On the surface, Alexander Pope's "The Rape of the Lock" appears to be a light satire on the recent rise of materialism and the specifically feminine habit of consumption excessive. Originally published in 1712, the poem stood among many other satires on the same subject, including Jonathan Swift's "The Lady's Dressing Room." However, upon closer examination, the poem seems far more disturbing than what critics have called a gentle social commentary dedicated to a friend or a brilliant use of mock-epic style. The 18th century marked the transformation of many social and economic conventions, and these transformations resulted in an increase in the power of many women. This move toward equality troubled many men, eager to restore their dominance and force women back into a position of servitude. I will argue that Pope uses Belinda to embody many aspects of British womanhood, including consumerism and adherence to societal norms when it comes to relationships, and in doing so he uses her many imperfections as a means of highlighting true inferiority women. Say no to plagiarism. . Get a tailor-made essay on "Why Violent Video Games Should Not Be Banned"? Get an original essay The poem's dedication is cited as one of the main reasons why "The Rape of the Lock" is considered a mild satire social. Inspired by a real event in which Lord Petre cut a lock of hair from Miss Arabella Fermor's head, Pope claimed that the poem was intended to calm the socially tumultuous situation. Addressed to Fermor herself, Pope explains that the poem was "intended only to entertain a few young girls, who have good sense and good humor enough to laugh not only at the little uncontrolled follies of their sex, but also at their own" ( Pope). He goes on to clarify the function of the sylphs and gnomes, and he reassures Fermor that she was not the inspiration for Belinda, saying "Human persons are as fictitious as aerial ones; and the character of Belinda, such that it is now managed, resembles you only in beauty" (Pope). However, the condescending nature of the letter is evident throughout. Pope seems to imply that Fermor's gender makes her not only incapable of grasping the concept of a supernatural creature, but also naive enough to believe Pope's transparent claims. Another indication that the poem was ultimately not intended as a friendly gesture lies in the story of the dedication. Cynthia Wall explains that "the pope offered Arabella Fermor a choice of dedication, prose or poem... She chose the prose letter that traditionally prefaces the poem" (Wall 175). The poem she rejected as finally published under the title "To Belinda on the Rape of the Lock", and it contains many other insinuations about female inferiority. The Pope writes: “Nature for your destruction arms humanity/ With the strength of the body, the artifice of the mind;/ But gives your weak sex, made of fears,/ No guard but virtue, no reparation than tears” (Pope 15-18). He also offers a meager attempt at consolation, saying that Belinda should not mourn the loss of her hair because it was important enough to inspire a poet. Overall, the dedication and its alternative serve as a painful reminder that Pope's intentions were probably not as honorable as many have claimed. While he claims to be writing in honor of Arabella Fermor, the dedication demeans her so obviously that one cannot ignore his disdain. Coupled with Pope's use of the epic form, it becomes apparent that Pope used "The Rape of the Lock"as a way to express his utter disgust for all the qualities possessed by women. Critics have written countless analyzes of the mock epic style found throughout Pope's poetry. This style of writing is not a simple coincidence. Alexander Pope began his career translating many classical works, notably those of Horace and Homer, and was therefore very familiar with the literary conventions of epic poetry. These conventions can be seen repeatedly throughout "The Rape of the Lock". The poem opens with the invocation of a muse. Classical authors appealed to one of the nine Muses, while Pope quotes his friend John Caryll when writing: “This verse to Caryll, Muse! is due” (I, 3). The second epic reference is found in the author's description of Belinda as the ideal woman, far above the standards of the people. Belinda is characterized as “the fairest of mortals” (I, 27), having “graceful ease” (II, 15) and a beauty that rivals the sun. As in the epics, the poem is marked by numerous supernatural interventions; Odysseus was protected by the gods, and the Sylphs and Gnomes watch over Belinda. The traditional arming scene in which the warrior is aided in his preparation for battle can be seen in Belinda's dress scene when "horrible Beauty puts on all her arms" (I, 139). The Pope writes: “The busy Sylphs surround their cherished care, / These fix the head, and those divide the hair, / Some fold the sleeve, while others braid the robe” (I, 145-148 ). The need for armament becomes obvious. in the multiple occurrences of the battle. First, Belinda engages in a tense card game called shadow. After almost achieving victory over two lords, Belinda partakes of the post-battle feast, which in this case is a luxurious cup of coffee. Subsequently, after the Baron cuts Belinda's lock of hair, the men and women engage in a heated battle. Unlike weapons found in other epic battles, men are equipped with their wits and women must fight using their eyes or mouths. Pope writes: “Chloe intervened and killed him with a frown;/ She smiled to see the valiant hero killed,/ But, at her smile, the beautiful was resurrected” (V, 68-70). a simulated and epic style service in "The Rape of the Lock"? Researchers have proposed many possible explanations. Cleanth Brooks theorizes that the epic simulation style was intended to portray the incident as trivial, saying, "His choice of epic simulation fits beautifully with his general problem of reducing rape to its own insignificance." The scene is reduced and the characters become small, manageable figures whose actions can always be traced in a larger context” (Brooks 110). On the other hand, Felicity Nussbaum argues that "the faux-heroic 'Rape of the Lock' teases Belinda while showing her entrapment in the rigid rules of court" (Nussbaum 137). I argue that Pope uses the mock-epic style to show the utter inferiority of women. Epic poetry traditionally featured a hyper-masculine hero in a setting of war and masculine competition, and Pope juxtaposed these masculine elements by placing a female character in the role of protagonist. However, Belinda ultimately fails in this role, and Pope attributes this failure to the fact that her femininity makes her unable to function in a traditionally masculine world. This masculine world became even more pronounced with the growth of commerce. The 18th century marked a radical revolution in the British economy, as increased mercantilism led to more extravagant standards of living. This expansion oftrade was manifested both in higher incomes for much of the elite and in the predominance of luxury items, such as imported fabrics, coffee, and spices. Women enjoyed greater purchasing power, and many women spent their new wealth on elaborate costumes and imported makeup. Economic changes brought similar changes to English society. The distinction between the aristocracy and the merchant class widened considerably, and goods became the most important way of measuring an individual's place in society. However, as with many social and economic changes, there is often backlash. In an effort to reinforce their dominance, men focused on the most obvious signs of progress and women were singled out as the primary cause of this shift toward excessive consumption. Continually criticized for their vanity and lack of of self-control. They were seen as the embodiment of the evils associated with commercialism, and their almost ridiculous fixation on fashion became a common subject of satire. Laura Brown explains: “The image of women's clothing and adornment had a very specific and coherent historical referent in the early 18th century: the products of merchant capitalism. The association of women with commercial products is a strong cultural motif during this period. and concern for feminine adornment is an important expression of this association” (Brown 112). Clarissa's speech before the battle of the sexes comments on the temporary nature of ornamentation. The Pope writes: “But since, alas! frail beauty must deteriorate, / Curled or uncurled, since the locks will become gray; / Whether painted or not painted, everything will fade, / And she who despises a man must die a servant. » " (V, 25-28). At first glance, it appears that the Pope is using Clarissa as a vehicle to inspire a change in society that requires women to value their appearance. However, the conclusion of his speech reinforces the need of marriage, denying any progress toward empowerment Cynthia Wall explains: "Clarissa advises resignation, reinforcing a status quo that punishes a woman who despises a man or rejects a lord - by definition denying her the ability and right to choose. (Wall 34). Additionally, the reaction her speech receives from the other women in the poem indicates its effectiveness. Pope writes, "Thus spake the lady, but no applause followed, / Belinda frowned, Thalestris called her a prude” (V, 35-36) The answer seems to imply that if women themselves do not support Clarissa's speech, why should society stop criticizing women? continues throughout “The Rape of the Lock,” as Pope characterizes Belinda as the embodiment of excess. He describes Belinda's “joy in the golden chariots” (I, 55) and the “shining cross she carried/That the Jews could embrace and the infidels worshiped” (II, 7-8). He criticizes her overly proud nature by writing: “Do not think, when the passing breath of woman flees / That all her vanities are dead: / She always considers the vanities that succeed her” (I, 51-53). He also mocks the feminine value system, claiming that Belinda cannot distinguish between what is truly important and what is just frivolity. The author describes Belinda's inability to choose between her intrinsic qualities and her material goods. Is it worse to “stain your honor or your new brocade / Forget your prayers or fail a masquerade / Or lose your heart or your necklace at a ball” (II, 105-109)? Nicholson developsthese values ​​juxtaposed by saying: Pope “shows market values ​​that confound a traditional ethic by reshaping the human personality, adapting it to different priorities. In Pope's construction, a commercialized society rewrites virtue and leaves Belinda without any grounded moral sense.” (Nicholson 40).All of these depictions of extravagance serve to emphasize Belinda's superficial nature and her close connection to consumerism. Nicholson further explains that Pope depicts “Belinda as a consumer, the embodiment of luxury, whose mood is defined by the richness of the objects with which she surrounds and adorns herself” (Nicholson 28). Pope employs Belinda to represent not just a single greedy woman, but rather the belief that all women are equally ostentatious. By representing all of Belinda's women, Pope uses his downfall of arrogance to humiliate all of womanhood. Another important example of Pope's derogatory portrayal of women can be seen in Belinda's toilet scene, in which Belinda adorns herself with many imported beauty items. The Pope writes: “The various offerings of the world appear;/ From each she kindly selects with curious toil,/ And adorns the goddess with glittering remains./ This coffin the luminous gems of India unlock ,/ And all Arabia breathes from there. Here, the turtle and the elephant unite/Transformed into combs, speckled and white” (I, 130-136). This toilet scene, which was a common literary convention in the 18th century, is used to specifically link women to commercialism. Laura Brown writes, “The artifice by which Belinda's beauty is created or awakened is attributed to commercial products and defined through a catalog of products intended for female consumption” (Brown 113). This explicit association of women with commerce reinforces the propensity to blame women. for issues related to increased commercialism, essentially placing men in a permanently elevated status. While Belinda as a whole personifies the female habit of excessive consumption, her vanity is evidently encompassed in her locks of hair which Pope describes as "two graceful locks". hung behind/In equal curls, and well plotted for the bridge/With shining curls her smooth ivory neck" (II, 20-22). The hair is described as beautiful enough to ensnare the imperial race of man ( II, 27), and after the Baron cuts it, it is placed in the sky like a constellation. The Pope describes the “delighted hair,/which adds new glory to the brilliant sphere” (V, 141-142). On the other hand, as Felicity Nussbaum claims, "Every praise of Belinda in 'Rape of the Lock' is diminished by satirical diminution" (Nussbaum 141). of superficial efforts made to maintain his appearance The Pope asks: “Is this why you have taken such constant care/The grommet, the comb and the essence to prepare?/For this your locks are bound. in hard paper,/ For this with torture irons wrapped around it?/ For this with nets stretched your tender heads,/ And courageously bore the double load of lead? (IV, 97-102). Pope envelops Belinda's womanhood in his lock of hair, and by destroying her lock, he essentially manages to destroy her entire penis. In addition to her appearance, a woman's identity was inexorably linked to her relationships with men. A woman was considered her father's property until she married, then the father transferred his rights to her husband. This objectification was widely accepted in traditionally patriarchal society, as women were seen as incapable of taking care of themselves. Few womenowned real estate and the professions accessible to women were extremely poorly paid. Therefore, women were taught from a young age that their goal was to find a husband who could support them. Marriage was rarely seen as a romantic union, but rather as a union of economic security. Although wives were expected to be submissive to their husbands, women began to exert more control over their own destiny. Accordingly, Pope uses Belinda as a model for the consequences of defying the social constraints placed on love. Women of Pope's era were repeatedly praised for their wit and their ability to balance intelligence with appropriate deference to their male counterparts. However, Pope describes Belinda as possessing neither. Clarissa explains the importance of character by saying, “Believe me, my dear, good humor may prevail/When tunes, flights, shouts, and scoldings fail./Beauties in vain their pretty eyes may roll;/ Charms strike the sight, but merit wins the soul" (V, 31-34). Pope characterizes Belinda as relatively stupid, having "infantile thoughts" (I, 29) and a "vacant brain" (I, 83 Moreover, Belinda does not recognize the perceived impropriety of a woman appearing more intelligent than a man Belinda possesses an "educated pride" (I, 37), and motivated by her "lust for glory" (III, 25), she dares to challenge the baron and another young man to a game of cards Diana M. Agy writes: “When Belinda challenges the men to throw shade, we see her overstepping her culturally defined status as a submissive woman.” (Agy 233) Therefore, instead of the expected acquiescence, Belinda displays an unexpected desire for power and comes dangerously close to victory. I argue that Pope uses this social transgression to symbolize the action that real women were earning and uses it as a means to punish all women for their attempts at empowerment. Women in the 18th century were also expected to follow certain norms when it came to courtship. They should be fun and engaging but not so much that they give men false hope. Women must always maintain an appearance of decorum, while remaining flirtatious in order to attract a suitable husband. However, Pope describes Belinda as being unable to find any common ground; she is either called a tease or a prude. Pope first calls Belinda a tease, saying, "Favour extends to none, she smiles on all;/Often she rejects, but never once offends." shines on all in the same way” (II, 11-14). She is protected by the Sylphs, guardians of all coquettes. However, as Ariel discovers while peering into Belinda's mind, there is "an earthly lover hiding in her heart" (III, 144). Although the identity of this lover is never revealed, his presence in Belinda's thoughts signals her shift from flirtatious to prudish. Her care is then transferred to the gnomes, who protect those who never act on their romantic feelings. This change was foreshadowed in the first Canto, when Pope writes: "There are certain nymphs, too conscious of their faces, / For life predestined to the embrace of the Gnome" (I, 79-80). Mythological creatures watch over women everywhere. "The Rape of the Lock" is doubly significant in Pope's attempts to degrade women. First, creatures are assigned based on a woman's personality, and she can only be protected by one creature at a time . This attempts to compartmentalize the many complexities of a woman's mind. In other words, a woman can be flirtatious or prudish; she cannot have the characteristics of each..