The rape of the lock text. The Rape of the Lock Study Guide 2022-10-29
The rape of the lock text
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The Rape of the Lock is a mock heroic narrative poem written by Alexander Pope in the early 18th century. The poem tells the story of a society feud between two aristocratic families, the Ferrers and the Petres, over the theft of a lock of hair from a young woman named Belinda. The incident, which might have been seen as a minor disagreement in a different context, becomes blown out of proportion and the subject of great scandal and outrage among the characters in the poem.
Pope's use of the mock heroic form in The Rape of the Lock allows him to satirize the ridiculousness of the situation and the overreaction of the characters. The poem is written in heroic couplets, a form typically used for epic poetry, but the subject matter is far from epic. Instead, Pope uses the form to draw attention to the absurdity of the characters' reactions to the theft of the lock of hair.
One of the main themes of The Rape of the Lock is the societal pressure placed on women to conform to certain standards of beauty and femininity. Belinda, the object of the disagreement, is described as a "beauteous nymph," and the theft of her lock of hair is seen as a violation of her beauty and virtue. Pope satirizes this societal expectation by exaggerating the importance of the lock of hair and the outrage it causes among the characters.
Another theme of the poem is the superficiality and shallowness of the characters. The poem is set in the fashionable society of Pope's time, and the characters are preoccupied with appearances and social status. Pope uses the mock heroic form to highlight the absurdity of their priorities, as they become embroiled in a feud over a trivial matter such as a lock of hair.
In addition to satirizing the society of his time, Pope also uses The Rape of the Lock to comment on the role of religion in society. The characters in the poem are depicted as being more concerned with petty squabbles and superficial matters than with their spiritual lives. Pope uses the character of the sylphs, supernatural beings who protect Belinda and her lock of hair, to critique the shallow nature of the characters' religious beliefs.
Overall, The Rape of the Lock is a satirical poem that uses the mock heroic form to comment on the superficiality and shallowness of fashionable society, as well as the societal pressure placed on women to conform to certain standards of beauty and femininity. Pope's use of the heroic couplet form serves to exaggerate the absurdity of the characters' reactions to the theft of the lock of hair and highlights the triviality of their priorities.
The Rape of the Lock: The Rape of the Lock
. . Now move to war her sable Matadores, In show like leaders of the swarthy Moors. . Nor was the society of women lacking at these gatherings. .
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The Rape of the Lock Full Text
Bright as the sun, her eyes the gazers strike, And, like the sun, they shine on all alike. Pope apparently had given him leave to do so, and then retracted his permission. The depreciation of Pope's poetry springs, in the main, from an attempt to measure it by other standards than those which he and his age recognized. Horace and he went hand in hand in song. Lady Mary Wortley Montague, the wittiest woman in England, was often there, until her bitter quarrel with the poet; the grim old Duchess of Marlborough appeared once or twice in Pope's last years; and the Princess of Wales came with her husband to inspire the leaders of the opposition to the hated Walpole and the miserly king. . Amid the circle, on the gilded mast, Superior by the head, was Ariel plac'd; His purple pinions op'ning to the sun, He rais'd his azure wand, and thus begun.
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Text
T is but their Sylph, the wise celestials know, Though honour is the word with men below. Canto III Close by those meads, for ever crown'd with flow'rs, Where Thames with pride surveys his rising tow'rs, There stands a structure of majestic frame, Which from the neighb'ring Hampton takes its name. . . Give her the hair. One dedicates in high heroic prose, And ridicules beyond a hundred foes: One from all Grubstreet will my fame defend, And more abusive, calls himself my friend.
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The Rape of the Lock: Canto 1 by Alexander Pope
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. What moved my mind with youthful lords to roam? Fear most to tax an Honourable fool, Whose right it is, uncensur'd, to be dull; Such, without wit, are Poets when they please, As without learning they can take Degrees. His Essay on Criticism which conveys to us an image of Pope's time and his literary knowledge rather than of his personality, appeared in 1711. A mournful glance Sir Fopling upwards cast, "Those eyes are made so killing" — was his last. Pressing a button on it caused a bell to sound the current hour orquarter hour. Full ten years slander'd, did he once reply? Methinks already I your tears survey, Already hear the horrid things they say, Already see you a degraded toast, And all your honour in a whisper lost! Comments — 1 The description of these punishments to be meted out to the careless sylphs is exquisitely fanciful. When Florio speaks what virgin could withstand, If gentle Damon did not squeeze her hand? And he was always quick to succor merit in distress; he pensioned the poet Savage and he tried to secure patronage for Johnson.
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Full text of "The rape of the lock"
Respecting Man, whatever wrong we call, May, must be right, as relative to all. Be no unpleasing Melancholy mine: Me, let the tender office long engage, To rock the cradle of reposing Age, With lenient arts extend a Mother's breath, Make Languor smile, and smooth the bed of Death, Explore the thought, explain the asking eye, And keep a while one parent from the sky! Stanza 6 But when to mischief mortals bend their will, 125How soon they find fit instruments of ill! Explanations: Belinda and her friends landed from the barge at Hampton and went into the Court, a royal place, where ministers help their cabinet meetings and Queen Anne herself met her ministers. Notes, Stanza 4 Cupid: god of love Greek name: Eros Othello: In Shakespeare's play of the same name, Othello wrongly believes his wife has beenunfaithful because her handkerchief was found in the possession of another man. . Some guide the course of wand'ring orbs on high, Or roll the planets thro' the boundless sky.
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The Rape of the Lock by Alexander Pope Plot Summary
A pretty girl who would long since have been forgotten sat as an unconscious model to a great poet; he made her the central figure in a brilliant picture and rendered her name immortal. . The same, his ancient personage to deck, Her great great grandsire wore about his neck, In three seal-rings; which after, melted down, Form'd a vast buckle for his widow's gown: Her infant grandame's whistle next it grew, The bells she jingled, and the whistle blew; Then in a bodkin grac'd her mother's hairs, Which long she wore, and now Belinda wears. But most by Numbers judge a Poet's song; And smooth or rough, with them is right or wrong: In the bright Muse though thousand charms conspire, Her voice is all these tuneful fools admire; Who haunt Parnassus but to please their ear, Not mend their minds; as some to Church repair, Not for the doctrine, but the music there. Like gentle Fanny's was my flow'ry theme, A painted mistress, or a purling stream. .
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The Rape of the Lock and other poems, by Pope
Even yet, however, he was not completely satisfied and from time to time he added a touch to his work until he finally produced the finished picture which we know as The Rape of the Lock. . . It is said that Pope himself admired these lines so much that he could not repeat them without his voice faltering with emotion. . Still with itself compar'd, his text peruse; And let your comment be the Mantuan Muse. .
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Pope, Rape of the Lock
As one by one, at dread Medea's strain, The sick'ning stars fade off th' ethereal plain; As Argus' eyes by Hermes' wand opprest, Clos'd one by one to everlasting rest; Thus at her felt approach, and secret might, Art after Art goes out, and all is Night. Some by old words to fame have made pretence, Ancients in phrase, mere moderns in their sense; Such labour'd nothings, in so strange a style, Amaze th' unlearn'd, and make the learned smile. . . The Critic else proceeds without remorse, Seizes your fame, and puts his laws in force. Let wreaths of triumph now my temples twine The victor cry'd the glorious Prize is mine! To approach Greek architecture, go and see the Parthenon, to study scholastic philosophy, shut yourself up with St. Pope's new friends seem to have treated him with a deference which he had never experienced before, and which bound him to them in unbroken affection.
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