i

THE RAPE OF THE LOCK' Ag A Social Saime

byfce Cxje/let, -(elo
B h e Rape Of Tho Lock'" Is a`marvollous soclal scatiro. In tho worcds of F R.LoOVIS:
"Satire is a criticisrn of vie and folly by some kind of
oel Vaapositive standaid_." referenCe l9
cvi
he Rape Of Th Lpck' is a satlre on thearistocratic ladies and fops of
ridicules their Ia~iness, , idlehoSSievanities, the 18n century. it
Tollies, hollowness, hypocrisy, false idegs of
Dongur and high matrimonial aspirations. This satire is reforinative.,. Pope has
the upper class of the 18h century. The aristocralic ladies indulge_in their satirized,.
htendthe fos hsl treat them bterthet dolHs. Leslie
Slephern has righiy opserve
v¡nitiesie.
y No writer reflects so clearly and completely the spirit of
his own day as
auh Pope.does."
*Pope mocks at the vanilies of
womensmgas-tbathas0dieeoreteefepeTpartta
NThink not, when woman's breath Is fled,
That cll her Vanlties at once are dead,"
Aniel speaks of the movingtoy-shop of the heqtofawoman, who
yone:lover 10 another and then 1o anothedthe poet makes transfers
fun of
her love from Ba:li
Egttention,jhat women pay to their tollet.Belindg worships the 'ccsmetid the'excessivegi!
aisérei Belinda's jybilation makes the poet commerit on the'shallownes_ of hunan beir:gs powerstin?
iitie become foð quickly depressed and too quickly joyous. The whc dei'
making nd coffee-drinkingtoo is asatire on the shallow lile of thedescript;on
time,ti.
a coffee
The Rape of The Lock' unmasks the atifteial life of ihe age,thols
i:

he desciiption of Belincda's
toiiet. the game of carcds, Coffee-drinking, soul[-takng and the culting of
afne. There are several passages in CantoT in which Pope salii|esBelinda's
iock
9 soie of ihe
teaturs of the aristocratic life. igutretCetery. Pope refers to sleepless lovers
awakening.at the hour of noon. The poet speaks ironically of the cohventional love i
3letters. :
n Canto Il, ihe Baron offers his prayers chiefly to the god of love. n ihis
Canto, Pope
- satirizes convenlong lovers. It is amusiFng to read th¡t
Uare.tö protect the perfume from evaporäting and to dssistsgn9.f the functions of Sylphs
The iGdies ip theirblushes and.
$o on. t satiricaliy shows that the chief concern,of fhe ladies is
ineii uppecaignçê26- e

GAAKsewdaoinititttralfohutee Tafbthetk8ju4izOt he lolow loves of

the gge.h. poet makes fui of Belinda Sgying lhat when sho woke up fronn her
23: prolñged sleep, her oyCS firsl opened on dilly love l:llr. lhe woman': ove of seit
decoratlon becomes the targel of satire in a lamous pgsSIge,getiing caIdy c! ho
battle to kill men with her charms. H+int beny o qljlij celie,
Pope makes tun of the hollowness of ihe aristoiatic males. Belinda chams men and
G flirts with them. The poet says satirically that she does not want a hustband in life but
dh crazy lovers at her feet. The ladies of the tine consicdered Ihelr pets as irnportant as iheit
husbands. Since th9y had not any dapth of foging, Popa hS 03
 alike att olshine 1hey Gm, the ikc And,
diike rgeks lbe eyes her Sun, Ihe Bight
os
Aace? 6'tatien Belinela's ricicudes Pope es,
vetycne sinifes
at Bc.ligeta list,
he iNIVafoal 1oila
aos
ithocuccs mocking'y pevl )ThcBeing A
aucl
lileatie betweennelaticskib clese
Auane
He
ckloThe Rajfse The refeence
to lh wK lui c
to, liBelindo' ajatiakas eye Zines,
cgi. abxiles Brlia at, Beiny
finckinkyd poct Jhe
 (2
he poet ridiculesthe moral bankruptcy of the ladies
wherThalestrispiattdhea
SGGiGDataositynfog CHeTarrirrtriygos0clpautaian.
state of mind is expressod by
Bolinda when sho declros Ihat sho
otfended if the Baron had spared The same
hair.cRIS that parlicular lock of her hair wOuldn' havo tell so
an stolen any other
}this poem Is an attackgn, a,Luylluletetbu
Vpoem is a satire gn K9C^Upeiiclsociefy. Stephen has righlly pointed out that the
feminingtrivolity
refers to the uDprbssed The satire becomes very bitter
seXual
obvious in the following words: desires of aristocratic mn aids. The sexualwhen the poet
1ouch is quite
"Andmalds turned bottles, cry aloud for
11) Pope points out corks."Je hah, Cn ka : calsi
satírically thal Belinda's smiles and eyes are the
John Dennis has bitterly criticized
devoid ofa moral. But Taine has 'The Rape Of.T' Lock'. He scysweapons of flirting.
fhat this p0erm is
tonvincing when he says that 'The Rape rightly modified Dennis' criticisI). He is
The Rape of The lock' has a Of The Lock has adefinite quile aw)
loscopical nessaye T}* moral.
thaaem mAakailangtgregtt1tertinttooiot-{}mmGitikh. tlaahaiaar.
Ä
aaingasapaaliatasaitaisgatadhasaiasadiski
message lies in the' doctrine of good
sense given by alilkasOphicslsSa.HO
Clariss, LilitaDoat
The
i1
begly Pope has used humou, bahter,. wi
-iy there, we find the touch and irony as his weapons of attack.
of.'oBscenity which makes the satire Here und
ightly\remaked hat spiGy. Cleanlh
Clarissa is simpl Pope's mouthpiece. Clarissa's speèch hasBrooks
ontgihe beHfral moral ot the does Ti}
happiness. Clarissa observes that poem. It is suggested that virtue
if good sense does not alone can bring 4
then ail our glories are vain. maintain what beauty gains
The Rape Of The Lock' contains the
Cenuc iniltions
parodies of Homer, Virgil, Spenser and Milton. An
outstanding mock-hèrgicelement in the
anepic hera and-Belinds dressing andpoem is the comparison betwecn the arrring of
prepáres herseif for thebate. She takes herHslhgCOsnnelics in order tn ill nen. Beinda
trivial bateseriously like Cin epic hero.

"Aadan&ldeennade!es.
Gaaaptko.
VThe latnent of Belimda over her loss of a lock is
an exaNple of couiic pahos,

eNALdgagitapiatape
design, of the poem:
il
ahoahty. Ihe bQlo of he sCxeS Ho) tellec1s he moic-heroIc
y
"No comnon weapons in their hands re lound
Like gods they fight nor diead a mortal woUnd."
Irar.
J
Thetight-between.aristocIatic fops and tashionable maidens has bgen dignified by the
useofHomeric similes. Poeacsiskilskac&dam.aiQubytgy.
d·scrikestha botile af sXes in wiNch ca3il3 vcati3 Uoulh ítÝm hei cys. Pope
3 a Contd.. P.3
 She hroWS k pinci oi Siui
Bellnda flghts. wilh the Baronirn a sincie Combat. Belincia ataks the
nàsits. Toors tlow fran Ris yÇ ¡nd ho aii ReA Baron with
her deadly weapon i.e. bqdkËn. The Baron cties:
"BOas! ncot my fal, insulting foe,ehemy
YGu Ihou by some ofher halt be, laidas low?|
huled clou)
Belindademands her lock, but it is lost. Pope'saysaOTNOwirt ihat perhops gods do
not want human beigs to keep sych atrecuie *Thepackoh_eg
the lock of hair ls-seen\ising Awnids
ves ltnorouslythat
i gnd trgnsforming into a bright stdr)
(ThesatirlcaLuse-of the-epie-conveatlon-in The Rape-ofThe Lock'enhances the-nock
Vepic etfeeh This great mock-epic is a poelic miro. CIhe poet makes the aristocretc
malds and fops see in it thelr deepest selves, ope inpresses upon us that it isin our
own interest to cultlvate inner beauty:

"Chaims strike the sight, but merif wins the soul."

rt In this great mock-epic, Pope rises above his cige. If we O doeP,! Rape of Tho
Lock', we can't help feeling that Pope ls amaster satirist.

THE RAPE OF THE LOCK' - A Dbck-cjé

epig abaNsHGmgooiGPOttells thestory of ahero whose heroic de2ds hev:

WEXSaASlsigniiorOO. rCtogTUTretiveproen. Since the therne of ihe gpic is very
:high, its style is alsoelevated. i.Ga
Saggd eCéeeTuall
OAAmock-epic is aparody of the epiç form. The mock-epic is apoetic form which uses
the eptc,structure oñ a minlatur scale. But it deals wilh a tivial subject. Its Dupose is
satirlcal. fa0thérgtbrogROReTfe i. Ihe Rupe T he Lock' is the well-known
n mock-epic. The cential incldent in. the poem is the rape of the lock ot hair cnd the
iquarrel between twofamilies. Hazlt has rightly remarked:
"Here the little has been made great,
the great litlle."
Following the convention of an eplc, "The Rape OfThe Lock' openswilth the stalement of
the theme and Invocation. The theme of Pope's mock-epic is the clipping cf the lock ot
hair from agirl's head. All the main features of the epic surround this trivial incident Ti
-greatethe dispanly between the trivialify of thoughts and the high seriousness c!
Piin language, the,greater is the comic affect. Supernalural machinery. is introduced in
epics. But insteadof qods and goddesses, Pope has introduced four types ot spirits -
Gnomes, Syiphs, Salamanders and Nymphs. The supernatural machinery makes 'Tha
Rope ot Tho LOck' a cornplete mock-epic.
peshto-eieuaioiaginattse-pONOtaAAGhastiiotae-GislwOKAlicaualasaaadGaalusi.
In this poem, sylphs & gnomos play an acllvO pIl. Ariel, Bolinda's guardican spirit, I:
Introduced in Conto I. Arlel warns Belindu in het oming cdeam thal a mistotune my
io belall her duing ihe duy. Ihe dreuming Buldu s loldhy Aliol tha: he chashty o
eathly, maidens is protectd by heir guarian sylphsAVkatsichaiuisesil
nionemYoahrttogrartirroylpretitto trerromgllakiQsNQdhasouaesii)

Contd...f. 1
 Pope has called tho poom hConie coic
poOmHlal horol¢ comlcal. AL s heHL
ot licippenlngs aro
lutHeHHk-eplg
hundled witth.he setiousnoss,.col ihe ßpic In thls {
theexcessive attenlion that
desGrbed as q deily, who,NNs herself Põp
women pay to thelr tollet. Belinda at hermakes tciloifun
is
'with all necesscory charns to
"Repalrs her smlles, awakens every conTuer men:
,
opa:
And calls forth, all the graçe,
pozuce! wonders_of her face."
(Bellnda's toilet is presented as the arming of GYeek heroes.! olc.to 'u l'ofea|7hy Locky at
:
aliaccsiaSIgcrtfA
tafiIhameRciAthe-nINynofECutifet utes1NretdrssctyourirygyoatlaAA
LIke Homer, Pope has usad simiHes in 'The
Rape Qf. The Lock'. he simile of a batle on a
use green-field is used to eevai Ggame of cards!
fhetvanity fivolity and foppey of the societ÷Ihe
tuBelinda. Areference js Aade o the twO grace[ul
Pope has used the epic styBe topresent
eyes-efeveryoe-are fixed en
:
are likely to be impisened in
herHeeksi nyi" locks-OfhaitIhe nnen-wholook atthei
7The Baron, Lord, Petre, is prepared to use
agod of love to' favour him with success. i force to rob Belinda's lock. lo prays lo the
BalAdadouka0lia cusacdihecaalastadakte

Ki!
AsiPoinflessnessintensiiesAriel'
atioegureýTghsttsengivaatha-spiilshai9spolo-aGoFrenotya
intervention of machinerAIs very'significant, but here it is
poiniless. lts
Belinda's heart.. Bymaking thepower'èxpites when he views a hIrnin lover
sylphs helpiess, Pope greatly inçreases the hidden in ie
mock-heroi
The Rape of The Lock' is the bestwnk
masterpiece of the mock-epics. In this poem, the poat
Jaughs at the opic matler wilh its
ATSto the underwoild. We id Belinda's machinery,, its balles, the jouney on wate1s Cind clown
lTonly. a fashionable uarönaitGnserssENctNba:es. fláshing eyes lik7e the But sthe is-uji
cards ongnbxpensive (Pope has shown a only a gGme
threatehing his inferiors with torture. But it is a syiph nol Jove,who supeinaturcl being Pma
eplc is along poem while The Rape Of Tho Lock' is slhorl. lhe stoiy utlers the thieals) he
years, btth¡t of he mock-epic covers only- hours. cot he et coveIs
hThe Rape of The Lock' contains the
outstanding mock-epic parodies´of Homer, Virgil, Spenser and ilton. An
an epic hero and Belinda's element in the poem is the
compaiison between the aming of
dressing and using çosmelics
prepares herself for the btle. She takes her trÍvial in order to kill nen. Belinda :
Pöpe's. desciption of mclancholy uid gloO In baillle seriOUsly liko n Cpi: huiW. J 4.
SUccesstul. The sexucal touch Is qulle obvious in the opening CCnlo V is very eltocive and
lines:
"And maids turned ballles, clarxns
Cry aloud lor corks."
The lament of Belincda over her lOSS of
1 lock is ai XUNplo of
conic pllhos. tinti a

design ot the poem,

 -{o-i

"No Cormmon weapons In 1heir hands are found

Llke gods Ihey fighl nor droad a modal woun.A:
15,
he fight belween aristocratic tops and fashionable maidens has becen dignified by the
iACCRuse'of Homeric simHes. Pope has used'Gllusions from classicc!. mythologyPopo He
seMei describes the batle of sexes in which Thalesiris scalter'death from her eyes. Belindaje*
fights with the Baron in a singie combat. She throws a pinch of snuíf into his noslnls.
Tears fiow from his eyes and he starts sneezing. Belircda attacks tlhe Baion with the
deadly:weapon te. bodkin. ISH&emands her lock, but it is lost. Pope says
maAEly ihat perhaps gods do nol want human bcings to keep sUCh a reasurg. )
Baron ctias: E1he oecliavatunausdy hatie JWinse nctaydis sctathe locoJ
Boast not my fall, insulting foe
R Thou by some pther shalt be lald as low."l-r kahas echpeen
The satirlcal use pf he epig convenllons In, TheRap Öf lhe Lock' enhances ie mock
eplc effect. This gtaat mock-èpleLhmpsnskes.ndaais0gDIER0i
maids gnd fops sedt-tomchoepoaer SlaisaslsjiErR9AKiNDEigdarituvcaroi
refers to posifivestandqrd_ through Clarissa's speech. Clarissa. observes that ii good
sense does not ISTEFV• what boauty. gains then all our glories ure vain. Pope
.impresses upon us that it is in our own interest to culfivate inner beuuly: /4 b i - : t
"Charmsstrike the sight, but merit wins the soul."
In this great mock-epic, Pope rises above his age,

SUCRNATURAL/ MYTHOLOGICAL, MACRANCRY

KN THE RAPE OF THL LOCK
Jheale
The termrnachinery' accoding to Pope, slgnifies the part played by the deities, angels
or. demons in apoem. It enables the poet to show his imaginalive power.ond satinse
the aristocratig,class of ihe,18n century. Pope has basecd his rnachines on a very new :
Iengegnd odd fQundation of the doctrine of Ihe spirils. The supernalurcal muchinery fos an
esseDiial pait of an epic. In, The Rape Of Zhe Lock', Pope has introcuced tho :cvei neu! f
DDmachinery of sylphs, gnomes, nymphs and salaimanderS. These spirils-ate bosicCly
good. But Pope has saliricaly qssociatedthespiriis with beauifut women.
fant,
Açcoiding to Aristotle, machinery is one of the most essemnlia! çomporenls of an epic.
The supernatural machinery makes 'The Rape Of lhe Lock' a complete mock-epic. In
this mock-epic, sylphs and gnomes play an active parl. Ariel, Belinda's guardian spitit.,
Is introduced in CantoI. l is Ariol who gives a waing to lelinda in her moning drean .
that amlsfortune may hetall her duing the day. Aicl tolts Beundu uboul the natu:o of
diflerent types ot spirits. Ile tells her that Ihe anilios ul uwunan don't cdie wth her
death. Ariel says that when beautilul women die, hey relun to lhe eiements which they
resemble most. Tho cpigilol violenl wornen become sulcmandciS L.e. fire spirils. The
spirits of gentle and submissive womon beconne nynpis i.e. viator spiils. Ihe spits ol
KTous solemn prudes become gnormes I.e. earih splitsJe spiils oí flirts bocone Sylphs l.e. *1
hö hröügh spiris lhai Pope suirises the vanily oand ficEloness of tho aristocralic women of ?1
ed the day. The cdreIningBelinda is fuilher iold by Aid hut ie chalily i etnly mcicens
is protected by their guIIIaN sylphs. Sone inoiclons, fulling 0cirlie inlence of lha
 Giom.cs, Bcpome so ainbilious that they start tefusing
AWhen oven suitcatblo olfors of marrige.
Lhabl a mgiden is about to become. weak, the uardian sylph shifls her heat from one
gallant to another. hus Aiiel speaks ol lho
who transfers her love from one lover to moving toy-shop of tho heart of g woman
anolhcr and then to dnother. Ariel ollers 3
aBelinda a salanic Substitute for Christianity. h,l:
anfayin
DHcUXope makes fun df the excessive attention that women pay to theit tciiei.
)e is presented as the arming of the Greek heroes. Belinda's toilet
Belindu's emergence .tron
.compared to the rising of the. Sun. The poet then describes her jouney over her house is.
ihames in ihe company of beautiful ladies and well-dressed young the. (iver vr!
eyes of everyone are fixed on Belinda, Areferenco is rnade to the 1wo gentlenen. The
hair. The menwho look at her are likely to be impiisoned in her locks. ) raceful locks of
he Baron, Lord Petre, is prepured to use force to rob Bclínd1's lock. Ho prays lo he
: god of love to favour blm wilth success. Bolinda is sniling ind 1G whole world looks (h0::
happy. A are in a meny morg) except AriG. who is invisibly uccompanying Belinda. çals
Ariel Is woied about ho upprogchlng misforlunc suminoDs,his tellow spirits and to":
reminds them that it is their duty to look after the of heautilul !adies.
wellaRe mel!)
Like Milton's angels, Pope's spirits too can't be klled. The Sylphs are winged creatures.
heir desciption
Transparentin The Rape
forms, too OffincThelorLock'Is
moital very
sight."colourlul:
A.l.1 I therloho, ranei
( Ariel ls the leader of thè Syiphs. He gives thesplits thei-tespoctiye churges, the charge
of Belinda's pelticoatis-give to 50 chosen sylphs. Thepunishment of ese who ncglect 3i.
their dufies is innpri_onmenl in the needle's eye or stoppgge of itie ligats by gurn'
:GThe interventicnofnaçhinery in the epics Ys vey signilicant, bui' here i is pointless. . iis
pointlessness infensillesIs mock-heroic quality. Atthometireut;waLIG-gdaatvetaoto (
Azkaspaoathausund3pisto-gmtoathgteet. Sanasiaem,aayAK
#n ihe igina
Ariel's power expites when he views a human lover hidden ine Roatn
philosophy, gnomes are basically good. Singethey live under Ihe ecaiÑ hear the DeiI,
X4) they are afraid to help man. Pape on ihe cbnliury ingkos |hen tnischievous by raure.rg:
In The Rape Of The Lock. gnomos gwsCPSwellirvy the pride ot artoqrii
p. Jhe black-winged Umbicl-A dusky, melancholy spirif' (oesto tie Cure of
WOmsmbi
Spleen
e l tequesi i
99edesspleen to spòi lhe hith o,Jqlingda. Umbriet is augi
given abag cònfaining sighs2scrodms, vioient anger and loud quaiteis. Umbriel
opens the bag direclly over the hiead o Beljnda and her lady-tiiepd. Thalestis. A! lhis.
Belinda starts burning wilh an Inhuman wBalh and Thaleslris adds tuel to the fury""heini;
ydescriptlon of the strange figures seen in the Cave of Spleen has an' obvious sexual
touch:
"Andidsturned bollles, Ory aloud for corks."
The lines desciibing the conehts of the baggiven by ihe goddess Spleen lo Umbriel cre
another example of Pope's sc1lirical quality. Tho poel hus closcly CIssociCatod the battle
of the SHxes wilh the supernalural machinery:
"Nocommon /eapons in their hands are found,
a LIke gocts they fight nor dread a motal wour." e
LiUmbriel perches on the top of a candle-slick lo v.noss Ihe figit.
1 Deinis criticizes Iho machinery of The Rape Of The Lock' qsit it weie the nuchinery of an epIC.
Derts observes: "Popc has nol gol is,iriuchines ttom Ihe icligion ot hs cOuntiy nt trom iotaaly.
Pope's machinCS coniadict sound inoicality." We must not totg:t thril hure wo have he
machinery of anock-Gpic. Like iie ollher epic convcnltions, Ihe supcnaiuiil aclhiiery in hg yl, t"
Rape Of The Lock' enhaßces the moçk"enjs ellcci byhiig ine Vigiky el ti:e rciden. If
We go eep into iho Rape Of The Lock, we can sufcly scIys llhcal lhe supenairul mochii.y has
made it a comiplete a:sislert n0ck-epic.
 g CHARACTER SKETCH OF BELINDA
Popehas brought us close toseveral aspects of Belinda's personality
nThe Rape Of Tho Lock'.Ccrtain cyitics regurd her as a goddess
whileo
others consicder her a prctty spoiled child. The third group of
Critics:is of the view that sheis only a flirt. Belinda is, ii fact, much
o O h eoft h r e c . We sce her as a flirt, an
Ied nnocent, a' sun and a murderer of millions. The
poet's, attitude towards her is mÍcking,a1nd yet
tender. c e
Belinda is the principal. targetof satire in "The Rape Or The Lock'.
She stands for the fashionable
aristocratio ladics of thc 18th centuy.
In;Belinda,.Pope
class ladies.
has, shown, all;the. vanitics and follies of the
uper
Pope. ridiculcs the. laziness, vanitics, follie s,
hollowness, hypoorisy, false senses of honour and high matrimoniali?
aspirations of. the,aristocratic"ladics, of the 18h century
Belinda. through

SBelinda,isaWoman "of: superbbeauty and charm The poet asserts

ironically that the' brightness of her eyes surpassc the
theisunShe goeS to brightncss of
bedlate atnight and kecps sleeping :
She islawakened ultimàtely by the licking tonguc of hcr till non.
pet dog,
Shock.When siie' opens hcr eyes, she goes through a chcap love
letter which makcs her forgct thc
thedream. Pope makes fun offthe, warning givcn to iier by Ariel in
excessive
njpaystoner oeN.,. She beginsher toilct attention
with a
that Belinda
Cosmctic powers.Lä1 is praycr to lhe
deCseribed
in
ieligious worship nd the ;arming l an cpic hero. (he inagry Ot
table is ironically presentcd as, an altar The dressing
make her whcre (hc
cos1metic powers
T.k appcarance
the help of powder, UnþeautifulShe improves herappearance witlh -f.
Bulinla's
her: misplaced scnsc of valucs. j .toilct, Pope shows in a connie war
objct, Belindatwarships her ownInstcail of woIshiping a higher
image in the mirror. Belinda
honherself and her maid adorn the goddess ic) thc imaye in the
with the offerings from all over the. nirror
wOrld. Pope shows very
ieífectively that he superlicial rei.emcnt in d:ss is
Tanl scarcely veiled brutality. Bclinda's love of a usk fur
the target of satire. We arc told scll decorhion becomes
battle to kill nen with her charms.tlhat she is geing readr tor the
Ilere tlhe seiric hint is quite

Belinda is exceedingly beautifu!. Her beauty ahd charm are

emphasized again and agún in tle M, seH eã ef
Cañto ll, she is regarded as the rival of the
a flirt, she smiles at beams of th sui. Beng
everyone. But slhe does not Show SpeciG! favour
to anyonc:
 ...

Bright as the gun, her,

And, like the sun, they eyes the gazeIS
On
strike,
shine on all alike."
eyesNithfeelthat
the Sun, a nda when he compares' her
eszes shine
on alike. Comes when we are told that her/
3ainsthe Belinda is,
admiration and:loveor men fact, a, sel[-loving girl.. She
in
Shnewins hearts' and then or satistying lhcr own
:throws:hcn1 away. Shc is alwaysvanity.
Personal-triumphsi
Belinda's
vityeao|i D.
aiter
heart is like a:
IOmone lover:to movingitoyshop...:; She transfers her: love
another'andthen: toanother, Belinda is carefree.
hePoet describes herjournÁy over.,the.rivr Thames in the
company of beautiful ladies and. well-dressed young
are,fixed on Belinda. ATeference gentlemen.
The
eyesof:everyone
beautiful locks of hair. Shetakes tlhe'gamne of is made to her
cards as a war in
whichepic:heroesare.involved.:The nyen who look at her are likely
Stobeimprisoned in her locksThe, way, she
notly her vanitybut:also: her rejoices-cver her victory
."

ShoYs superficiality of mind.g

Belinda: is impure in her thoughts |hè spirils°Tail to protet
her. Vclinda's Tcsentment-anttespai
urelcxanpleof_conic
pathos. Belinda. prèiers:pridc to love. Single-handed she wins the
war In her combat yith the Baron, Blind subiucs him.
iyi
Belinda is prcparCd: lo Sucrilice CVC1 chastily lur he sakU
maintaining aagood reputation. Pope wittily CxposS lhe c,3.
shallowness.and the hypocrisy; with which Bclinda tries to main1 ain
fine exteripr. Belind is hollow within.
In this poem, Belinda appears in different -lights.Though she is a
woman of superb beauty,, she does not fascinate us. She is a :
woman of pelty pleasture-Seeking.nature. By satirizing Belinda, Pope
has criticized vanity and allectations o aristocratic ladics bclonging
ito the 18th cenmtury.
 Bright as the gn, her, eys
the gazers
And, like the sun, they
shine on all strike,
alike."
aenaysfeel, that.Pope ispraising B¢linda `when ne Compares her
eyeswith he s u n . T h e a n t t f a n e
eYsashine onalike." Beliñda; Comes when we are told that herl
das, in" fact, a,.scl[-lovi1g girl.. She
tgainsithC admratiorn and: love*or men or slistyig lher own villily'.
Shwins, hcarts und
thenthrowshcn away. She is
personal·triumphs. victyeo always, alcr

naaS. heart.,is, like

amoying4tovshop..,: She transfers her: love
OmOne;lover:to anotherandthen:toanother, . Belinda is
hePg¢t describes heriourny :.over the..rivr Thamescarefree.
in the
-
COmpany.of beautiful ladiesandwell-dressed young gentlemen. The
everyone are fixed.on Belinda A Telerence is made to her
ifilocks
Whichepicheroesofhair:Shetakes
the gaue of cards aS a war in
areinylved:The nmcn who look at her are liikelY
mprisoned in her locks he, way.slhe rejaces-uver her victory
aos
Belinnotid aaly
a her vanity butalso her supeT icjality of mind.
s /mpure in her thoughts -hc spirits°Tail to prote:t
her. %linda's rcscHtnent-ad despair
pathos. Belinda: ptclersprideto:1love. Single-handed she wins the
var, In her combat gith the Baron, Bclind subducs him. baiyoso
Bclinda is preparcli to: sacrilicecveI1 chslily lor the sake ol
m¡intaining a good reputation. Pope wittily exposesS
shallouness.and the hypocrisy: with which Belinda trics to maintain
ine exteripr. Bclind is hollow within.:
n this poem Belinda appears:in different lights. Though she is a
Womian:of :supèrb beautyA, she. does not lascinate us. She is a
woman of pelty pleasur-seeking nature. By satirizing Bclinda, PoDe
kas criticized vanity and allcctations of aristocratic ladics belonging
Ato the:18th century.

ah

vÙASa il.