ALEXANDER POPE’S POETRY

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The Analysis of Pope’s “The Rape of the Lock”

In 1712, Pope published “The Rape of the Lock” on heroic comical poem. It is a humorous indictment of the vanities and idleness of 18th century high society. Basing his poem on a real incident among families of his acquaintance, Pope intended his verses to resolve trivial issues among his friends and to laugh at their folly.

The poem is perhaps the most outstanding example in the English language of the genre of mock-epic. The epic had long been considered one of the most serious of literary forms; it had been applied in the classical period, to the lofty subject matter of love and war, and, more recently, by Milton, to the intricacies of the Christian faith. The strategy of Pope’s mock epic or parody epic is not to mock the form itself, but to mock his society in its very failure to rise to epic standards, exposing its pettiness by casting it against the grandeur of the traditional epic subjects and the bravery and fortitude of epic heroes: Pope’s mock-heroic treatment in “The Rape of the Lock” underscores the ridiculousness of a society in which values have lost all proportion, and the trivial is handled with the gravity and solemnity that ought to be accorded to truly important issues. The society concerned in this work is one that fails to distinguish between things that matter and things that do not.

The poem mocks the men it portrays by showing them as unworthy of a form that suited a more heroic culture. Thus the mock-epic resembles the epic in that its central concerns are serious and often moral, but the fact that the approach must now be satirical rather than earnest is symptomatic of how far the culture has fallen.

Pope’s use of the mock-epic genre is intricate and exhaustive. “The Rape of the Lock” is a poem in which every element of the contemporary scene conjures up some image from epic tradition or the classical world view, and the pieces are wrought together with a cleverness and expertise that makes the poem surprising and delightful. Pope’s transformations are numerous, sticking, and loaded with moral implications. The great battlers of epic become boats of gambling and flirtatious tiffs. The great, if capricious, Greek and Roman gods are converted into a relatively undifferentiated army of basically ineffectual spirits. Cosmetics, clothing, and jewelry substitute for armor and weapons and the rituals of religious sacrifice are transplanted to the dressing room and the altar of love.

The verse form of “The Rape of the Lock” is the heroic couplet; Pope still reigns as the uncontested master of the form. The couplet consists of rhymed pairs of iambic pentameter lines (lines of ten syllables each, alternating stressed and unstressed syllables). Pope’s couplets do not fall into strict iambs, however, flowering instead with a rich rhythmic variation that keeps the highly regular meter from becoming heavy or tedious. Pope distributes his sentences, with their resolutely parallel grammar, across the lines and half-lines of the poem in a way that enhances the judicious quality of his ideas. Moreover, the inherent balance of the couplet form is strikingly well suited to a subject matter that draws on comparisons and contrasts: the form invites configurations in which two ideas or circumstances are balanced, measured or compared against one another.

CONCLUSION

Pope’s poetry really contributed a lot of English poetry as a whole. His wit and intelligence made his poetry popular and his satiric nature made “The Rape of the Lock” one of the best poems ever written in England. In this article, we have been able to introduce to you the work of Alexander Pope, the nature of his poetry and the analysis of his adjudged best poem, “A Rape of the Lock”.

 

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