of the Lord creates an interesting situation for the reader. Despite the several xii lines of text which describe the beauty of Belindas clothing, jewelry as well as her physical features, it is the locks of hair that hang against her neck which the Baron first sets eyes upon, and subsequently longs for. The first feelings of the Baron are shown to be tempestuous in nature. Resolvd to win, he meditates th e way, By Force to ravish, or by Fraud betray For when Success a Lovers savvy attends, Few ask, if Fraud or Force attaind his Ends. (2.31-34)This illustration of the mans intent shows the reader that the Baron does not imagine the hair on Belinda as a part of Belinda if he recognizes Belinda at all. The hair that hangs on her neck, however, is instantly revered as a dire prize. It is also through this section that the locks of hair are given a sexual persona. At no time does the Baron speak, or debate of Belinda as a source of joy, but rather her hair as an all encompassing quest. The immediacy of the Barons passion for the locks of Belindas hair illustrates a very important aspect of his personality the award is more important than the conquest. It is the intent of the Baron to display the locks of hair, as one would display a commendation. The locks of would signify the physical conquest of the beauty of Belinda whether or not that conquest ever actually occurred. The sign ification given to the locks of hair on Belindas head is that of her chastity. By removing them, the Baron, in so much as it was seen in the times, had given Belinda the equivalent of a badge of promiscuity. The form through which the Baron achieves his goal, is illustrated through a card plucky. though this game is seemingly innocuous, it symbolizes to very distinct and overt actions the first being war, with the draw a bead on imagery within the poem, and the other being sex, by the eventual gentle of the locks of chastity by the Baron. The victory of the card game enables the Baron to slue the locks of hair from Belindas head. This action, keeping with the tone of the title of the poem, is illustrated violently though the reality of the action was certainly far less extraordinary. The Peer right off spreads the glittring Forfex wide, Tinclose the Lock now joins it, to divide. Evn then, before the fatal Engine closd, A wretched Sylph too lovingly interposd Fate urgd the Sh eers, and cut the Sylph in twain, (But Airy union soon unites again) The meeting Points that sacred Hair dissever From the fair Head, for ever and for ever (3.147-154)The words used by Pope in this stanza are undoubtedly violent. Though the Baron is removing the hair with the pressured permission of Belinda, Pope chooses to key fruit this scene as though the Baron was attacking her, killing her, and/or ravaging her body. Pope also uses strange images to create the picture in the readers mind. Line 148 states that the scissors were closed around the hair, biting it however, the language chosen by Pope creates the image of both alliance and disjunction. This stanza is followed by Then flashd the living Lightnings from her Eyes, And Screams of Horror pull up th affrighted Skies. Not louder Shrieks to pitying Heavn are cast, When Husbands or when Lap-dogs tinge their last, Or when rich China Vessels, faln from high, In glittring Dust and variegated Fragments lie (3.155-160)This vi olence that is being spoken of here, as intended by Pope, creates the feeling of murder, and military conquest. The emotions that Pope takes advantage of here, are for the express answer of illustrating the over-exaggerated weight placed in the locks of hair. This scene is intentionally written so violently, as to show the reader that the members of this social stratum have minuscule understanding of the true importance of things such as locks of hair. Throughout canto four, Pope makes several allusions to the act of torture. It is the intent of these lines to show the reader that the taking of the locks of hair, for Belinda, however insignificant as they may truly be, was a painful and violating event. Meanwhile, the Baron, himself, calls into question the validity of the social significance of the hair While the Fops envy, and the Ladies stare / mention forbid at whose unrivald Shrine / Ease, Pleasure, Virtue, All, our Sex resign. (4.104-107) The peculiarity of the poem, for Pope, further illustrates the illogical amount of importance placed on the privation of Belindas hair. The insistence that Fate and Jove where in the audience of this event, illustrates for the reader that the connection which Pope is lampooning here feels that the Christian God and the pagan gods would be affronted by witnessing such a horrible action. Pope also suggests that the loss of Belindas locks would be of such great importance to the surrounding women in her carriage that their own lives would come to a halt For who cam move when fair Belinda fails? (5.4) Pope offers no redemption for the couple, or the society they inhabit. By line xciv of the fifth canto, Belinda and the Baron engage in actual combat. Pope uses this force to further illustrate the complexity of this societys skewed priorities. at once meet thy Fate, incensd Belinda cryd, And drew a deadly threader from her Side. (The same, his antique Personage to deck, Her great great Grandsire wore about his Ne ck In three Seal-Rings which after, melted down, Formd a vast rumple for his Widows Gown Her infant Grandames Whistle succeeding(a) it grew, The Bells she gingled, and the Whistle blew Then in a Bodkin gracd her catchs Hairs, Which long she wore, and now Belinda wears.) (5.86-96)The fact that the petite and beautiful Belinda pulls a blade from her side, and attacks the Baron with it, is against the idea of the age where men are the fighters and women are weak in and in need of protection. This attack by the young maiden is followed by the powerful Barons begging for his heart ah, let me survive. (5.101) This, again, goes against the expectations of the reader, creating a setting of irrationality. These actions by Pope to create this skewed reality, are effective in forcing the reader to see the constitutional world of The Rape of the Lock as improbable. Throughout the poem, Pope utilizes the tools of the ancient epic poems to create a sense of importance and truth to the work . merely as Homer had with his Iliad, Pope creates a tale of heroic and historic importance. However, this is simply a ploy to expose the utter lack of importance of the issue at hand. The entirety of the poem is an exaggeration of the expectations of the reader, and their knowledge of story and poetic license. The complexity of Popes couplet rhyming as well as the loose iambic lines, suggest that the work is meant to be seen just as the historical epics had been. However, the use of exaggerated metaphors and unlikely situations award that sense of importance and overpower it. The voice that Pope uses throughout the poem allows the reader to feel at ease with the untrustworthiness of the narrator. It was the intent of Alexander Pope to illustrate a situation in which a plastered amount of importance was placed on a fairly insignificant object hair. Though the fact is never revealed within the poem, hair regrows naturally. This essence that regardless of the taking of the hair by the Baron, given ample time, the hair would be replaced and the event completely forgotten. However, as with the strain between the two families for which Pope was inspired to write about, the event was seen as somewhat of a major catastrophe.WORKS CITEDPope, Alexander. The Rape of the Lock. University of Massachusetts. Date of access April 27, 2007. URL http//www-unix.oit.umass.edu/sconstan/index.html