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Patrick Smith
English 216-C05
Dr. Jennie A. Harrop
October 24, 2012
The Rape of the Lock: Dismal offense from amorous causes
Preamble
Pope’s poem, The Rape of the Lock is the optimum example of mock-epic ever written. The sardonic episode is spawned in rhymed match ups of iambic pentameter. Being a master poetry, Pope is not constrained by the verse-form but rather pursues the controversial theme of fair and egotism. The rhythm of the poem is varied constantly to avoid monotony and the poem is interwoven in a resonant grammatical structure. The real fun in this masterpiece is the way Pope skewers the pretensions on 18th century portraying the arrogance and futility of the aristocratic loons (Richardson 468). In a nutshell, the mighty classic is set in a party where a baron snips a hair lock of a noble girl named Belinda who throws a tantrum and irates the whole festivity. Clarissa, who plays a sinister role in the whole prank, tries to calm Belinda but this only serves to stir the dignified girl into a fight. A scuffle ensues as both women and men attending the party begin to fight. Then abruptly the lock disappears. Pope systematically satirizes how silly and trivial events amongst the upper class in the 18th century were magnified into epic struggles between humanity and angelic forces [Thesis].
The Rape of the Lock opens with all airs of irony giving the poem a brass mock-heroic tone (Sprague & Fletcher canto 1). The poet opens the poem by stirring a muse, but rather than invoking a Greek mythical muse, he leaves the muse unnamed and then proceeds to dedicate the poem to a man known as John. The first stanza gives way for the reader to establish the topical issue being addressed in the poem. A war arising from amorous causes. Unlike many other heroic stories of the past such as the Odyssey and Iliad where wars were stirred by pertinent issues, the contests in this poem are as a result of trivial amorous matters. As compared to the other wars fought in the Greek tradition this kind of war is mere flirtation (Phiddian 143).
The author sets the center for stage as the rising sun awakens people living in a wealthy residence. Every one is awake save for the beautiful Belinda who lies asleep dreaming of a handsome man informing her that she is protected by innumerous inhabitants of the air. This handsome man in the dream helps Belinda to know that when a woman dies her spirit becomes water, air, earth or fire the four elements of the earth (Sprague & Fletcher canto 1). Apparently, every woman becomes elemental in relation to her personality type Termagants become fire spirits, Indecisive women become water spirits, women who delight in rejecting men become earth spirits also known as Gnomes and Coquettes become air spirits(Doherty 357).
Belinda’s dream is sent by an angel called  HYPERLINK "/character.html?character=33191" Ariel; this is her guardian Sylph (line 20). Belinda is guarded by Sylphs because they are acquainted with her kind of pride and vanity since in their lifetimes as human they were coquettes. The Sylphs loved and protect any woman who rejects associates with mankind (Line 68). When Belinda’s dream comes to an end, the guardian Sylph, Ariel, warns Belinda of an imminent dreadful event. Moreover, he specifically tells her to beware of man (Line, 109). Soon, Belinda’s lapdog wakes her up only to find a love-letter, which causes her to forget the dreams’ content. Soon after, the beautiful lady starts her elaborate toilette with powders and all Saudi’s. Belinda is described like a goddess her image in the mirror is termed as heavenly image (Line 132). Even in her dressing, Belinda got assistance from the Sylphs who also ensured that her hair was succinctly dressed and her gown straightened.
It is in the party where the real action takes place, an angel called Ariel is employed by Pope to offer assistance to Belinda by giving her early warning of a misfortune coming her way. On the other hand, a wicked imp called Umbriel uses superior powers causing Belinda to lose her temper (Sprague & Fletcher canto 1). As the guests played cards a Baron poses a formidable challenge to Belinda although she finally wins the game as the guests take their coffee, the Baron who has been eyeing Belinda is now stirred to assault Belinda’s hair.Clarissa, who has a crush on the baron hands offer the scissors to the Baron(Sprague & Fletcher canto 1) . The opportune time comes when Belinda bends to take her coffee consequently exposing her splendid lock. Meanwhile innumerable sprites are coming to help Belinda from abuse by the man; using their wings, the sprites blow hair over Belinda’s lock tugging her earrings to warn her of the danger. For three rounds, they warned her but she did not have a clue what was happening. In the nick of time, the Baron opens his scissor and cuts the lock. This is how the rape of the lock happened, terrifying and alarming Belinda:
Then flash'd the living Lightnings from her Eyes, and Screams of Horror rend th' affrighted Skies.Not louder Shrieks to pitying Heav'n are cast,When Husbands, or when Lapdogs breathe their last,Or when rich China Vessels, fal'n from high,In glitt'ring Dust and painted Fragments lie!
The conclusion of this episode comes as the speaker asks the muse to explain why a well brought up Lord could assault a lady and why a lady would dare reject a lord. Anyway, Belinda’s loss is not in vain as angels ferry the lost lock and places it in the heavenly places where it becomes visible as a constellation
The fundamental theme explored in The Rape of the Lock is the protest that high society makes over insignificant matters, such as breaches of modesty and decorum. The upper class have a zealous obsession to observe their mannerisms, appearances and modesty defines them and this often makes them clash with the ordinary people who are not sculpted through class protocols(Ault 19). In this episode, a feud of grand proportion ensues after the Baron cuts off Belinda’s hair lock. (Grove 29) This story is based on a true incidence, which happened after Lord Petre cut off Arabella’s lock. After that incidence, Petre and the Fermor families fell out (Halsband 22). Pope develops the story line well to illustrate human vanity and the great significance linked to little things by the upper class. In some way, Pope allows the reader to laugh at the little life reversals. As Clarissa addresses Belinda soon after the lock was cut off, we get the feel of the poet through her narration in...