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The Rape of the Lock
Essays on the belinda's character from the rape of the lock by alexandra pope
Alexander popes a rape of the lock satire
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Recommended: The Rape of the Lock
“The Rape of the Lock” is a poem written by Alexander Pope that uses Horatian satire to satirize the trivialness of a lock of hair being cut from a woman’s head without her knowledge. Pope writes the poem in a mock-epic style to help trivialize this minor incident. Pope uses the conventions and techniques of epic poetry in his mock epic. These techniques include heroes that are elaborately described, use of supernatural beings, and description of trivial things as battles.
Unlike most epic poetry where males portray the heroes, Pope uses a female, Belinda, as his heroine. Belinda is a very attractive woman who leads a luxurious life. Pope uses his mock-epic to idealize the aristocratic society of the seventeenth century. He especially does this by idealizing Belinda, the heroine of the poem. Pope does this by putting Belinda at the center of the poem. The poem opens with Belinda awakening at noon and getting ready for a party. Belinda’s beauty is first admired by her “watchful sprite” Ariel (1.106) Ariel is the one who watches over Belinda and he describes her as being “[f]airest of mortals, thou distinguished care/ [o]f thousand bright inhabitants of air!” (1.27-28). Ariel sets the tone that Belinda as a beautiful woman who has many waiting on her. Pope treats Belinda’s getting ready with the reverence that a goddess would receive. The vases and powders she uses are described as having mystic powers, “[a]nd now unveiled, the toilet stands displayed,/ [e]ach silver vase in mystic order laid” (1.121-122). Pope describes the cosmetics she uses as mystic to further idealize Belinda and show her as the heroine. After many hours of primping, Belinda is finally ready to go forth into society. Pope further demonstrates Belinda’s great...
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...ombat flies” (5.37-38). Pope uses the dramatization of war to make this trivial altercation look more important than it is.
Pope uses the mock-epic style of “The Rape of the Lock” to spotlight the foolishness of feuding over the removal of a lock a hair. He uses the conventions of epic poetry to further allude to the ludicrousness of the situation. Pope uses techniques such as idealizing a heroine, having supernatural beings, and dramatizing trivial things in terms of war to strength his mock-epic style and his satire of the incident. By using these techniques, Pope also alludes to epics that do hold significance. This allows the reader to see the contrast in the importance of things.
Works Cited
Pope, Alexander. The Rape of the Lock. The Norton Anthology of English Literature, Volume C,
9th ed. Ed. Stephen Greenblatt. New York: Norton, 2012. 2686-2704.
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Beatrice's refusal to be controlled by men and Hero's subservience carries echoes of modern-day feminism. Comparing this novel to a contemporary society, women have made a substantial amount of progress in terms of gender roles. It is women like Beatrice, and the many others that choose to defy the expectations that are placed upon us by society, that help us progress to a more utopian civilization. This novel can be read by future generations to reflect back on how much we have changed and how much we have progressed, not only as women, but as humans in general. Additionally, this play also serves as one of the world's greatest odes to the single life known to man.
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Jokinen, Anniina. "Luminarium: Anthology of English Literature." Luminarium: Anthology of English Literature. N.p., 1996. Web. 9 Nov. 2013. http://www.luminarium.org/
The vulgar imagery of Othello’s ancient dominates the opening of the play. Standing outside the senator’s home late at night, Iago uses imagery within a lie to arouse the occupant: “ Awake! what, ho, Brabantio! thieves! thieves! thieves! / Look to your house, your daughter and your bags!” When the senator appears at the window, the ancient continues with coarse imagery of animal lust: “...
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Though not the focus of epic poetry, the female characters of this ancient genre play a central role, as they have a great influence on the male heroes they encounter. In a genre which idealizes manliness and heroism—that is, acts of courage, strength, and cunning— women are set in opposition to these ideals and therefore less respected. At the same time, women who attempt to take on more “masculine” roles are vilified. Here, antagonist is defined as anyone in opposition to the hero’s goals. Female agency—their free will and ability to wield power—is directly related to their role in epic poetry; that is, the more agency a female character has, the more antagonistic of a role she plays. This agency is often enacted through sexuality or supernatural
Antigone asks Ismene, her sister, if she recognizes how Zeus fulfills them as they live the curse of Oedipus. Although this idea of fulfillment manifests itself specifically in the tragedy of Ismene's and Antigone's radical behavior, the myth also serves as an archetypical model of a woman's position in society, and its patriarchal elements. The influence of Oedipus' curse over his daughters, whether mythological or directly familial, lingers in the ethos of psycho-sexualized European mores. Culturally, this notion characterizes masculinity as being `large and in charge,' the provider and protector; thus, femininity necessarily involves a certain subservience. Such ethos associates femininity with certain gender roles. The story of Oedipus and his daughters, therefore, highlights the overshadowing efficacy of the male presence and it's effects on the female psyche. For instance, Jane Austen's Northanger Abbey, Emily Bronte's Wuthering Heights, and William Shakespeare's Much Ado About Nothing, each paint a picture of the feminine gender role, which predominantly consists of becoming a proper wife, so as to secure a husband, or mother, so as to produce his heir. Essentially, the occidental woman of this period is confined to a life of marriage. In such a patriarchy, what happens to an Antigone, a vicious rejection of all social conventions? And to an Ismene, a passive surrender to patriarchy's nomos? A woman's relationship to society's oppr...
Abrams, M.H., ed. The Norton Anthology of English Literature. 6th ed. Vol. 2. New York: Norton, 1993.
In the end, a story that appears to poke fun at the carefree lives of upper class women actually gives great appreciation to the subtle powers women hold over men. It could be argued that one of the most important powers of women is that of controlling men with their trivial problems and needs. Perhaps Pope was demonstrating women's skill in controlling men by simply playing the part of the vain shallow debutant. Whatever his intentions were it is clear that Alexander Pope did not in fact find the women of his time to be completely powerless, instead they were the driving forces of the household and of society.