Pope, of course, is laughing at the easy-going lovers of his day who in
spite of their troubles sleep very comfortably till noon.
spite of their troubles sleep very comfortably till noon.
Alexander Pope
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'.
'12'
This line is almost a translation of a line in the 'AEneid' (I, 11),
where Virgil asks if it be possible that such fierce passions (as
Juno's) should exist in the minds of gods.
'13 Sol':
a good instance of the fondness which Pope shared with most poets of his
time for giving classical names to objects of nature. This trick was
supposed to adorn and elevate poetic diction. Try to find other
instances of this in 'The Rape of the Lock'.
Why is the sun's ray called "tim'rous"?
'16'
It was an old convention that lovers were so troubled by their passion
that they could not sleep. In the 'Prologue to the Canterbury Tales'
(ll. 97-98), Chaucer says of the young squire:
So hote he lovede, that by nightertale
He sleep namore than dooth a nightingale.
Pope, of course, is laughing at the easy-going lovers of his day who in
spite of their troubles sleep very comfortably till noon.
'17'
The lady on awaking rang a little hand-bell that stood on a table by her
bed to call her maid. Then as the maid did not appear at once she tapped
impatiently on the floor with the heel of her slipper. The watch in the
next line was a repeater.
'19'
All the rest of this canto was added in the second edition of the poem.
See pp. 84-86. Pope did not notice that he describes Belinda as waking
in I. 14 and still asleep and dreaming in ll. 19-116.
'20 guardian Sylph':
compare ll. 67-78.
'23 a Birth-night Beau':
a fine gentleman in his best clothes, such as he would wear at a ball on
the occasion of a royal birthday.
'30'
The nurse would have told Belinda the old tales of fairies who danced by
moonlight on rings in the greensward, and dropped silver coins into the
shoes of tidy little maids. The priest, on the other hand, would have
repeated to her the legend of St. Cecilia and her guardian angel who
once appeared in bodily form to her husband holding two rose garlands
gathered in Paradise, or of St.
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'.
'12'
This line is almost a translation of a line in the 'AEneid' (I, 11),
where Virgil asks if it be possible that such fierce passions (as
Juno's) should exist in the minds of gods.
'13 Sol':
a good instance of the fondness which Pope shared with most poets of his
time for giving classical names to objects of nature. This trick was
supposed to adorn and elevate poetic diction. Try to find other
instances of this in 'The Rape of the Lock'.
Why is the sun's ray called "tim'rous"?
'16'
It was an old convention that lovers were so troubled by their passion
that they could not sleep. In the 'Prologue to the Canterbury Tales'
(ll. 97-98), Chaucer says of the young squire:
So hote he lovede, that by nightertale
He sleep namore than dooth a nightingale.
Pope, of course, is laughing at the easy-going lovers of his day who in
spite of their troubles sleep very comfortably till noon.
'17'
The lady on awaking rang a little hand-bell that stood on a table by her
bed to call her maid. Then as the maid did not appear at once she tapped
impatiently on the floor with the heel of her slipper. The watch in the
next line was a repeater.
'19'
All the rest of this canto was added in the second edition of the poem.
See pp. 84-86. Pope did not notice that he describes Belinda as waking
in I. 14 and still asleep and dreaming in ll. 19-116.
'20 guardian Sylph':
compare ll. 67-78.
'23 a Birth-night Beau':
a fine gentleman in his best clothes, such as he would wear at a ball on
the occasion of a royal birthday.
'30'
The nurse would have told Belinda the old tales of fairies who danced by
moonlight on rings in the greensward, and dropped silver coins into the
shoes of tidy little maids. The priest, on the other hand, would have
repeated to her the legend of St. Cecilia and her guardian angel who
once appeared in bodily form to her husband holding two rose garlands
gathered in Paradise, or of St.
