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Introduction to "The Rape of the Lock"

The title and opening lines of a poem are crucial for capturing the reader's attention
and setting the stage for what's to come. They act as anchors, guiding the reader's
understanding and expectations.

Examples from other works include:

Sidney's sonnet: "My true love hath my heart and I have his"
Wordsworth's ode: "There was a time when meadow, grove, and stream"
Gray's Elegy: "The Curfew tolls the knell of parting day"

Similarly, Pope's "The Rape of the Lock" immediately introduces key elements:

What dire Offence from am’rous Causes springs, What mighty Contests
rise from trivial Things, I sing—

These lines promise a narrative filled with anger and conflict stemming from
"am'rous Causes," while also acknowledging the trivial nature of the subject matter.
The poem is presented as being inspired by and intended for specific individuals, and
it subtly invokes the tradition of the Homeric muse.

Mock-Heroic Elements
"The Rape of the Lock" is a mocking poem that engages in literary satire. It aligns
itself with epic poems like Milton's "Paradise Lost," but with a twist.

For instance, compare Pope's opening to that of "Paradise Lost":

"Paradise Lost":

Of Man's first disobedience, and the fruit Of that forbidden tree, whose
mortal taste Brought death into the world, and all our woe… Sing heav’nly
Muse…

"The Rape of the Lock" mimics the grand style of epic poetry but applies it to a
trivial subject: the cutting off of a girl's hair. This contrast creates a civilized
form of mockery, implying a critical perspective.

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This approach distinguishes Pope's work from poems that draw on more primitive or
universal themes. "The Rape of the Lock" engages in "high-built indoor laughter,"
simultaneously satirizing the epic form and the characters within the poem. The
"amorous causes" are deemed "trivial Things," yet Pope assures us that his tone
will be more polite than biting.

Moral Satire and Suasion

The poem also serves as a vehicle for moral satire and suasion, prompted by the
incident that inspired it.

In 1711, Lord Petre cut a lock of hair from Arabella Fermor, leading to a rift between
their families. John Caryll commissioned Pope to write a poem that would "make a
jest of it, and laugh them together again."

Pope's poem aimed to address the "little unguarded follies of the female sex," as
Dr. Johnson noted, and to highlight the importance of good humor in resolving
conflicts.

Clarissa's speech in the I7I7 edition emphasizes this moral:

And trust me, Dear! good Humour can prevail, When Airs, and Flights,
and Screams, and Scolding fail…

However, Arabella's initial offense suggests that she may have missed the poem's
intended moral. Despite this, Pope recognized the allure of Belinda's beauty,
suggesting that some errors could be forgiven.

If to her share some Female Errors fall, Look on her Face, and you’ll forget
‘em all.

Target Audience and Mock-Heroic Mastery

Pope wrote "The Rape of the Lock" with two groups in mind: the immediate
fashionable circle involved in the incident and his educated contemporaries. The
poem's subtle mockery of the epic form may have been lost on the Fermors and
Petres but was appreciated by literary figures like Swift, Addison, and Gay.

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The poem stands as a masterpiece of mock-heroic, a tradition that dates back to the
Homeric Battle of the Frogs and Mice. Pope built upon earlier examples, such as
Boileau's Lutrin and Garth's Dispensary, by pushing the principles of mock-heroic to
their logical conclusions.

The poem mocks various aspects of the epic tradition:

The epic manner invocations, similes

The epic matter machinery, battles

The mockery manifests in different ways, from general satire of the epic form to
particular mockery of specific scenes or details.

Epic Element Mock-Heroic Counterpart

Heroes Fashionable ladies

Altars Dressing tables
Battles Card games
Supernatural Beings Sylphs armed with items from a toilet table

The scale of imitation varies, often diminishing the epic grandeur. The poem's length,
timeframe, and the scale of its supernatural beings are all reduced compared to
traditional epics.

Evolution of the Poem

Pope initially wrote the poem quickly to address the immediate situation. However,
he later expanded it, adding supernatural machinery to enhance the literary mockery.

The additions, particularly the introduction of the sylphs, contribute to both the
literary and human mockery. Ariel's perspective highlights the lack of values in
earthly matters, and the sylphs' inability to affect the central action underscores
Belinda's own role in the poem's events.

Belinda herself renders them powerless:

Sudden he view’d, in spite of all her Art, An Earthly Lover lurking at her
Heart. Amaz’d, confus’d, he found his Pow’r expir’d, Resign’d to Fate, and
with a Sigh retir’d.

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While the additions may disrupt the narrative's proportion, they also enrich the
poem's complexity and reward multiple readings.

Rosicrucian Doctrine
The Rosicrucians are a group introduced through a French book called Le Comte de
Gabalis. According to this group:

The four elements are inhabited by spirits.

Gnomes, or Daemons of Earth, delight in mischief.

Sylphs, whose habitation is in the air, are the best-conditioned creatures

imaginable.

Mortals may enjoy intimate familiarities with these gentle spirits, given an
inviolate preservation of chastity.

Poem Context
Everything in the poem is as fabulous as the vision or transformation, except for the
loss of hair, which is mentioned with reverence. The human persons are as fictitious
as the airy ones, and Belinda only resembles the poem's dedicatee in beauty.

Poem Introduction
The poem starts with a proposition of the whole work and an invocation for
assistance, following the custom observed by ancient poets.

What dire Offence from am’rous Causes springs,What mighty Contests

rise from trivial Things,I sing—This Verse to Caryll, Muse! is due;This, ev’n
Belinda may vouchsafe to view:

The subject may be slight, but not so the praise if the Muse inspires and the author
approves the verses.

Characters
The poem introduces several characters:

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Belinda: A fashionable name of the time.

John Caryll: A friend of Pope, to whom the poem is dedicated.

First Canto Exposition

The first canto sets the scene:

Sol thesun shines through white curtains, awakening Belinda.

Lapdogs rouse themselves.
Sleepless lovers awake around noon.
Belinda rings the bell and knocks with her slipper to summon attendants.
Her guardian Sylph prolongs her rest by summoning a dream.

The Dream and Sylphs

A youth, glittering more than a birth-night Beau, appears in Belinda's dream,
communicating important messages.

Fairies: Were thought to leave a silver coin in the slipper of dutiful

maidservants.
Virgins: Visited by Angel-Powers.

Sylphs are spirits that surround Belinda, acting as a light militia of the lower sky,
unseen but ever-present.

Soul Transmigration
The poem draws on Ovid's Metamorphoses to present a system of soul
transmigration.

Character Type Transmigration

Fiery Termagants Mount up in flame, becoming Salamanders

Soft Yielding Minds Glide away to Water, sipping with Nymphs
Grave Prudes Sink downwards to a Gnome, seeking mischief on Earth
Light Coquettes Repair aloft as Sylphs, sporting in the Fields of Air

Sylphs and Chastity

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Those who reject mankind while fair and chaste are embraced by Sylphs. Spirits can
assume any sex or shape. Sylphs guard the purity of maids in courtly balls and
midnight masquerades.

Female Vanity
The poem explores female vanity and its influences.

Nymphs too conscious of their face are destined to the Gnomes’ embrace.
These nymphs swell their prospects and pride when offers are disdained and
love denied.

Ariel's Role
Ariel is Belinda's watchful sprite, claiming protection over her. He foresaw a dread
event in the clear mirror of her ruling star.

Awakening and the Toilet

Belinda awakens to a billet-doux. The toilet is displayed with each silver vase laid in
mystic order. Belinda, robed in white, adores the cosmetic powers.

Cosmetic Pow'rs: Belinda treats her reflection as a goddess, with the maid as
an inferior priestess.
The treasures and offerings of the world appear, decking the goddess with
glittering spoils.

Belinda's Locks
Belinda has two locks of hair that gracefully hang behind, conspiring to decorate her
ivory neck. Love detains his slaves in these labyrinths, holding mighty hearts in
slender chains.

The Baron's Admiration

The adventurous Baron admires Belinda's bright locks, wishing to win the prize either
by force or fraud. He builds an altar of French romances to Love and lights the pyre
with billet-doux, begging to possess the prize.

Voyage on the Thames

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The scene shifts to a painted vessel gliding on the Thames.

Melting music steals upon the sky, and softened sounds die along the waters.
Fair nymphs and well-dressed youths surround Belinda.
She wears a sparkling cross on her white breast.
Her lively looks disclose a sprightly mind.

Description of Sylphs
Ariel commands the Sylphs:

Zephyretta: Directs the Fan

Momentilla: Watches the Pendulum
Crispissa: Curls the hair
Ariel: the chief.## Canto II Analysis: The Sylphs and Their Duties

This section of the poem introduces the Sylphs, supernatural beings who are
responsible for tending to the needs and vanities of the fair sex. Ariel, their leader,
details their tasks and warns of the consequences for neglecting their duties.

Ariel's Speech
Ariel addresses his fellow Sylphs, outlining their responsibilities and the potential
dangers that await Belinda.

He references the eternal laws that govern the Aerial Kind.

Some Sylphs play in the purest Aether, while others guide planets.
Those less refined suck mists or brew tempests.
The Sylphs' "humbler province" is to tend to the Fair, a care "not less pleasing,
though less glorious."
Their duties include:
Protecting powder from gusts
Preserving essences
Drawing colors from flowers
Stealing bright washes from rainbows
Curling hairs
Inspiring airs
Bestowing inventions in dreams

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Impending Doom
Ariel warns of an impending disaster threatening Belinda, though the specifics
remain shrouded in mystery.

The disaster could involve:

Breaking Diana's Law
A flawed China Jar
Stained Honor or Brocade
Forgotten Prayers or a missed Masquerade
Lost Heart or Necklace
He urges the spirits to hasten to their charge and protect Belinda.

Sylphic Assignments
Ariel assigns specific Sylphs to guard various aspects of Belinda's person and attire.

Zephyretta: The fluttering fan

Brillante: The diamond drops earrings
Momentilla: The watch
Crispissa: Her favorite lock of hair
Ariel: Himself guards Shock, her lapdog
Fifty chosen Sylphs are entrusted with the petticoat.

Consequences of Neglect
Ariel warns of harsh punishments for any Sylph who neglects their duty.

Punishments include:
Being stopped in vials or transfixed with pins
Plunged in lakes of bitter washes
Wedged in a bodkin's eye
Restrained by gums and pomatums
Shrunk by alum styptics
Subjected to the whirling mill in fumes of burning chocolate

Sylphic Deployment

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The Sylphs descend and surround Belinda, ready to protect her.

Some extend around the Nymph in orbs.

Some thread through her hair ringlets.
Some hang upon her earrings.

Canto III: Hampton Court and the Card Game

This canto shifts the scene to Hampton Court, a place of both political intrigue and
social gatherings. Belinda, driven by a thirst for fame, engages in a card game of
Ombre, where the Sylphs play a crucial role.

Hampton Court Setting

The poem describes Hampton Court as a majestic structure where statesmen and
nymphs alike gather.

Statesmen discuss the fall of foreign tyrants and domestic nymphs.

Queen Anne sometimes takes counsel and tea there.
Heroes and nymphs engage in instructive talk.

Belinda's Ambition
Belinda's desire for fame leads her to challenge two knights in a game of Ombre.

She prepares to decide their doom and anticipates future conquests.

The three bands players prepare to join in arms, each with nine cards.

Sylphic Intervention
As Belinda spreads her hand, the Aerial Guard descends and sits on each card,
influencing the game's outcome.

Ariel perches upon a Matadore.

The Sylphs position themselves according to rank.

Card Game Allegory

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The card game is presented as a battle, with each card personified and the Sylphs
influencing their moves.

The Kings are revered with hoary whiskers.

The Queens hold flowers.
The Knaves are a trusty band with halberds.
The Nymph reviews her force and declares, "Let Spades be Trumps!"

Key Card Characters

Card Description

Spadillio The Ace of Spades, an unconquerable lord.

Manillio The 2 of Spades, forced to yield.
Basto The Ace of Clubs, gained only one Trump and one Plebeian Card.
Knave of Spades Proves the just victim of his Royal Rage.
Pam Knave of Clubs, overthrown by the Victor Spade.

Triumphs and Defeats

The battle of cards shifts between Belinda and the Baron, with fortunes changing
and Sylphs playing their parts.

Belinda initially triumphs, but fate inclines towards the Baron.

The Knave of Diamonds wins the Queen of Hearts.
Belinda trembles at the approaching ill and Codille.
A decisive Ace of Hearts leads to Belinda's temporary victory.

The Coffee Ritual

The scene shifts to the serving of coffee, which is described in rich detail.

The board is crowned with cups and spoons.

Berries crackle, and the mill turns round.
Liquors glide from silver spouts into China cups.
The coffee ritual is a moment of sensory gratification.

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The Fatal Snip

The canto culminates in the Baron's theft of Belinda's lock of hair, aided by Clarissa.

Clarissa provides a two-edged weapon from a shining case.

The Baron extends the engine on his fingers' ends.
Sprights blow back the hair.
Ariel, detecting an Earthly Lover, withdraws.
The forfex scissors encloses and divides the hair.
A Sylph is cut in twain.
Living lightning flashes from Belinda's eyes.

The Aftermath
Belinda's reaction to the loss of her lock is dramatic, mirroring the epic scale of the
poem.

Screams of horror rend the skies.

The victor cries, "the glorious Prize is mine!"
The theft is compared to the destruction of Troy by steel.
The poet asserts that the stolen hair will live on in fame.

Lasting Fame
The poet suggests that the memory of Belinda's lock will endure as long as:

Fish swim in streams

Birds fly in air
The British Fair ride in a coach and six
Atalantis is read
A pillow graces a lady's bed
Visits are paid on solemn days
Nymphs take treats and give assignations

In essence, the poem suggests that the trivial can become immortalized through art.

The Rape of the Lock, Canto IV

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This canto delves into the emotional aftermath of the lock's theft, moving from the
superficial world of beauty and fashion to a deeper exploration of spleen,
melancholy, and the passions that drive the characters' actions.

The Cave of Spleen

Umbriel, a "dusky, melancholy Spright," descends to the Cave of Spleen, a place
embodying ill-humor and dark emotions.

This cave represents the source of the female vapors and irrationality that Pope
satirizes.

The cave is described as being sheltered from fresh air and daylight,
contributing to its oppressive atmosphere.

Spleen: A malady of both sexes. Pope restricts it entirely to women

exceptf or1.53. For ‘Vapors’ see note on iv 18 above.

Inside, the Queen of Spleen resides on her "pensive Bed," attended by her
handmaids, Ill-nature and Affectation.

Ill-nature is depicted as an old maid, "in Black and White array'd," symbolizing
bitterness and a rigid adherence to outdated standards.

Affectation tries to appear youthful but is sickly and artificial, highlighting the
superficiality of the fashionable world.

Affectation: a sickly Mien, Shows in her Cheek the Roses of

Eighteen, Practis’d to Lisp, and hang the Head aside, Faints into Airs,
and languishes with Pride; On the rich Quilt sinks with becoming
Woe, Wrapt in a Gown, for Sickness, and for Show.

The cave is filled with strange and fantastical forms, representing the delusions and
distorted perceptions caused by spleen.

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Examples include "living Teapots," a "Goose-pye" that talks, and people

transformed into objects, all demonstrating the power of "pow'rful Fancy."

Living Teapots: Here living Teapots stand, one Arm held out, One
bent; the Handle this, and that the Spout: 50 A Pipkin there like
Homer’s Tripod walks; Here sighs a Jar, and there a Goose-pye talks;
Men prove with Child, as pow’rful Fancy works, And Maids turn’d
Bottels, call aloud for Corks.

Umbriel implores the Queen of Spleen to inflict "Chagrin" upon Belinda, believing
this will satisfy the spleen of half the world. He is granted a bag filled with "Sighs,
Sobs, and Passions, and the War of Tongues" and a vial filled with "Fainting Fears,
Soft Sorrows, melting Griefs, and flowing Tears."

The Unleashing of Passions

Umbriel returns and releases the contents of the bag over Belinda and Thalestris,
igniting their anger and indignation.

Belinda is overwhelmed with "more than mortal Ire," while Thalestris fiercely
fuels the flames of outrage.

He then breaks the vial of sorrows over Belinda alone, causing her anger to turn to
grief. Thalestris remains indignant.

This action highlights the different ways in which emotions can manifest and
how they can be manipulated.

Belinda's Lament
Belinda expresses her sorrow and outrage over the loss of her lock, lamenting the
vanity and artificiality of her world.

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She questions why she subjected herself to the "tort'ring Irons" and "Paper-
Durance" to achieve her elaborate hairstyle.

Belinda fears the loss of her reputation and the gossip that will ensue,
emphasizing the importance of appearance in her society.

She wishes she had remained in a secluded place, away from the temptations
and betrayals of courtly life.

Belinda recalls ominous signs that foreshadowed the disaster, such as the
falling patch-box and the mute parrot, highlighting the theme of fate and the
limitations of human control.

Patch-box: Thrice from my trembling hand the Patch-box fell; The

tott’ring China shook without a Wind, Nay, Poll sate mute, and
Shock was most Unkind! A Sylph too warn’d me of the Threats of
Fate, 165 In mystic Visions, now believ’d too late!

Sir Plume's Intervention

Thalestris, enraged, commands Sir Plume to demand the return of the lock.

Sir Plume, a vain and ineffectual character, attempts to intervene but only
succeeds in displaying his own foolishness and lack of eloquence.

He uses fashionable phrases and affected gestures, highlighting Pope's satire

of the foppish behavior of the time.

His efforts are futile, and the Baron refuses to return the lock.

Fop: Sir Plume speaks the language of the ‘common Swearer’ in

Tatler 13. 128 Z—— ds] corrupted from God’s wounds. 133 ff. In
allusion to Achilles’s Oath in Homer, Iliad, i

309f f .

.P

Clarissa's Speech
Clarissa, a new character, attempts to mediate the conflict with a speech advocating
good sense and good humor.

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She questions the value of beauty if it is not accompanied by virtue and

wisdom.

Clarissa argues that true worth lies in inner qualities rather than outward
appearances.

Her speech introduces a moral dimension to the poem, suggesting that the
characters should strive for more than just superficial accomplishments.

Clarissa: A new Character introduccd in the subsequent Editions, to

open more clearly the MORAL of the Poem, in a parody of the
speech of Sarpedon to Glaucus in Homer. P

The Baron's Triumph

The Baron remains defiant, proudly displaying the lock as a trophy of his conquest.

He swears that he will wear the lock forever, emphasizing his triumph and the
permanence of his act.
The Baron's persistence in keeping the lock solidifies the conflict and sets the
stage for the ensuing battle in Canto V.

Key Characters and Their Traits

Character Traits

Umbriel Dusky, melancholy, mischievous

Belinda Beautiful, vain, emotional
Thalestris Fierce, indignant, protective of Belinda
Sir Plume Vain, ineffectual, foppish
Clarissa Wise, reasonable, moral
Wayward, parent of vapors, gives the Hysteric or Poetic Fit, acts on
Queen
various tempers, makes some take Physick, others scribble Plays, delays
Spleen
visits, etc.

The Rape of the Lock, Canto III: A Study Guide

This canto continues the mock-heroic style, escalating a petty quarrel into an epic
battle. The focus shifts from the Baron's perspective to Belinda's rage and the
ensuing chaos.

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Clarissa's Speech and Belinda's Reaction

Clarissa gives a speech with words of wisdom, but it's immediately dismissed:

Clarissa advises Belinda to maintain good humor, arguing that beauty

fades but a good disposition prevails. She suggests that charm is fleeting,
but inner merit secures lasting affection.

Belinda and Thalestris reject this advice, highlighting the poem's satirical treatment
of vanity and superficiality. Belinda frowns, and Thalestris calls Clarissa a "Prude."

The Battle Begins

Setting the Scene: The scene transitions to a chaotic battle between the ladies
and gentlemen.
Figurative Weapons: The combatants use unconventional weapons like fans
and whalebones.
"Fans clap, silks russle, and tough Whalebones crack"
Sounds of War: Shouts and screams fill the air, creating a sense of epic conflict.
"Heroes’ and Heroins’ Shouts confus’dly rise, And base, and treble Voices strike
the Skies."
Mock-Heroic Comparison: The battle is compared to the battles of the gods in
Homer's epics, emphasizing the absurdity of the situation.
Umbriel's Delight: Umbriel, the gnome, revels in the chaos and perches on a
sconce to observe the fight.
Thalestris's Fury: Thalestris, enraged, becomes a formidable force, scattering
"death" from her eyes.

Casualties of the Battle

Dapperwit: Dies "in Metaphor"
"O cruel Nymph! a living Death I bear,"
Sir Fopling: Dies "in Song"
"Those Eyes are made so killing"

Jove Weighs the Wits and Hair

Jove suspends his golden scales to weigh the men's wits against the lady's hair. The
wits are found to be lighter than the hair.

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Belinda's Triumph andT actics

Belinda's Attack: Belinda fiercely attacks the Baron.
The Snuff Attack: Instead of physical violence, Belinda throws snuff into the
Baron's nostrils, incapacitating him.
The Bodkin: Belinda threatens the Baron with a bodkin alongpin, which is
revealed to have a history within her family.

The Baron's Plea

The Baron's Defeat: The Baron pleads with Belinda, expressing his fear of
leaving her behind.
The Lock's Demand: Belinda demands the return of the lock.

The Lock's Disappearance and Fate

The Lost Lock: The lock is nowhere to be found, leading to speculation about
its fate.
The Lunar Sphere: Some believe it has ascended to the lunar sphere, where
lost things are kept.
The Muse's Account: The Muse claims to have witnessed the lock's ascent to
the heavens, transforming into a star.

Apotheosis of the Lock

A New Constellation: The lock becomes a constellation, promising lasting fame
to Belinda.
Partridge's Prophecy: The ridiculous astrologer John Partridge will eventually
see the lock in the sky and foretell the fate of European leaders.
Eternal Fame: The poem concludes by declaring that the lock will immortalize
Belinda, outshining even her beauty.

Key Figures Mentioned

Figure Description

A ridiculous star-gazer known for his almanacs, in which he predictably

John
predicted the downfall of the Pope and the King of France. He is
Partridge
immortalized by Jonathan Swift's practical joke.
Galileo Improved the telescope and ushered in a new era in astronomy.

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Pope's Use of Source Material

Spirits and the Epic Tradition

Pope's work, influenced by Burton's idea that "'angels and devils are nought but
souls of men departed'", cleverly assigns a pre-existence to his sprites as human
beings. This adds a layer of depth and mock-heroism, reminiscent of Virgil and Ovid's
Elysian shades. He also adopts the belief that souls can transmigrate to protect
friends and thwart enemies on Earth, turning sylphs into guardians of maidens,
echoing the divine guardians of epic heroes.

Good vs. Evil

While Gabalis portrays all sprites as good, Pope distinguishes the gnomes as "bad,"
creating vexations that align with the factious celestials of epics. Furthermore, he
borrows the idea from Gabalis that sylphs can change their shape and sex at will,
mirroring Milton's angels who "Can either Sex assume, or both." Even the
invulnerability of Pope's sylphs, who can "with admirable celerity… come together
again" after being divided, is a nod to Burton.

Cosmic Display and Inspiration

De Villars' depiction of sylphs in a "cosmic parade" inspires Pope's idea of
regimentation:

"The light Militia of the lower Sky"

"The lucid Squadrons"
"th’ Aerial Guard"
"her Airy Band"
"Propt on their Bodkin Spears"

He also draws from Fontenelle's Pluralité de Mondes for scientific whimsy to build up
his universe.

Enriched Mythology

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Pope enriches the Rosicrucian mythology by borrowing from earlier English poets,
including Shakespeare's Ariel, Milton's fairies and angels, and Dryden's fairies and
demons.

Sylphs and the Short Vowel i

Pope associates sylphs and sylphids with the short vowel i, as seen in names like
Brillante and Crispissa. The short i sound appears frequently in lines describing their
movements and torments, such as:

"Thin glitt'ring Textures of the filmy Dew"

"Dipt in the richest Tincture of the Skies"
"Or dip their Pinions in the painted Bow"
"Some thrid the mazy Ringlets of her Hair"

Other poets have similarly associated fairies with the short i, as seen in the names of
Drayton's fairies P ip, T rip, Skip, F ib, T ib, etc. and Herrick's fairy saints
T it, N it, I s, W illo theW ispe, F rip, T rip, F ill, F illie.
′

Originality
Pope's originality shines through his particularization of borrowed notions and the
feminine satire interwoven into the sylphs' descriptions and dialogues. Unlike other
poets who depict fairies as country creatures, Pope infuses them with urbanity and
wit.

The Heroic Couplet

Structure
The poem's structure fascinates us with its subsidiary footwork, where the poem
comprises subsidiary units: the canto, the paragraph, the couplet, even the line, and
even the phrase. The following remarks mainly concern the couplet.

Metrical Awareness

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The heroic couplet, as Pope crafts it, commands attention to itself as a meter. Its
brevity allows us to notice variations between couplets, similar to noticing variations
between dominos of the same size.

Self-Contained Units
Pope treats heroic couplets almost as stanzas, self-contained with a beginning,
middle, and end. While some couplets belong more to the paragraph, it's a deliberate
choice by Pope to open the gate and allow the sense to flow through. Many of Pope's
couplets can be admired separately, like lyric stanzas. Examples include:

"Thy shady empire shall retain no trace/Of war or blood, but in the sylvan
chase" (Windsor Forest)
"Yes, I am proud; I must be proud to see/Men not afraid of God, afraid of me"
(Epilogue to the Satires)
"Pains, reading, study are their just pretence,/And all they want is spirit, taste,
and sense" (Epistle to Arbuthnot)
"So clouds, replenish’d from some bog below,/Mount in dark volumes, and
descend in snow" (The Dunciad)

Evolution of the Heroic Couplet

The heroic couplet had not always been written in the way Pope wrote them. He
regarded them as stanzas, self-contained, or as having a beginning, middle and end
even though at the end stood a gate and a gate which on some occasions he opened
to allow the sense to drive through. The couplet may belong to the paragraph, even
more than to itself: but if so, it is only because Pope deliberately chose to open the
gate.

Fashionable poets of the later seventeenth century, like Waller and Dryden, had
already changed the nature of the heroic couplet, influencing Pope's approach.

Contrasting Styles
Elizabethan couplets resembled loose blank verse with rhymes, focusing on the long
sentence or paragraph as the unit of meter. Pope's couplets, even when incomplete
without their fellows, are much closer to being units themselves.

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Varied Configurations
Pope's couplets exhibit diverse structures:

1. "The Gnomes direct, to ev’ ry Atome just, / The pungent Grains of titillating
Dust."
2. "Sooner let Earth, Air, Sea, to Chaos fall, / Men, Monkies, Lapdogs, Parrots,
perish all!"
3. "The Courtier’s Promises, and Sick Man’s Pray’rs, / The Smiles of Harlots, and
the Tears of Heirs."
4. "Or stain her Honour, or her new Brocade, / Forget her Pray’rs, or miss a
Masquerade."

Parallel and Crossed Strips

Couplets can be formed of parallel or crossed strips of phrases. For example, in
couplet No. 3, "The Courtier’s Promises" parallels "The Sick Man’s Pray’rs."

In couplet No. 4:

a "Or stain her Honour"

b "or her new Brocade"

c "Forget her Pray’rs"

d "or miss a Masquerade"

a+b parallels c+d, and a parallels b, and c to d. But a is contrary to b as meaning and c
to d.

Sound and Meaning

Pope's skillful use of sound and syntax can create layers of meaning. Carelessness in
reading may trick us into missing the satiric meaning, where the sound suggests a
similarity in value that the meaning contradicts.

Conciseness and Subtlety

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Pope's use of the heroic couplet allows him to save words and complete the subtlety
of meaning. The metre whispers the sense, tone, and nuance, enlisting the reader's
collaboration and keeping them awake.

The Life of Pope ‍

Early Life and Health Challenges

Alexander Pope was born on May 21, 1688, in London. His father was believed to
have worked in the wholesale linen trade. Pope's early life was marked by poor
health, including a curvature of the spine and tubercular infection, which limited his
growth to four feet six inches. These health issues interfered with his activities and
increased his sensitivity to pain.

Religious Context and Its Impact

Pope's parents moved to Binfield in Windsor Forest when he was about twelve years
old, likely due to their Roman Catholic faith. Catholics faced suspicion and
persecution, with laws restricting their rights and activities. Pope's Catholic
background influenced his life and works, including his family's decision to live
outside London, his lack of employment by political parties, and the themes in his
poems.

Education and Early Literary Pursuits

Due to his religious background, Pope's schooling was mainly self-directed. He was a
precocious and eager reader, teaching himself several languages and writing verse in
imitation of the poets he admired. His earliest writings included the famous "Ode on
Solitude" and a paraphrase of St. Thomas à Kempis, which he claimed to have
written at the age of twelve.

Literary Friendships and First Publications

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Before the age of twenty, Pope began to make friends with prominent men of letters,
including Congreve, Wycherley, Garth, and Walsh. He corresponded with Walsh on
versification and showed his Pastorals to Congreve and others. His Pastorals were his
first published work in 1709.

Experimental Years and Diverse Poetical Forms

From 1708 to 1717, Pope experimented with various poetical forms. He produced
the Essay on Criticism 1711, inspired by Boileau, and the mock epic The Rape of the
Lock 1712, influenced by Boileau’s Le Lutrin and Garth’s Dispensary. He also
attempted a "local poem" called Windsor Forest 1713, inspired by Denham’s Coopers
Hill. Other experiments included Eloisa to Abelard and Elegy to the Memory of an
Unfortunate Lady.

Collected Poems and a Shift in Focus

In 1717, Pope published a collected volume of his poems, featuring the revised
version of The Rape of the Lock, proverbs from the Essay on Criticism, and the
musical versification of the Pastorals. This volume marked the end of his
experimental phase, as he shifted his focus to writing about "Truth" and "the Heart,"
with social comment and social philosophy becoming his primary themes.

Recognition and Literary Connections

By 1717, Pope was recognized as the foremost poet of his day. He formed the
Scriblerus Club with Swift, Gay, Dr. Arbuthnot, and others, to satirize pedantry and
false learning. He also knew Steele and Addison, but his relationship with Addison
was strained due to temperamental differences and literary rivalries.

Translation of Homer and Financial Success

Pope dedicated himself to translating Homer, publishing the Iliad in 1715-1720 and
the Odyssey in 1725-1726. His translation of Homer secured his financial position,
making him independent from patronage.

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Life at Twickenham
In 1718, Pope and his mother rented a villa on the Thames at Twickenham, where he
lived for the rest of his life. He entertained friends such as Swift and Bolingbroke and
enjoyed gardening and landscaping.

Edition of Shakespeare and Critical Attacks

Pope produced an edition of Shakespeare in 1725, but it faced criticism for
attempting to conform Shakespeare to modern standards of taste. Scholars like
Theobald exposed its deficiencies. Pope's sensitivity to attacks on his work led him to
write The Dunciad 1728, a mock-epic satirizing his enemies.

Moral Essays and An Essay on Man

In the 1730s, Pope began working on a series of verse epistles, including the Moral
Essays and An Essay on Man. These works explored themes of taste, human nature,
and the doctrine that "whatever is, is right."

Controversy and Defense of His Work

Pope faced controversy over his Moral Essays, with some critics believing he had
satirized the Duke of Chandos. Despite the criticism, Pope continued to defend his
work and maintain his literary standards.## Pope's Satirical Stance

After being accused of satirizing individuals like Timon, Pope felt compelled to define
his role as a satirist and explore the ethics behind his work.

His defense was multifaceted, involving:

Imitation: He loosely translated Horace's satire, replacing contemporary

allusions with modern parallels.
Epistle to Dr. Arbuthnot 1735: Further defended his position and writings.
Epilogue to the Satires 1738: His final statement on the matter.

Pope asserted that a satirist's duty is to champion moral integrity and expose those
who deviate from it, especially powerful offenders who are:

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Safe from the Bar, the Pulpit, and the Throne are Yet touch’d and sham’d
by Ridicule alone.

Pope sometimes concealed identities under names like "Sappho," representing types
rather than individuals, while at other times, he directly named his targets. Although
he used satire to retaliate against personal enemies, many of those he exposed were
simply egregious offenders against the high standards he advocated. He wanted to
fight enemies of the status quo.

Horatian Standards
Pope's standards, inspired by Horace, emphasized:

Temperance
Contentment
Modest Competence
Charitable and tasteful use of wealth
Cultivating an honest, open-hearted, and serene disposition

Pope wasn't always successful in upholding these standards, but they were
undeniably important to him. He was deeply respected by his contemporaries as both
a man and a poet.

The Corrupting Influence of Money

Pope shifted his focus from pedants and hack writers (as seen in The Dunciad) to
debauchery and corruption. He saw the corrupting power of money as a central
theme, believing that political corruption fueled all other forms of corruption. The
Whigs' materialistic standards, bribery of Parliamentary electors, and disregard for
honesty contributed to a decline in higher standards.

With the silent growth of ten per Cent, In Dirt and Darkness hundreds
stink content.

Political Satire and Bolingbroke's Influence

In Imitations of Horace and Epilogue to the Satires, political satire gained prominence,
influenced by Pope's friend Bolingbroke, who led the opposition to Walpole. Pope
became the poet laureate of this opposition, gathering promising members around
him.

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The Final Years and The Dunciad

Pope eventually ceased writing political satire, finding it unsafe and ineffective. He
considered returning to Essay of Man but instead revised The Dunciad, adding a
fourth book in 1742 and thoroughly revising it in 1743. He replaced Theobald with
Colley Cibber as the ruler of the Dunces. He continued to revise his other poems until
his death on May 30, 1744, at the age of 56.

Suggestions for Further Reading

G. Sherburn, The Early Career of Alexander Pope 1934
G. Tillotson, On the Poetry of Pope 1938, revised1950
M. Mack, ‘Wit and Poetry and Pope’, in Pope and his Contemporaries: Essays
presented to George Sherburn 1949
Ian Jack, Augustan Satire 1952
J. Butt ed., The Poems of Alexander Pope 1963, a one-volume edition of The
Twickenham Pope

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