Satire in Verse

Alexander Pope (1688 – 1744) and The Rape of the Lock

The Rape of the Lock (1712 – 1714) was written as an attempt to end a quarrel between two fashionable Roman
Catholic families. It started when Lord Petre cut off a lock of hair, which he wished to ‘possess’, from the head of
Miss Arabella Fermor, the lady to whom he was engaged.
Alexander Pope wrote the poem in mock-epic style in imitation of Homer, to ‘make a jest’ of the incident and to
‘laugh them (the two families) together’. However, Lord Petre married someone else two months before the first
version of the poem was published and the poem soon outgrew the occasion. In the revised version of 1714 Pope
included what he called ‘machinery’ (supernatural agents), a term which comes from the Greek use of theatrical
machinery to suspend gods over the stage. Pope, though, turned Homer’s Olympian deities into sylphs (tiny, light
fairies, free to do what they like) and gnomes (representing the repressed mentality of the too-easily shocked)
both of which have the spiritual nature of fashionable London society.

Extract 1
In this extract Belinda (Arabella) wakes up and gets ready to put on her make-up, having been warned by her
guardian angel, Ariel, that disaster is near:

And now, unveil'd, the toilet stands display'd,

Each silver vase in mystic order laid.
First, rob'd in white, the nymph intent adores
With head uncover'd, the cosmetic pow'rs.
A heav'nly image in the glass appears,
To that she bends, to that her eyes she rears;
Th' inferior priestess, at her altar's side,
Trembling, begins the sacred rites of pride.
Unnumber'd treasures ope at once, and here
The various off'rings of the world appear;
From each she nicely culls with curious toil,
And decks the goddess with the glitt'ring spoil.
This casket India's glowing gems unlocks,
And all Arabia breathes from yonder box.
The tortoise here and elephant unite,
Transform'd to combs, the speckled and the white.
Here files of pins extend their shining rows,
Puffs, powders, patches, bibles, billet-doux.
Now awful beauty puts on all its arms;
The fair each moment rises in her charms,
Repairs her smiles, awakens ev'ry grace,
And calls forth all the wonders of her face;
Sees by degrees a purer blush arise,
And keener lightnings quicken in her eyes.
The busy Sylphs surround their darling care;
These set the head, and those divide the hair,
Some fold the sleeve, whilst others plait the gown;
And Betty's prais'd for labours not her own.

Extract 2
In the afternoon, after the ‘long labours of the toilet cease’, Belinda ‘burns to encounter two adventurous knights’
– the Baron (Lord Petre) and another love-sick admirer – in a game of ombre (a type of card game related to whist
and modern bridge). Belinda’s eventual victory on the ‘velvet plain’ (the card table) is described as though it were
an epic military victory in Homer! Coffee is then taken, and the Baron is offered a pair of scissors by one of the
ladies:
 So ladies in romance assist their knight
Present the spear, and arm him for the fight.
He takes the gift with rev'rence, and extends
The little engine on his fingers' ends;
This just behind Belinda's neck he spread,
As o'er the fragrant steams she bends her head.
Swift to the lock a thousand sprites repair,
A thousand wings, by turns, blow back the hair,
And thrice they twitch'd the diamond in her ear,
Thrice she look'd back, and thrice the foe drew near.
Just in that instant, anxious Ariel sought
The close recesses of the virgin's thought;
As on the nosegay in her breast reclin'd,
He watch'd th' ideas rising in her mind,
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.
The peer now spreads the glitt'ring forfex wide,
T' inclose the lock; now joins it, to divide.
Ev'n then, before the fatal engine clos'd,
A wretched Sylph too fondly interpos'd;
Fate urg'd the shears, and cut the Sylph in twain,
(But airy substance soon unites again).
The meeting points the sacred hair dissever
From the fair head, for ever, and for ever!

Then flash'd the living lightning from her eyes,

And screams of horror rend th' affrighted skies.
Not louder shrieks to pitying Heav'n are cast,
When husbands or when lap-dogs breathe their last,
Or when rich China vessels, fall'n from high,
In glitt'ring dust and painted fragments lie!

After the lock of hair is cut off, there follows a huge row. The lock is never found and Pope finishes the poem by
advising Belinda – tenderly – to ‘cease ... to mourn thy ravished hair’.

Understanding and Interpretation

Complete the following sentences:
a. With the help of the “cosmetic powers” and the sylphs ….
b. Ariel is suddenly helpless when …
c. After the theft of the lock there is great …
Which of these do you think describe Belinda?
a. Deliberately provocative
b. Beautiful and charming
c. Dedicated to the decoration and worship of her own beauty
d. Like a spoilt child
e. Dignified
f. Vain
g. Divine
Find phrases which suggest that Belinda’s make-up ceremony is like
a. A religious ritual for her
b. A preparation for battle
Appreciation
Match the statements with the quotations below. Can any be matched with more than one quotation?
1. The line contains a ‘caesura’ (a main pause about the middle of the line, at the end of a verse foot, related to
a pause in the syntax).
2. A word suggesting something trivial is put next to a word suggesting something serious; it makes us realise
that the character does not take the serious object seriously.
3. There is a suggestion that fashionable society uses up the natural resources of the world.
4. Suggestions of epic battles both dignify the present action and make us realise how trivial it is by comparison.
5. The use of high-sounding words to describe trivial objects is a form of mockery.
6. Pope’s mockery is directed towards the men just as much as the women.

a. “The tortoise here and elephant unite,

Transform'd to combs, the speckled and the white.”
b. “Puffs, powders, patches, bibles, billet-doux.”
c. “So ladies in romance assist their knight
Present the spear, and arm him for the fight.”
d. “glitt'ring forfex”
e. “When husbands or when lap-dogs breathe their last”
f. “One died in metaphor, and one in song”

Further Discussion
1. In what way is Pope’s satire both funny and serious?
2. What is an epic poem? And a mock-epic poem?