In the first twelve lines of his poem, Pope introduces his topic and themes and also invokes (or calls upon) his muse. The name of the muse is Caryll (line 3), and the poet later refers to his muse as "Goddess" (line 7). Pope is already introducing humor into his poem at this point: he is already establishing that his work is a mock epic. Caryll refers to John Caryll, one of Pope's friends. Caryll was Pope's inspiration because he casually suggested to the poet that a poem should be written about the cutting of the lock as a way to sooth the conflict between Arabella Fermor (Belinda) and Lord Petre (Baron). Pope liked the idea and agreed. Of course, the humor here is Caryll is not only not a goddess, but he is also a male. Pope explains that the subject matter of his poem began with a small event: the cutting of Belinda's curl or lock. Such an event is "trivial" or unimportant. Such an event also occurred innocently, out of an act of affection or love, an "amorous cause." However, the reaction of Belinda turned this trivial or insignificant act into something large or epic, into a "dire offense" or a "mighty contest." These phrases make the event seem grand or epic. Describing the Baron as "so bold" and describing Belinda as having a "mighty rage" also contribute to the epic quality of the poem. The reader should note that Pope uses descriptive language like this throughout poem in order to make the small event appear as if it were epic.
This language is exaggeration or hyperbole.
The action of the poem begins (in line 13) with the sun (referred to as "Sol," the sun god) coming through the curtains in Belinda's bedchamber. The sun has risen, and Belinda should be getting out of bed. However, a sylph, a spirit of the air, uses magic on her to keep her asleep (line 20). The name of the sylph is Ariel, but this is not revealed until much later in the canto (line106). Ariel presents a "morning dream" (line 22) to Belinda. As Ariel whispers into Belinda's ear, Belinda dreams or envisions the things he talks about.
Most of Canto 1 is actually a speech: the words spoken by Ariel to Belinda as she sleeps (from line 27 to 114). Ariel tells Belinda that if she ever had a vision of "airy elves" (line 31) or other supernatural creatures that she had heard about from stories or fairy tales, then she should "hear and believe" (line 35) what Ariel is about to tell her. In other words, Ariel is saying that such visions are real. There really are fairies. Ariel is about to warn Belinda of some tragedy that will afflict her. Thus, he knows it is important for Belinda to believe him.
Ariel tells Belinda that the secrets of the magical or supernatural world are only revealed to two categories of humans: "maids" and "children" (line 38). The word maids here refers to young women who are still innocent, who are still virgins. Thus, Ariel is saying that only the innocent ones are capable of hearing and believing in the sylphs and other such creatures. Indirectly, Pope is criticizing the Rosicrucians for their beliefs in such fantastical creatures. Pope is suggesting that their belief is childish and simplistic. This is an example of social criticism.
Ariel further tells Belinda that when fair maidens go to the theater ("the box" in line 44) or the park ("the Ring") or anywhere else, numerous sylphs fly around them and protect them. Ariel also explains the origins of the supernatural creatures. He tells Belinda that the sylphs were once beautiful maidens: "once enclosed in woman's beauteous mold" (line 48). But, when they died, they turned into supernatural creatures. Ariel adds that when these women turn into sylphs, they still enjoy the activities that they liked when they were human. If they liked card games (such as Ombre) or driving in chariots as women, then they would continue to like such activities as sylphs (lines 51-56). Of course, all of this is Pope's invention, not Rosicrucian belief.
Ariel then explains that there are actually four kinds of supernatural creatures, corresponding to the four elements:
(lines 59-60)
(lines 61-62)
Pope is not only mocking or making fun of the Rosicrucian belief in elemental spirits. He is also jokingly contributing to the "battle of the sexes" by suggesting that there are only four kinds of women: shrews, soft-minded females, prudes, and flirts. This is just part of Pope's humor.
Of the four categories, Pope is especially critical of the prudes (the Gnomes). Through the character of Ariel, Pope criticizes the prudes at some length (lines 79-90). Ariel explains that the prudes are too full of pride and always taking pleasure in turning down offers of love from men. Further, the prudes are always rolling their eyes as if they are too good or superior to everything and everybody. Apparently, Pope probably knew several ladies who were like this. And, so, the poet added this piece of social criticism in order to ridicule or mock them.
Ariel tells Belinda that the job of the Sylphs is to protect maidens from men (lines 71-78 and lines 91104). The Sylphs do not want the women to lose their innocence (or virginity). If a woman loses her innocence, the Sylphs can no longer protect her. So, the Sylphs constantly work to keep the maidens from giving too much attention to any one man. As Ariel expresses it, "They shift the moving toyshop of their heart" (line 100). This is a metaphor. The heart is a moving toyshop for these fickle coquettes, these flirtatious young women, because they quickly move from one man to another just as a child might quickly move from one toy to another in a toyshop.
The main reason why Ariel speaks to Belinda, though, is to warn her. Ariel explains that he saw an omen in the stars that some "dread event" (line 109) will happen to Belinda. Once again, Pope is using hyperbole here. Ariel tells Belinda that he is not exactly sure what the event will be. But he does tell her this:
Beware of all, but most beware of Man!
(line 114)
When Ariel leaves, the little dog named Shock wakes Belinda up. One of the first things that Belinda does is to read a love letter ("a billet-doux") from an admirer. As soon as she does so, she forgets Ariel's dream and warning (line 120).
The last part of Canto 1 concerns Belinda putting on her make-up or cosmetics in order to get ready for the day's activities. The student should be careful here that the word toilet here (line 121) refers to the dressing table where Belinda keeps her cosmetics. This word is often spelled as toilette today. The student should also note that the word nymph here
(line 123) is used differently from way Pope used it earlier. The word refers to the minor but beautiful nature goddesses frequently appearing in Greek mythology. Pope uses the word here to praise Belinda, to say that she has the beauty of one of these goddesses. Pope is also using hyperbole in this section of the poem to describe a simple activity. Not only does Belinda become a goddess, but also her maid or servant becomes an "inferior priestess" (line 127). Further, Pope describes the actions of applying makeup as "sacred rites" (line 128).
The student might wonder why Pope devotes so many lines to Belinda's make-up procedures. The answer is that this scene is a parody of related scenes in epics. One of the most common scenes in epics (and in some medieval romances) involves the arming of the hero. The student may recall how Sir Gawain, in Sir Gawain and the Green Knight, prepared himself before going out to seek the Green Knight. In that romance the poet devoted several long passages to the way Gawain dressed himself. The poet named and described each article of clothing and each piece of armor. In Pope's mock epic, the dressing scene parallels this oral formula. But here the hero is not a brave knight: rather, the hero is a young coquette. And here cosmetics (or make-up) become the armor that Belinda uses as protection against the dangers that she will face.
The second section or canto of Pope's mock epic begins with a scene set on the Thames River. On this river, which circles through London, Belinda gets on board a boat that will take her to the tea or coffeehouse. The primary purpose of the first two stanzas (lines 1-28) is to describe and praise Belinda's beauty. However, the reader might also note that Belinda wears a necklace with "a sparkling cross" (line 7) attached to it. This, perhaps, is her emblem in the same way that the pentangle was the emblem for Sir Gawain. In fact, the use of sun imagery also connects Belinda to Sir Gawain. Pope uses the following simile to describe Belinda:
Bright as the sun, her eyes the gazers strike, And like the sun, they shine on all alike.
(lines 13-14)
In Sir Gawain and the Green Knight, the hero dresses in shining gold armor. And even his horse, Gringolet, is finely decked out in gold array "that glittered and glowed like the glorious sun" (SGGK, Part 2, line 604). So, the Gawain poet also uses a sun simile. However, Belinda is not going out to face her death, as Gawain did. Instead, she is going out to drink coffee and play cards. Still, like Gawain, Belinda will encounter danger (sort of) from an enemy. Of course, her enemy only wants to cut her hair, not her neck.
Pope devotes several lines to describing the two prized curly locks of hair that hang down the back of
Belinda's neck. Pope also uses several metaphors to describe these locks: for example, "labyrinths" (line 24) and "chains" (line 25). Belinda's locks of hair are a trap for all men because, when a man stares at them, he falls hopelessly in love with her. Thus, he is trapped in his love for Belinda; but she will never return that love. So, the trap is a deadly one.
In epics of the past, especially in both The Iliad and The Odyssey by Homer, the heroes and other characters would often offer sacrifices to the gods. Ancient man believed that if he would burn an animal as a sacrifice, the gods up in the heavens would smell the wonderful aroma and would be pleased. Therefore, ancient man would hope that the gods would then help him in the future. Before battle, warriors would always sacrifice animals to the powerful gods like Zeus, Poseidon, Apollo, or Athena. Of course, the men hoped these gods would help them to defeat their enemies.
A similar sacrifice occurs in Pope's mock epic. But here the purpose of the sacrifice is not to achieve victory in battle. And here the god involved is not a powerful figure like Zeus or Athena. Instead, the purpose is to take, to cut, the locks from Belinda's hair.
And, so, the god involved is Love or Cupid.
Pope, then, is once again making fun of an epic feature. In this scene (lines 29-46) the Baron prepares a sacrifice to Love. Instead of a regular altar or sacrificial table, the Baron has a stack of 12 French romances (storybooks about love). On this "altar" the Baron has placed garters and gloves and other items that women have given to him as tokens or gifts of their love for him. These are the items that the Baron will burn as his sacrifice. In fact, he even uses a "billetdoux," a love letter, to start the fire. The scene suggests that the Baron will give up or "sacrifice" the love of all other women if he can obtain the two beautiful curls on the back of Belinda's neck. Of course, this implies or symbolizes that the Baron wants to give up the love of all other women because he is in love with Belinda.
The gods up in the heavens may not always respond to the sacrifice, but in this case the poet informs the readers (foreshadowing) about the result:
The powers gave ear, and granted half his prayer.
(line 45)
The Baron prays to get Belinda's two locks of hair. So, if the gods or powers above grant only half of his prayer, that means he will get only one of the locks.
The reader should also make note of the literary allusion in these stanzas. Before the Baron prepares his sacrifice to the God of Love, he thinks about how he should get Belinda's hair:
Resolved to win, he meditates the way,
By force to ravish, or by fraud betray.
(lines 31-32)
So, the Baron is trying to decide whether to take Belinda's hair directly, by force, or to cheat or trick her in some way. This choice should remind the reader of a similar situation in Paradise Lost by John Milton. In that modern epic Satan, after he and his followers are defeated by God, must decide whether to use fraud or force in his future struggles against God. Pope's literary allusion, then, comically links the Baron to Satan. Of course, the difference in goals between Satan and the Baron is tremendously vast. Satan wants to hurt God by damning all of mankind. The Baron, on the other hand, only wants two locks of hair. The absurdity of the comparison makes it humorous. There is, however, one other major difference between Satan and the Baron. Satan decides to use fraud in his struggle against God, but the Baron decides to use force to obtain the two locks of hair.
As Belinda is sailing peacefully down the Thames River toward the coffeehouse, the poet shifts the readers' attention to Ariel. Ariel is worried about the omen and the terrible event that will soon happen to Belinda. So, Ariel summons or calls an entire army of Sylphs to help him protect Belinda (line 55). Nearly half of Canto 2 is devoted to another speech (lines 73136). In this speech Ariel instructs the other Sylphs about their individual duties, about what each one should do in order to protect Belinda. The speech also contributes to the mock epic quality of the poem because the speech is similar to the way a captain or general would address his soldiers in Homer's The Iliad. Ariel begins his speech by naming the different ranks or groups of Sylphs: Sylphs, Sylphids, Fays, Fairies, Geniis, Elves, and Daemons (lines 73-74). This is also a literary allusion to Paradise Lost. When Satan addresses the other devils, he begins by naming their ranks: Powers, Thrones, Dominions, and so forth. Again, Pope adds this allusion for contrast and humor.
The Sylphs, after all, are tiny creatures, smaller than insects. Also, their powers are not so very great. Once again, Pope is taking something very small and making it appear grand and epic.
Like the devils in Hell, the Sylphs also seem to have their own occupations. In fact, Pope even provides a catalog or list of these occupations:
88)
This list is also used for the purpose of humor -- to make these tiny creatures appear to be grand, epic, significant, and important.
Ariel admits that his own job is not as important as the job of protecting the Royal family:
Our humbler province is to tend the Fair,
Not a less pleasing, though less glorious care.
(lines 91-92)
Ariel finds his job of protecting Belinda to be a pleasing one. He then goes on to explain that most of his duties concerns how Belinda puts on her make-up or how she arranges her hair (lines 93-100). In other words, he has an easy job most of the time.
Ariel then tells his companions about the omen, about the "dire disaster" that will soon happen to Belinda. Ariel discusses the possibilities of what might happen. The reader should note the use of juxtaposition (placing side by side for the purpose of contrast) here (in lines 105-09). The disaster could be quite serious or trivial (relatively insignificant):
Serious Possibilities |
Trivial Possibilities
|