'Alexander Pope’s “The Rape of the Lock” Essay\r'

'18th-century high society through blowup and parody. Basing his numbers on an actual fortuity that occurred among some of his acquaintances, Pope intended his bill to put the episode into humorous senti workforcet and encourage his friends to laugh at their feature actions.\r\nA mock grand is a poem dealing with petty issuance matter in the exalted genius of the immense literary epics. This genre is a pee of parody for satirical purposes. The poem handlings the trivial story of the stolen lock of tomentum cerebri as a vehicle for making judgments on society and on men and women in general. Characteristics of the ILLIAD and the ODYSSEY that the Rape of the Lock mocks intromit: the statement of the motive, invocation of the muse, description of the great battles, supernatural beings taking part in the affairs of men and the hero neat immortalized in a star or constellation (Long, â€Å"Pope” 1).\r\nIn the first step lines â€Å"What dire offense from amorous c auses springs, / What almighty contests rise from trivial things” (Canto I, lines 1-2), Pope states the report learning ability of the poem: that trivial matters should remain only if that- trivial. In the lines following the invocation of an tall(a) muse is clearly stated â€Å"I sing- This Verse to Caryll, Muse! Is due” (Canto 1, 3).\r\nThe finished poem is divided into five cantos and is pen in heroic bracing poetry. The use of the heroic couplet is typically classical because it exhibits the ideals of the time. In baseball club to write a heroic couplet the author mustiness have complete control over his words and the story he wants to tell. A strong sense of order is need so that the couplets may rhyme and near importantly make sense to the reviewer at the same time. The heroic couplet perfectly accents the epic devices used in the poem, for, as a form of verse the heroic couplet seems to have a connotation of larger-than-life-situations in the minds of its readers. By employ this style in describing such peanut matters in his poem, Pope only supports his theme that his society places great importance on minor matters.\r\nPope’s profused portrayal of events in Canto I furthers similitude with the literary epic; it parodies the traditional epic passage describing the shields of ancient warriors. Belinda’s take a shit routine is compared to the putting on of weapons: â€Å"From each she nicely culls with curious toil,/ And decks the goddess with the appear spoil” (Canto II, 131-132). Make-up, clothing, jewelry and other strong possessions are this parody’s substitutes for arms and weapons. Pope closely imitates the epic form for comic effect in order to expose the questionable ranges of his time. â€Å" employ a vast force to hook a feather” (Long,”Pope” n.p.), thoroughly describes Pope’s reasons for his use of elaborate language.\r\nHe uses the epic’s paro dy to mock misplaced priorities. The great battles of the literary epic are transformed into card games and flirtatious charades. The great Greek and Roman gods are converted into an army of safety-related but powerless sprites called â€Å"sylphs” who harbor both the serious and the trivial. For all of her encounter â€Å"This Lock, the Muse shall consecrate to Fame, / And mid’st the Stars come up Belinda’s name” (Canto V, lines 149-150). Belinda is immortalized in the riffle by a star object her name.\r\nâ€Å"Satire is a glass wherein beholders do generally discover every(prenominal)body’s brass instrument but their own” (Long, â€Å"Racine” 4). Pope uses every aspect of the mock epic to roast the frivolity of the people around him. He takes specific scenes and uses parody to illustrate the insignificance of unremarkable rituals. He even uses the structure of riming couplets to juxtapose the ordinary with the extraordin ary to relegate the society’s distorted value system.\r\n'