In
considering our discussion of 'The Rape of the Lock' I wanted to focus on
something that Katie brought up in class. On Friday, she discussed the effect
of the lack of the suggested reform about high society values and the British
class system. I think that even beyond the lack of reform, it could be taken to
the larger context of what the effects of Pope's satire are. Obviously, first
and foremost satire is meant to critique humanity's follies or vices which Pope
has perfected to a tee with his critique of the triviality of the entire high
class of the poem with its mock-heroic form and focus on minute and
insignificant details. It is done in a humorous and light hearted fashion and
focuses on the trivial nature of this class while also pointing out the
constraints and limitations of existing within said class, harkening back to
Horatian satire. Secondly, although, as Katie noted, suggested reform is
not included in Pope’s mock heroic, it seems that through the exaggerated,
dramatic and over the top action of and reaction to the actual cutting of
Belinda’s lock, Pope is playing around with this. Rather than taking Swift’s or
Addison and Steele’s overt social, moral and religious commentary, Pope seems
to overtly be using primarily the stylistic, rather than thematic, techniques
of the work itself to emphasize the areas of improvement and reform within high
class society. First, the mock-heroic form clues the reader in on the overtly
satirical nature of the poem. In addition, the dichotomies of the Baron as a
scoundrel without consequences and Belinda as the virginal angel, Pope seems
critiquing the limitations and constraints of being born into a member of high
class where appearances are EVERYTHING. Men
who have wealth, status and money will face no real consequences, socially or
legally whereas women’s virtue and chastity is the one thing that makes a woman
worth anything to both her family and to potential suitors. By playing out stereotypical
roles for high society in 18th century Britain, Pope also dichotomizes
the constraints of the lower class, such as women who lose their chastity
automatically becoming whores despite their circumstance. Pope is able to simultaneously critique the
class system as a whole through the simple technique of binary opposition
rather than explicating a detailed proposal of what should be the proper
concerns, morals and division of the class system. Another third effect of Pope’s
satirical form and style is the hesitation between what is actually meant to be
taken as satirical and what is meant to be seen seriously. This hesitation
serves to not only make the reader question the very nature of societal
constructs both in 18th century Britain and today but also question appearances,
motive, status and gender roles. This hesitation provokes both the satirical play
on the society in which the characters inhabit, through the melodramatic action
of the poem itself, while simultaneously calling into question how much of the
poem was an actual reality for those of high society during this time period.
Overall, it seems that the absence of reform, through the character’s actions or
speech, rather than the presence, serves to strengthen Pope’s social, moral and
societal critique.
Really interesting. I think your suggestion that Pope was using stylistic rather tham thematic devices for reform is an accurate one.
ReplyDeleteI think this is, in some ways, more effective in that unlike Swift, who comes right out and says that this issue or that issue needs reform, through the stylistic critiques, Pope is able to better flesh out and point to the murky waters of political, social and moral reform of the 18th century while simultaneously pointing out the flawed logic of living with in a dichotomous system.
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