How Do You Make A Title Page In Chicago Style The Rape of the Lock – Does Pope Portray Belinda as a Goddess?

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The Rape of the Lock – Does Pope Portray Belinda as a Goddess?

The Rape of Lock portrays the fashionable world of eighteenth-century London, and its title page describes it as a heroic-comical poem. Pope says that “the use of pompous language for a low work is the best form of mock-epic.” The mock-heroic is singularly good in exposing the falsehood of fashionable life without betraying rancour.

Lord Petre had, in a splendid show, cut off a lock of the hair of the beauty of life, Miss Arabella Fermor, to his great indignation. Out of this trivial event, Pope makes an epic with Invocation, supernatural machinery, battles, and other epic paraphernalia. The Invocation is an epic address to the Muse

That said, what a strange motive, God! Will be forced

A well-bred lord to kill a gentle belle.

What was only a conflicting relationship received the warnings of a classical epic. A little ironic is that while the world of epic poetry is mostly male, the world of mock-epic Crime is female. The setting is the typical London society of the Augustan Age. The heroine, who is a type rather than a representation of Miss Fermor herself, is Belinda.

His day begins at noon, giving the poem its basic structure – his dreams before waking up, his bathroom, his boat ride from the Thames to Hampton Court, his card games, anger much of his locks, his hysterics, and the end. fight to recover the lock.

Belinda kept comparing it to the sun. This shows her brilliance and beauty as the center and focal point of her little world. He also shows the diversity of his part, because, like the sun, his eyes “shine in all situations”. It means that he is shallow and flirtatious, or that he distributes his size impartially like a great prince.

The elevation of Belinda into something more than the dead is also seen when she is in her bathroom, which seems to parody a religious ritual. The dressing table is a kind of altar where the pottery is set out like sacred vessels. At first, Belinda the nymph like a priest, robed in white to worship the “cosmetic powers” when he bends to his many products of make-up. Then it is his own “heavenly image” in the mirror that becomes the goddess, the object of his idolatry. Finally, Belinda herself is unabashedly called “the goddess”, arming for battle.

There is a comic element in the advancement of the decorative process into religious rituals, and the absurdity of things on the dressing table.

“Puffs, powder, patches, Bibles, billet-doux”.

In Belinda’s scale of importance, things (like the Bible) are equally important. Clearly there is social criticism here, but there is also admiration and, indeed, admiration for Belinda.

Belinda is, in some sense, the goddess, the personification of Beauty. And, following this thought, his locked door entered immortality by turning into a bright star in the sky. However, in many places she is less than a goddess, as long as she is restricted to humans. Therefore, he did not agree and showed the ravishment of his lock, and still could not get his lock back even after he won in the battle. Moreover, he was subject to old age and death like mortals, although he was promised immortality by the Pope. Belinda’s status, as to whether she has been taken as a goddess or not, is not clear, and the question admits of no categorical answer.

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