Pope
probably
knew nothing
more of them than what he had read in 'Le Comte de Gabalis'.
more of them than what he had read in 'Le Comte de Gabalis'.
Alexander Pope
And its
insistence upon man as he appeared in the conventional, urban society of
the day as the one true theme of poetry, its belief that the end of
poetry was to instruct and improve either by positive teaching or by
negative satire, still further limited its field. One must remember in
attempting an estimate of 'The Rape of the Lock' that it was composed
with an undoubting acceptance of this creed and within all these
narrowing limitations. And when this is borne in mind, it is hardly too
much to say that the poem attains the highest point possible. In its
treatment of the supernatural it is as original as a poem could be at
that day. The brilliancy of its picture of contemporary society could
not be heightened by a single stroke. Its satire is swift and keen, but
never ill natured. And the personality of Pope himself shines through
every line. Johnson advised authors who wished to attain a perfect style
to give their days and nights to a study of Addison. With equal justice
one might advise students who wish to catch the spirit of our so-called
Augustan age, and to realize at once the limitations and possibilities
of its poetry, to devote themselves to the study of 'The Rape of the
Lock'.
DEDICATION
'Mrs. Arabella':
the title of Mrs. was still given in Pope's time to unmarried ladies as
soon as they were old enough to enter society.
'the Rosicrucian doctrine':
the first mention of the Rosicrucians is in a book published in Germany
in 1614, inviting all scholars to join the ranks of a secret society
said to have been founded two centuries before by a certain Christian
Rosenkreuz who had mastered the hidden wisdom of the East. It seems
probable that this book was an elaborate hoax, but it was taken
seriously at the time, and the seventeenth century saw the formation of
numerous groups of "Brothers of the Rosy Cross. " They dabbled in
alchemy, spiritualism, and magic, and mingled modern science with
superstitions handed down from ancient times.
Pope probably knew nothing
more of them than what he had read in 'Le Comte de Gabalis'.
This was the work of a French abbe, de Montfaucon Villars (1635-1673),
who was well known in his day both as a preacher and a man of letters.
It is really a satire upon the fashionable mystical studies, but treats
in a tone of pretended seriousness of secret sciences, of elemental
spirits, and of their intercourse with men. It was translated into
English in 1680 and again in 1714.
CANTO I
Lines '1-2'
Pope opens his mock-epic with the usual epic formula, the statement of
the subject. Compare the first lines of the 'Iliad', the 'AEneid', and
'Paradise Lost'. In l. 7 he goes on to call upon the "goddess," i. e. the
muse, to relate the cause of the rape. This, too, is an epic formula.
Compare 'AEneid', I, 8, and 'Paradise Lost', I, 27-33.
'3 Caryl':
see Introduction, p. 83. In accordance with his wish his name was not
printed in the editions of the poem that came out in Pope's lifetime,
appearing there only as C----or C----l.
'4 Belinda':
a name used by Pope to denote Miss Fermor, the heroine of 'The Rape of
the Lock'.
insistence upon man as he appeared in the conventional, urban society of
the day as the one true theme of poetry, its belief that the end of
poetry was to instruct and improve either by positive teaching or by
negative satire, still further limited its field. One must remember in
attempting an estimate of 'The Rape of the Lock' that it was composed
with an undoubting acceptance of this creed and within all these
narrowing limitations. And when this is borne in mind, it is hardly too
much to say that the poem attains the highest point possible. In its
treatment of the supernatural it is as original as a poem could be at
that day. The brilliancy of its picture of contemporary society could
not be heightened by a single stroke. Its satire is swift and keen, but
never ill natured. And the personality of Pope himself shines through
every line. Johnson advised authors who wished to attain a perfect style
to give their days and nights to a study of Addison. With equal justice
one might advise students who wish to catch the spirit of our so-called
Augustan age, and to realize at once the limitations and possibilities
of its poetry, to devote themselves to the study of 'The Rape of the
Lock'.
DEDICATION
'Mrs. Arabella':
the title of Mrs. was still given in Pope's time to unmarried ladies as
soon as they were old enough to enter society.
'the Rosicrucian doctrine':
the first mention of the Rosicrucians is in a book published in Germany
in 1614, inviting all scholars to join the ranks of a secret society
said to have been founded two centuries before by a certain Christian
Rosenkreuz who had mastered the hidden wisdom of the East. It seems
probable that this book was an elaborate hoax, but it was taken
seriously at the time, and the seventeenth century saw the formation of
numerous groups of "Brothers of the Rosy Cross. " They dabbled in
alchemy, spiritualism, and magic, and mingled modern science with
superstitions handed down from ancient times.
Pope probably knew nothing
more of them than what he had read in 'Le Comte de Gabalis'.
This was the work of a French abbe, de Montfaucon Villars (1635-1673),
who was well known in his day both as a preacher and a man of letters.
It is really a satire upon the fashionable mystical studies, but treats
in a tone of pretended seriousness of secret sciences, of elemental
spirits, and of their intercourse with men. It was translated into
English in 1680 and again in 1714.
CANTO I
Lines '1-2'
Pope opens his mock-epic with the usual epic formula, the statement of
the subject. Compare the first lines of the 'Iliad', the 'AEneid', and
'Paradise Lost'. In l. 7 he goes on to call upon the "goddess," i. e. the
muse, to relate the cause of the rape. This, too, is an epic formula.
Compare 'AEneid', I, 8, and 'Paradise Lost', I, 27-33.
'3 Caryl':
see Introduction, p. 83. In accordance with his wish his name was not
printed in the editions of the poem that came out in Pope's lifetime,
appearing there only as C----or C----l.
'4 Belinda':
a name used by Pope to denote Miss Fermor, the heroine of 'The Rape of
the Lock'.
