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1. The Lock Belinda’s lock of hair comes to symbolize the absurdity of the importance afforded to female beauty in society. Pope offers a hyperbolically metaphorical description of the two locks in Canto II, humorously framing the locks as alluring enough to virtually incapacitate any man who looks at them. The locks are “labyrinths” in which Love “detains” “his slaves” by binding their hears with “slender chains,” thus poking fun at the idea that Belinda’s beauty is truly powerful enough to make such a deep impact. This absurdity only grows as the poem progresses and after the Baron has snipped of Belinda’s lock. Under the influence of Umbriel, Thalestris laments the loss of the lock as the symbolic loss of Belinda’s reputation in society, exclaiming, “Methinks already I your tears survey, / Already hear the horrid things they say.” In Pope’s day, the respectability of a woman in society depended upon her having a spotless reputation and being perfectly virtuous, and, in particular, sexually pure. Thalestris then is essentially saying that the loss of Belinda’s lock is a rupture which damages all of the rest of her beauty, and the Baron’s having taken it in so intimate a fashion compromises the idea that she is chaste, and that people will think she in some way allowed him to violate her body. Obviously, this makes very little sense, allowing Pope to satirize the idea that beauty and virtue are so closely related. The lock’s final ascension into the heavens is the most absurd part of the whole thing, and Pope’s choice to cap off the whole poem with the transparently silly idea that the lock is too precious to remain on earth, that no mortal deserves to be so “blest” as to possess it, emphasizes the ridiculous amount of emphasis placed on female beauty in society. 2. Playing Cards In the poem, the playing cards that Belinda, the Baron, and another gentleman use in their game of ombre symbolize the trivial nature of life at court. Pope describes the playing cards in the terms of an epic battle, where kings, queens, and nobles battle one another, accompanied by “particolour’d troops, a shining train, / Draw forth to combat on the velvet plain.” While epic heroes engaged in huge battles, where real kings, queens, and nobles’ lives would have been at stake, this trio of modern figures at court—Belinda, the Baron, and the other gentleman—only come as close to epic battle as a game of ombre, where the cards make for a silly substitute for the lives which might be lost in a real battle. By infusing the card game with mock-seriousness, Pope consequently suggests that life at court for Belinda and her peers is likewise empty, trivial, and mockable.