The Rape of the Lock
The Rape of the Lock begins with a passage outlining the subject of the poem and invoking the aid of the muse. Then the sun (“Sol”) appears to initiate the leisurely morning routines of a wealthy household. Lapdogs shake themselves awake, bells begin to ring, and although it is already noon, Belinda still sleeps. She has been dreaming, and we learn that “her guardian Sylph,” Ariel, has sent the dream. The dream is of a handsome youth who tells her that she is protected by “unnumbered Spirits”—an army of supernatural beings who once lived on earth as human women. The youth explains that they are the invisible guardians of women’s chastity, although the credit is usually mistakenly given to “Honor” rather than to their divine stewardship. Of these Spirits, one particular group—the Sylphs, who dwell in the air—serve as Belinda’s personal guardians; they are devoted, lover-like, to any woman that “rejects mankind,” and they understand and reward the vanities of an elegant and frivolous lady like Belinda. Ariel, the chief of all Belinda’s puckish protectors, warns her in the dream that “some dread event” is going to befall her that day, though he can tell her nothing more specific than that she should “beware of Man!” Then Belinda awakes, to the licking tongue of her lapdog, Shock. Upon the delivery of a billet-doux, or love-letter, she forgets all about the dream. She then proceeds to her dressing table and goes through an elaborate ritual of dressing, in which her own image in the mirror is described as a “heavenly image,” a “goddess.” The Sylphs, unseen, assist their charge as she prepares herself for the day’s activities. Commentary
The opening of the poem establishes its mock-heroic style. Pope introduces the conventional epic subjects of love and war and includes an invocation to the muse and a dedication to the man (the historical John Caryll) who commissioned the poem. Yet the tone already indicates that the high seriousness of these traditional topics has suffered a diminishment. The second line confirms in explicit terms what the first line already suggests: the “am’rous causes” the poem describes are not comparable to the grand love of Greek heroes but rather represent a trivialized version of that emotion. The “contests” Pope alludes to will prove to be “mighty” only in an ironic sense. They are card-games and flirtatious tussles, not the great battles of epic tradition. Belinda is not, like Helen of Troy, “the face that launched a thousand ships” (see the SparkNote on The Iliad), but rather a face that—although also beautiful—prompts a lot of foppish nonsense. The first two verse-paragraphs emphasize the comic inappropriateness of the epic style (and corresponding mind-set) to the subject at hand. Pope achieves this discrepancy at the level of the line and half-line; the reader is meant to dwell on the incompatibility between the two sides of his parallel formulations. Thus, in this world, it is “little men” who in “tasks so bold... engage”; and “soft bosoms” are the dwelling-place for “mighty rage.” In this startling juxtaposition of the petty and the grand, the former is real while the latter is ironic. In mock epic, the high heroic style works not to dignify the subject but rather to expose and ridicule it. Therefore, the basic irony of the style supports the substance of the poem’s satire, which attacks the misguided values of a society that takes small matters for serious ones while failing to attend to issues of genuine importance. With Belinda’s dream, Pope introduces the “machinery” of the poem—the supernatural powers that influence the action from behind the scenes. Here, the sprites that watch over Belinda are meant to mimic the gods of the Greek and Roman traditions, who are sometimes benevolent and sometimes malicious, but always intimately involved in earthly events. The scheme also makes use of other ancient hierarchies and systems of order. Ariel explains...
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