Initially, when I chose to write a blog post on Rape of the Lock, I had imagined something a bit more grotesque--a bit more rapey. This may have had something to do with the fact that I misread Pope as Poe--never mind the fact that Poe is from America, and this is British Literature (it was syllabus week, my head was running a little behind.) But needless to say, my expectations were kind of wrong.
The story begins like an epic, reminding me somewhat of Beowulf, which I read in the first section of this course. The narrator evokes a muse and Belinda is being guarded by "Sylphs" that are known to "guide [women's] way". The whole fantastic, magical element made me feel as though--once again, similar to Beowulf-- this story would lead to a battle against another magical being. I was half right. A battle ensues, but not between man and beast, but instead between woman and man. By the end, I felt that while this poem takes the form of an epic, it is indeed a comical one, meant to toy with the conventions of a normal epic, as well as poke fun at other issues.
Actually, as I got farther into the poem, it began to remind me more and more of Lady Wishfort from Way of the World. Such importance is placed on appearance and beauty. When a "dire disaster" is predicted to threaten Belinda, the Sylphs are instructed by Ariel to protect the cosmetic aspects of Belinda, like her earings and her hair, rather than other aspects of her character. Belinda is characterized as a very pure woman who refuses men, but soon it is revealed by Ariel that "an unearthly love is lurking at her heart." Similar to Lady Wishfort who loads on the makeup to conceal her age, Belinda's appearance of purity--complete with a "sparkling Cross"--is hiding the fact that she wants to be violated sexually. The sexual undertones of the description of the battle (woman leaping onto men) reinforces this. Also, though Baron is simply 'raping the lock' of hair, his intentions all along were sexual, not cosmetic: he "sought no more on his foe to die", (I had to look this one up and, apparently, that's what it meant). Baron's true intentions were concealed all along, veiled by 'makeup'.
It all goes back to appearance and concealment. Women conceal their true feelings and nature. Baron conceals his true intentions. And this poem, epic in nature, is concealing its true identity. Even it's title brings about a different expectation and conceals its contents. So yes, I was just completely wrong about thinking Rape of the Lock was by Edgar Allan Poe, but it is true that appearance creates expectations that conceal the truth. People are deluded into seeing something that isn't actually there.
I had similar thoughts to you when I started reading "Rape of the Lock" as well. The immediate literary connection that came to my mind was Beowulf - particularly at the introduction. The language sets the context of the epic and the tone sounds quiet heroic and legendary. As I continued reading, it became apparent that it was mocking these traditional epics, considering it blew the cutting of a lock of hair out of proportion. This extreme exaggeration made me recall the satirical qualities of Swifts' "A Modest Proposal." In this way, I thought Pope was not necessarily mocking the original epics (like Beowulf) but rather mocking the petty values of his current society. By drawing this direct comparison, Pope appears to say that the cutting of a lock of hair is equally as dire as battling a giant monster out to kill you.
ReplyDeleteAt the end of your post, you mention how women conceal their true feelings (thus keeping with the theme of concealment). Do you think women do this purposefully given the petty values of the current society who celebrate "angelic" beauty over a woman's true character and integrity (ie qualities of a true angel)?