Neo-Classicism: The Rape of the Lock by Alexander Pope

Neo-Classicism

Neoclassical literature is writing from a period spanning roughly 150 years, covering 1660 - 1798. Relying on the classic styles of the ancient Greeks and Romans, its main characteristic is an emphasis on logic, common sense, properness and adequate performance in society. Largely a response to the previous chaos of the Renaissance, the writings of this time included a variety of genres, including novels, diaries, essays and satires. Grammar and word study became more formalized, with authors preferring simplicity. Although writing eventually transitioned to more Romantic concepts, the influence of Neoclassical thought is still evident today.

Experts divide Neoclassical literature into three major sections: Restoration, Augustan and Johnson. The first section spans approximately 1660 - 1700, while the second, referencing the original Augustan writers such as Horace, covers 1700 - 1750. The generally accepted years for the Johnson division are 1750 - 1798.

This period in literature, and other forms of art, was largely a response to the Renaissance. During this earlier time, people focused on invention and experimentation, using science to explain the world around them. This was a dramatic shift in thought, because the Roman Catholic Church long had been the primary source of information. The Neoclassicists generally didn’t want to abandon this study entirely, but they thought that the Renaissance methods were too chaotic, so they stressed a return to ancient Greek and Roman classicism. Much of this was because, after a period of considerable political instability and conflict, Europe — especially Great Britain — wanted to redefine itself, with many people rethinking what roles they had and whether they were playing them the right way.

With people generally looking more closely at the part they played in society, the main themes of the Neoclassical period were restraint and order. Each person was expected to do what was “proper” and to show that he or she had good taste, the idea being that, given the flawed nature of mankind, putting some limits on what someone said or did was better than trying and failing at the outrageous. It became very important to prove that someone had a decent level of intelligence. Writers often used their works not only to express rules about etiquette and decorum, but also to demonstrate brilliant skills of wit.

The emphasis on order, reason, etiquette and wit made certain styles of literature more popular than others. Diaries, essays, letters and first person narratives were extremely successful, because they concentrated at what a single person thought or accomplished, which was in line with the Neoclassical idea of analyzing and reforming a person’s social role. Moral fables were a favorite, as well, as were parodies and burlesques. Novels in various styles developed rapidly, becoming a main entertainment for women in the home. The rhymed couplet — specifically, the heroic couplet — dominated poetry, and in the theater, audiences flocked to sentimental comedies, comedies of manners and heroic dramas.

Journalism became well accepted and significantly shaped society during the period. Writers in this field frequently used their talents to promote “proper” goods, services and events. They also reported on weddings, because these were often primarily unions of convenience that were closely tied to the flow of money and the general economy.

SYNOPSIS

In the beginning of this mock-epic, Pope declares that a "dire offence" (Canto 1 line 1) has been committed. A lord has assaulted a "gentle belle"(line 8), causing her to reject him. He then proceeds to tell the story of this offence.

It begins with Belinda still asleep. Her "guardian Sylph"(line 20), named Ariel, warns her while she sleeps that "some dread event [impends], Ere to the main this morning sun descend; But Heaven reveals not what, or how, or where; Warned by the Sylph, oh pious maid beware!"(line 109-110). Belinda then awakes and proceeds to get ready for the day with the help of her maid, Betty. The Sylphs, though unseen, also contribute. "These set the head, and those divide the hair, some fold the sleeve, whilst others plait the gown"(line 146-147). Belinda appears so beautiful that as she journeys to Hampton Court (canto 3 line 1-10) "every eye was fixed on her alone"(Canto 2 line 6). Here Pope also describes Belinda's two locks of hair "which graceful hung behind"(line 20). The Baron, one of Belinda's suitors, greatly admires these locks and conspires to steal one. He builds an altar and on it places "all the trophies of his former loves"(line 40), sets them on fire, and fervently prays "soon to obtain, and long posses"(line 44) the lock.

Ariel, disturbed by the impending event, though he does not know what it will be, summons many sylphs to him and instructs them to guard Belinda from anything that may befall her, whether she "forget her prayers, or miss a masquerade, Or lost her heart, or necklace, at a ball"(line 108-109). These spirits hover over Belinda, anxious to protect her as she arrives at Hampton Court. Here she is invited to play a game of ombre, which game she wins.

The Baron still conspires to get her lock. He acquires a pair of scissors and tries to snip it off. The Sylphs sent to watch over her, intervene by blowing "back the hair" and twitching "the diamond in her ear"(canto 3 line 136-137), causing Belinda to look around, and stopping the Baron in his plans. This happens three times, but in the end the Baron manages to cut off the lock (also cutting a Sylph in two, but Pope reassures us that "airy substance soon unites again [line 152]). When Belinda discovers her lock is gone, she falls into a tantrum, with "living lightning" flashing in her eyes"(line 155). The Baron celebrates his victory.

A gnome name Umbriel journeys to the Cave of Spleen and from the Queen receives a bag of "sighs, sobs, and passions, and the war of tongues"(canto 4 line 84) and a vial filled "with fainting fears, soft sorrows, melting griefs, and flowing tears"(line 85-86) and brings them to Belinda. He finds her dejected in the arms of the woman Thalestris, and pours the bag and vial over them both. This causes all the emotions from the bag and vial to fill them.

Many people, moved by Belinda's grief over her lock, demand it back, but the Baron is unrepentant and refuses. Clarissa admonishes them to keep their good humor, but they don't listen and "called her prude"(canto 5 line 165), and instead a court battle ensues between the nobles. Their weapons are glares, songs, and wits. Belinda fights with the Baron and throws snuff up his nose to subdue him. She threatens to kill him with a bodkin (a sharp hairpin). She demands that he restore the lock, but they soon discover that it has been completely lost. They search everywhere for it, but cannot find it.

At the end, Pope tells us to "trust the Muse--for she saw it upward rise...A sudden star, it shot through liquid air, and drew behind a radiant trail of hair"(canto 5 line 252-257). Belinda's lock of hair became a star and "this lock the Muse shall consecrate to fame, and 'midst the stars inscribe Belinda's name"(line 280). Even when we are all dead and gone, Belinda's lock of hair shall live on forever.

ANALYSIS