The Trivial Epic: Mocking Aristocracy in 'Rape of the Lock Canto 1'

The first edition of Alexander Pope's mock-epic poem Rape of Lock appeared in 1712. Just the first two cantos of the poem's five cantos were published in 1712; the remaining sections were reworked and released in 1714. Pope mocks the wealthy upper class in this poem for striving to emulate the 18th-century aristocracy. Two significant aristocratic families are at the centre of the poem. From these two families, Lord Petre and Arabella Fermor are lovers. Lord Petre decides to cut off a lock of Arabella's hair one day. While this initiative does not pose an issue, Arabella Fermor causes a scene, and the event escalates. Families become engaged in the situation, and the argument grows in intensity. John Caryll, a friend of the family and Pope, visits the Pope and asks him to take advantage of the circumstance and compose something to defuse the issue. Pope writes a poem with two cantos. The situation does settle down, but the event's protagonists are not pleased that the matter is always on the agenda when three more cantos are added to this poem, which is republished.

In this poem, Pope, who has long been fascinated by epic poets, explores the ideas of epic poetry while mocking the events and underlining how trivial they genuinely are. This is known as mock epic poetry. Epic poetry follows a specific format. Initially, a call is made to the Muse, then the main character acts after various explanations are made, and finally, preparations for battle are begun. The opening formality of Rape of Lock is mocking. Pope introduces the topic and the person who recommended composing the poem, much like epic poetry. The first two lines have a high, aristocratic tone that is exaggerated. In epic poetry, this is quite common. While asking for inspiration, the speaker of epic poetry may invoke spirits, gods, or goddesses. Here, Pope dedicates the poem to his friend, who requested it, and the main character, Belinda (Arabella). Ironically, neither is elevated in contrast to the Muses of epic poetry.

As in epic poetry, Pope sets the scene for the upcoming event. Pope challenges all of these happenings as the mockery tone increasingly rises. As was already established, Pope is very interested in epic poets, and in Rape of Lock, he uses language from the Odyssey, Paradise Lost, and the Iliad. However, in those epic poems, the war between the Greeks and the Trojans and the fall of Adam and Eve are described. On the other hand, the poem deals with an event as small as the loss of a lock of hair by a girl in a noble society family in a mocking tone. As a satirical technique, Pope makes the reader question what is essential and what is not by using significant, influential, and unimportant words. This is exemplified in the second line with 'might contests' and 'trivial things', in the eleventh line with 'tasks so bold' and 'little men', and in the twelfth line with 'soft bosoms' and 'mighty rage'.

Readers are introduced to Belinda as the sun sneaks into the room. Belinda sleeps until the middle of the day, never gets out of bed, and even falls asleep again. Belinda has no job and no place to be. Here, Pope talks about how aristocrats do not have to work, so they stay awake all night like sleepless lovers and sleep until noon the next day. The 'Sól' used to refer to the sun seeping into the room is the Norse sun goddess. Belinda is likened to the sun goddess, and it is even said that she is even more beautiful than the sun goddess, saying that Belinda's closed eyes make the day dark. These lines also reveal Belinda's 'Guardian Sylph', a spirit that she later says is called Ariel. Sylph, in Celtic mythology, is a spirit representing air and wind. In the 18th century, mainly Roman and Greek mythology were good subjects to study, but Celtic mythology was not a subject that attracted interest and was sufficient to learn. 

The young man in Belinda's dream begins to tell her something. What happens here is similar to the visitations in epic poetry that warn the protagonist of bad events, such as the scene in the Aeneid where Aeneas is warned in a dream not to go to Crete. Pope then mentions other spirits: 'Salamanders' fire spirits, 'Nymphs' water nymphs, 'Gnome' dwarves or earth creatures, and finally, air spirits known as 'Sylphs'. Pope, therefore, makes fun of all this exaggerated lofty language that continues to increase, using these characters, fairies, and creatures. The Sylphs are said to be the best of these spirits because they protect women from having their names dishonoured. In the 18th century, women could not go out without their fathers or husbands and could not meet a man alone because it would bring dishonour to their name. In this poem, air spirits known as Sylphs protect them from such events. 

Ariel, revealing her identity, warns Belinda that something terrible is about to happen and that she should beware of a man. Such warnings are frequently made in epics. In the Aeneid, before the sack of Troy, the ghost of Hector appears and tells Aeneas to flee. As we can see in a poem like the Iliad, the gods protect the main heroes. Here, Belinda is protected by female spirits who were formerly human and love simple things, just like Belinda. Compared to other poems, what happens to Belinda is so humorous that Pope mocks it in exaggerated language. 

However, when Belinda is awakened by her dog, she forgets her dream and all the warnings. She stands in front of the mirror, and with the help of her maid, she puts on her make-up and jewellery and prepares for the battle, that is, for the card game. Everyone knows how heroes in epic poems prepare for battle. Armour is put on, helmets are put on, and weapons are ready. In Belinda's battle, these are her jewellery, dress and make-up. Pope criticises that nobody except aristocrats has free time. However, people of high rank, like Belinda, play a card game they take exaggeratedly seriously because they have nothing to do.

In conclusion, Alexander Pope's "Rape of the Lock" stands as a brilliant example of mock-epic poetry, where he skillfully juxtaposes the grandeur of traditional epic themes with the triviality of 18th-century aristocratic society. Through the lens of this mock epic, Pope satirises the upper class's obsession with insignificant matters, highlighting the stark contrast between their exaggerated concerns and the heroic themes of classical epics. By weaving elements from renowned works such as the Odyssey, Paradise Lost, and the Iliad, Pope cleverly magnifies the disparity between the epic tradition and the petty events surrounding the loss of a lock of hair.