In Rape of the Lock, Alexander Pope uses the epic form to satirize 18th century English society. The mock epic’s protagonist, Belinda, portrays a duality of women as both materialistic and chaste beings. This duality, dictated by society, shows contradictory values. Belinda’s duality illustrates itself best in the toilette scene at the end of Canto I. In this scene, she functions as an epic hero readying for battle, yet she merely gets ready for the day. Her toilette displays both cosmetic goods and religious symbols, showing equal importance to both her beauty and her religion. What does Belinda’s duality in the toilette scene symbolize about the function of women in both The Rape of the Lock and 18th century English society?
Typically, an epic poem details an adventure of a hero or warrior. In Rape of the Lock, Pope utilizes Belinda as his heroic figure, which creates a stark contrast between her and classic epic hero, such as Beowulf. Instead of getting ready for battle, Belinda beautifies herself in order to look appealing to men. Upon looking at herself, Belinda immediately notices her beauty, “A heav'nly Image in the Glass appears/To that she bends, to that her Eyes she rears” (Canto I, line 125). Pope writes a mock epic because it allows him to take an insignificant scene – in this case, Belinda putting on her face – and raises its significance using the poetic form. Belinda’s beautification lacks significance, but the subtext shows the importance of beauty and materialism to her. The toilette scene also shows the frivolity of bourgeois society, of which Belinda belongs to, and its emphasis on materialism.
Belinda’s shows her materialism through the many cosmetic items on her vanity. Her items include, “The Tortoise ...
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...s Belinda as both a saintly and licentious figure. He first describes her as being “rob’d in White” (I, 123), which creates an image of her as pure and chaste. He also describes her image as “heav’nly (I, 125) and later refers to her as a Goddess (I, 132). She also uses powders so that she appears as pale as possible. Pope’s language sets her up as a pious figure that appears pure and angelic, but undercuts that image by showing her attention to beauty. Belinda exhibits a spiritual shallowness that allows her to fall between the image of a Madonna and a whore. This furthers her duality, in that she wants to look beautiful but needs to adhere to certain levels of acceptable beauty. She cares enough about her appearance to adorn herself exquisitely, but also cares about looking as pure as possible. If she did not appear pure, then others would not view her as chaste.
In Fall On Your Knees, Ann-Marie MacDonald presents a vivid and life-like character in Frances Piper. Frances Piper is one of the four Piper girls, and she is indifferent from the rest of them. From her early childhood, Frances is a bold and naughty girl, always getting herself into trouble. She has a great mischievous streak which troubles her father, James Piper, immensely. James Piper also has a demon like personality at various times throughout the novel, some of which he amasses from his father in his early childhood. In this same way, the reader can visualize Frances getting accustomed to her father’s personality and see her become a demon herself, trying to get back at her father. In a way, Frances can be seen as the Devil’s advocate. However, how can a young and sweet girl carry such a negative impact to her family, especially when she is the heart of this novel? Although Frances can be visualized as the Devil’s advocate by her actions, various characters, and the loss of her innocence through her father, Frances is a sweet, young, and seldom scared girl who is trying to live a life that her grandmother, mother, and sisters haven’t lived – a life filled with new adventures, life risking actions, and most importantly, fun.
Traditional female characteristics and female unrest are underscored in literary works of the Middle Ages. Although patriarchal views were firmly established back then, traces of female contempt for such beliefs could be found in several popular literary works. Female characters’ opposition to societal norms serves to create humor and wish- fulfillment for female and male audiences to enjoy. “Lanval” by Marie De France and “The Wife of Bath’s Tale” by Geoffrey Chaucer both show subversion of patriarchal attitudes by displaying the women in the text as superior or equal to the men. However, “The Wife of Bath’s Tale” also incorporates conventional societal ideas by including degradation of women and mistreatment of a wife by her husband.
This satire first begins with Pope's invocation to the muses, a higher power, emphasizing that the tragedy about to occur is above mere worldly issues, and a debate that belongs amongst the gods. Hence, Pope writes: "What dire offense from amorous causes springs, / What mighty contests rise from trivial things, I sing-This verse to Caryll, Muse! is due" (English,1110). It is comical that the "dire offense" is the cutting of Belinda's hair rather than a life-threatening...
Hatto, A. T., gen. ed. "Heroes and Heroines." Traditions of Heroic and Epic Poetry. Volume Two: Characteristics and Techniques. London: The Modern Humanities Research Association, 1989.
To begin, in The Rape of the Lock, Alexander Pope uses satire to invoke a capricious, melancholy mood to illustrate the absurdity of fighting over the cutting of one's hair. Hidden inside this poem is a crafty criticism of the society that helps create the crisis over the stolen lock. A Society in which appearances ere more important to a person’s sense of identity, and treats the insignificant with utmost importance.
Shakespeare’s Much Ado about Nothing is, on the surface, a typical romantic comedy with a love-plot that ends in reconciliation and marriage. This surface level conformity to the conventions of the genre, however, conceals a deeper difference that sets Much Ado apart. Unlike Shakespeare’s other romantic comedies, Much Ado about Nothing does not mask class divisions by incorporating them into an idealized community. Instead of concealing or obscuring the problem of social status, the play brings it up explicitly through a minor but important character, Margaret, Hero’s “waiting gentlewoman.” Shakespeare suggests that Margaret is an embodiment of the realistic nature of social class. Despite her ambition, she is unable to move up in hierarchy due to her identity as a maid. Her status, foiling Hero’s rich, protected upbringing, reveals that characters in the play, as well as global citizens, are ultimately oppressed by social relations and social norms despite any ambition to get out.
(Essay intro) In the modern day, women have the luxury of belonging to themselves but unfortunately this was not always the case. During his life, William Shakespeare created many positive female characters who defied the traditional gender roles and brought attention to the misogynistic patriarchy of Elizabethan England. One of these true feminist icons is ‘Much Ado about Nothing’s. Beatrice. The women in ‘Much Ado about Nothing’ defy traditional gender roles. Beatrice represents a brave and outspoken woman who defies the oppressive, traditional gender roles for the female sex. Her cousin Hero, however, represents those women who were successfully oppressed by the patriarchy and accepted the traditional gender roles without much complaint.
Although, the purpose of this text was to fit such description as the “epic poem”, ...
In my mind, Sonny Carroll’s poem perfectly represents what an empowered woman should be; firm, determined and able to stand on her own feet. The characters of Nora and Antigone, from Henrik Ibsen’s ‘A Doll’s House’ and Sophocles’ ‘Antigone’ respectively, completely fit my description of ‘the empowered woman’. As inspiring figures, they left me wondering how they maintained their identities even in their patriarchal societies. What touched my heart the most is the way they fight for what they feel is moral and just instead of following what society dictates. I believe that each and every woman possesses the qualities like ‘the empowered woman’ in Carroll’s poem. Through my essay, I’d like to show how females in both the plays, during the adversities and extremities of time, evolve into empowered women. I believe that the idea of female empowerment, through these characters, inspires fellow women to make names for themselves rather than being labeled or controlled by men.
In the poem “The Lady’s Dressing Room,” written by Jonathan Swift, one may say he portrays himself to be a chauvinist by ridiculing women and their cryptic habits. However, others may say he wants to help women from the ideals placed upon them by society and prove to be an early feminist. This poem written in the 18th century represented women to be fake and sleazy at first. Then during the 20th century, the feminist movement used it as an attack against women, depicting the poem’s meaning as not valuing their rights and freedoms. The truth far hidden from these points of views became uncovered recently. This essay will explain both sides of the views and using critical thinking will uncover the real message the author intended to portray.
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...
Red is the prison’s head chef and Norma is her sidekick. Both women are in prison due to the pressures of their husbands to maintain a certain role. Red’s husband was involved in the Russian Mafia thus making her conform to the roles of a “mafia wife” that is to be quite, be helpful, and above all be respectful. Red eventually is forced to be a drug mule for the mafia landing here in jail for life. Norma on the other hand was involved with a cult leader who forced woman to marry him to make the cult larger. Norma is a mute character due to the continuous oppression by this man leading her to a complete psychotic breakdown and pushing her husband off a cliff to his death landing Norma in jail for life. Both women were once fighting for basic human rights within their own lives. Both were never looked to as an influence in a highly oppressed patriarchal society. They were women who were forced to play the historical roles of the “lady of the house.” De Beauvoir writes, “We can see now that the myth [of woman] is in large part explained by its usefulness to man. The myth of woman is a luxury. It can appear only if man escapes from the urgent demands of his needs; the more relationships are concretely lived, the less they are idealized” (1271). Simply, these women were oppressed to play the historical role in their home life in order for their husbands to feed his needs. They are just a pawn in the
In order to see how Gray’s Ode on the Death of a Favorite Cat uses mirrors the style of the mock epic, we must pinpoint features and conventions of epic literature. One common feature of the epic is that there is commonly a huge amount of focus on an object of desire. In the case of a mock epic, the object in question is given a disproportionate amount of importance. In Alexander Pope’s mock epic The Rape of the Lock, the main object of desire is Belinda’s lock of hair. As the lock is an object that the Sylphs surrounding her are tasked to guard, is it treated is something sacred, and becomes a symbol of Belinda’s chastity. In the case of Ode on the Death of a Favorite Cat, the goldfishes are treated as the object of desire. The fishes take on “angel forms” and don hues of purple and gold – regal colors that give the fishes a disparate sense of importance and entice the cat towards the fishbowl. This flattering...
“The rape of the lock” is a satiric poem which treats a trivial subject, with the sophisticated language and heroic style of the classical epic. Pope addresses a variety of ideas ...
Alexander Pope’s epic Rape of the Lock, is essentially a lampoon of traditional epic literature. It is teeming with comparisons between the main character Belinda’s actions, and Homer’s Achilles, Virgil’s Aeneid, and Greek mythology in general. Her character’s image is painted as vain and unconcerned with consequential matters, unlike that of Achilles’ character from Homer’s Iliad; however he was full of wrath and pride resembling that of Belinda’s traits. But, that is where most corresponding attributes end; the scales in which both play out as an epic are far from akin. Although her overall character seems to only be concerned with her charms, Pope consistently describes her in an almost hero like manner, and her quest has become to retrieve her most precious lock that she has lost. Throughout the poem her most trivial actions are glorified and exaggerated with comparisons to Greek heroes and wars, such as Achilles and the Trojan War, when in reality she is simply a vain woman who has lost a lock of her hair due to it’s unblemished beauty, and her quest for the seized lock is a matter that is completely frivolous and has no benefit in pursuing. Essentially that is what Pope is saying, that the high class woman of his time are petty, impractical, and vapid; he parodies Belinda’s actions with comparisons to the epic to drive that concept further.