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Alexander Pope, in his work "The Rape of the Lock," adeptly employs the mock epic genre to satirize the trivialities of his society.
Through the clever use of exaggeration, parody, and juxtaposition in rhyming couplets, Pope brings to light the absurdities prevalent in the social milieu of his time.
The epic form, with its characteristic grandiosity, serves as a powerful tool for Pope to magnify the mundane and expose the inherent folly of his society. In the mock combat scene during a card game, Pope transforms a simple activity into a grandiose "combat on [a] velvet plain." The game of Ombre, which would typically be a leisurely pursuit, is elevated to the status of a full-scale military engagement. Hands in the card game cease to be mere hands; they metamorphose into armies, with face cards embodying kings, queens, and knaves in elaborate detail.
The exaggeration extends to the minutiae of the game, where face cards are not just representations but are endowed with majestic qualities – kings with "hoary whiskers and a forky beard," queens whose hands "sustain a flower," and knaves clad in "garb succinct, a trusty band, caps on their heads and halberds in their hand." Through this hyperbolic portrayal, Pope underscores the triviality of the aristocratic pursuits that consume his society.
Parody is a prominent feature in Pope's satire, especially as he appropriates epic conventions to critique the questionable values of his era.
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The epic feast, a staple in traditional epics like Beowulf, finds its counterpart in a coffee-drinking scene within this mock epic.
Pope mockingly describes the coffee service, highlighting the exaggerated importance attached to China and utensils. Instead of conventional vessels, the cups and spoons are symbolically crowned, and coffee is portrayed as a mystical elixir that grants political acumen, with the ability to make politicians wise and discerning.
The coffee, referred to as "fuming liquor," becomes a catalyst for irresponsible actions, such as the Baron's scheme to cut off a lock of Belinda's hair. Pope's parody serves as a critique, exposing the misplaced significance attached to seemingly trivial aspects of society, reflecting the values of his time.
Through the use of juxtaposition in rhyming couplets, Pope seamlessly blends the ordinary with the extraordinary, emphasizing the incongruities inherent in the societal values of his time. In Canto III, Hampton Court, the residence of the Queen, is depicted as a place where matters of state are discussed alongside trivialities like tea consumption. The juxtaposition of weighty political discussions with the seemingly frivolous act of taking tea sets the tone for the ensuing events in the court.
Pope encapsulates the distorted value system of his society by presenting scenes where individuals speak of the "glory of British Queen" in the same breath as describing a "charming Indian screen." The juxtaposition of these disparate elements underscores the triviality and superficiality of the society depicted in "The Rape of the Lock."
In conclusion, Alexander Pope employs the mock epic genre in "The Rape of the Lock" as a potent vehicle for social satire. Through the strategic use of exaggeration, parody, and juxtaposition in rhyming couplets, Pope sheds light on the follies and frivolities that characterize his society. The exaggerated epic form exposes the insignificance of aristocratic pursuits, while
Alexander Pope's Mock Epic Satire in "The Rape of the Lock". (2017, Jan 19). Retrieved from https://studymoose.com/rape-of-the-lock-satirical-devices-essay
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