Rape of the Lock.pptx...................

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1. The Rape of the Lock b y Alexander Pope Stoica Andra Roberta Florea Carla Simona Iftime

2. Table of contents 01 Alexander Pope biography 03 Rape of the Lock: summary and analysis on each canto + symbols and themes 02 Character list 04 Background on The Rape of the Lock 05 Influence

3. Alexander Pope biography 01

4. Alexander Pope (1688-1744) Alexander Pope was born in London in 1688. As a Roman Catholic living during a time of Protestant consolidation in England, he was largely excluded from the university system, from political life, and suffered certain social and economic disadvantages because of his religion as well. He was self-taught to a great extent, and was an assiduous scholar from a very early age. He learned several languages on his own, and his early verses were often imitations of poets he admired. His obvious talent found encouragement from his father, a linen-draper, as well as from literary-minded friends. At the age of twelve, Pope contracted a form of tuberculosis that settled in his spine, leaving him stunted and misshapen and causing him great pain for much of his life. He never married, though he formed a number of lifelong friendships in London’s literary circles, most notably with Jonathan Swift. Pope wrote during what is often called the Augustan Age of English literature (indeed, it is Pope’s career that defines the age). During this time, the nation had recovered from the English Civil Wars and the Glorious Revolution, and the regained sense of political stability led to a resurgence of support for the arts. For this reason, many compared the period to the reign of Augustus in Rome, under whom both Virgil and Horace had found support for their work. The prevailing taste of the day was neoclassical, and 18th-century English writers tended to value poetry that was learned and allusive, setting less value on originality than the Romantics would in the next century. This literature also tended to be morally and often politically engaged, privileging satire as its dominant mode.

5. After the publication of ‘The Rape of the Lock’, Pope spent many years translating the works of Homer. During the ten years he devoted to this project, he produced very few new poems of his own but refined his taste in literature (and his moral, social, and political opinions) to an incredible degree. When he later recommenced to write original poetry, Pope struck a more serious tone than the one he gave to ‘The Rape of the Lock’. These later poems are more severe in their moral judgments and more acid in their satire: Pope’s Essay on Man is a philosophical poem on metaphysics, ethics, and human nature, while in the Dunciad, Pope writes a scathing exposé of the bad writers and pseudo-intellectuals of his day. Pope’s translations of Homer were successful enough to allow him to move to a comfortable villa in Twickenham in Middlesex, England, where he died at the age of 56 in 1744.

6. Background on the Rape of the Lock 02

7. The Rape of the Lock is a mock-heroic narrative poem written by Alexander Pope. One of the most commonly cited examples of high burlesque, it was first published anonymously in Lintot's Miscellaneous Poems and Translations (May 1712) in two cantos (334 lines); a revised edition "Written by Mr. Pope" followed in March 1714 as a five-canto version (794 lines) accompanied by six engravings. Pope boasted that this sold more than three thousand copies in its first four days. The final form of the poem appeared in 1717 with the addition of Clarissa's speech on good humour. The poem was much translated and contributed to the growing popularity of mock-heroic in Europe. The poem of The Rape of the Lock satirises a minor incident of life, by comparing it to the epic world of the gods, and is based on an event recounted to Alexander Pope by his friend John Caryll. Arabella Fermor and her suitor, Lord Petre, were each a member of aristocratic recusant Catholic families, at a time in England when, under such laws as the Test Act, all denominations except Anglicanism suffered legal restrictions and penalties. (For example, Petre, being a Catholic, could not take the place in the House of Lords that would otherwise have been rightfully his.) Petre had cut off a lock of Arabella's hair without permission, and the consequent argument had created a breach between the two families. The poem's title does not refer to the extreme of sexual rape, but to an earlier definition of the word derived from the Latin rapere (supine stem raptum), "to snatch, to grab, to carry off"—in this case, the theft and carrying away of a lock of hair. In terms of the sensibilities of the age, however, even this non-consensual personal invasion might be interpreted as bringing loss of reputation and dishonour.

8. Pope, also a Catholic, wrote the poem at the request of friends in an attempt to "comically merge the two" worlds, the heroic with the social. He utilised the character Belinda to represent Arabella and introduced an entire system of "sylphs", or guardian spirits of virgins, a parodised version of the gods and goddesses of conventional epic. Pope derived his sylphs from the 17th-century French Rosicrucian novel Comte de Gabalis. Pope, writing pseudonymously as Esdras Barnivelt, also published A Key to the Lock in 1714 as a humorous warning against taking the poem too seriously. Pope's poem uses the traditional high stature of classical epics to emphasise the triviality of the incident. The abduction of Helen of Troy becomes here the theft of a lock of hair; the gods become minute sylphs; the description of Achilles' shield becomes an excursus on one of Belinda's petticoats. He also uses the epic style of invocations, lamentations, exclamations and similes, and in some cases adds parody to imitation by following the framework of actual speeches in Homer's Iliad. Although the poem is humorous at times, Pope keeps a sense that beauty is fragile, and emphasizes that the loss of a lock of hair touches Belinda deeply. The humour of the poem comes from the storm in a teacup being couched within the elaborate, formal verbal structure of an epic poem. It is a satire on contemporary society which showcases the lifestyle led by some people of that age. Pope arguably satirises it from within rather than looking down judgmentally on the characters. Belinda's legitimate rage is thus alleviated and tempered by her good humour, as directed by the character Clarissa.

9. Rape of the Lock: summary and analysis on each canto + symbols and themes 03

10. Canto 1 summary The Rape of the Lock begins with a passage outlining the subject of the poem and invoking the aid of the muse. Then the sun (“Sol”) appears to initiate the leisurely morning routines of a wealthy household. Lapdogs shake themselves awake, bells begin to ring, and although it is already noon, Belinda still sleeps. She has been dreaming, and we learn that the dream has been sent by “her guardian Sylph,” Ariel. The dream is of a handsome youth who tells her that she is protected by “unnumber’d Spirits”—an army of supernatural beings who once lived on earth as human women. The youth explains that they are the invisible guardians of women’s chastity, although the credit is usually mistakenly given to “Honour” rather than to their divine stewardship. Of these Spirits, one particular group—the Sylphs, who dwell in the air—serve as Belinda’s personal guardians; they are devoted, lover-like, to any woman that “rejects mankind,” and they understand and reward the vanities of an elegant and frivolous lady like Belinda. Ariel, the chief of all Belinda’s puckish protectors, warns her in this dream that “some dread event” is going to befall her that day, though he can tell her nothing more specific than that she should “beware of Man!” Then Belinda awakes, to the licking tongue of her lapdog, Shock. Upon the delivery of a billet-doux, or love-letter, she forgets all about the dream. She then proceeds to her dressing table and goes through an elaborate ritual of dressing, in which her own image in the mirror is described as a “heavenly image,” a “goddess.” The Sylphs, unseen, assist their charge as she prepares herself for the day’s activities.

11. Canto 1 analysis The opening of the poem establishes its mock-heroic style. Pope introduces the conventional epic subjects of love and war and includes an invocation to the muse and a dedication to the man (the historical John Caryll) who commissioned the poem. Yet the tone already indicates that the high seriousness of these traditional topics has suffered a diminishment. The second line confirms in explicit terms what the first line already suggests: the “am’rous causes” the poem describes are not comparable to the grand love of Greek heroes but rather represent a trivialized version of that emotion. The “contests” Pope alludes to will prove to be “mighty” only in an ironic sense. They are card-games and flirtatious tussles, not the great battles of epic tradition. Belinda is not, like Helen of Troy, “the face that launched a thousand ships” , but rather a face that—although also beautiful—prompts a lot of foppish nonsense. The first two verse-paragraphs emphasize the comic inappropriateness of the epic style (and corresponding mind-set) to the subject at hand. Pope achieves this discrepancy at the level of the line and half-line; the reader is meant to dwell on the incompatibility between the two sides of his parallel formulations. Thus, in this world, it is “little men” who in “tasks so bold... engage”; and “soft bosoms” are the dwelling-place for “mighty rage.” In this startling juxtaposition of the petty and the grand, the former is real while the latter is ironic. In mock-epic, the high heroic style works not to dignify the subject but rather to expose and ridicule it. Therefore, the basic irony of the style supports the substance of the poem’s satire, which attacks the misguided values of a society that takes small matters for serious ones while failing to attend to issues of genuine importance.

12. With Belinda’s dream, Pope introduces the “machinery” of the poem—the supernatural powers that influence the action from behind the scenes. Here, the sprites that watch over Belinda are meant to mimic the gods of the Greek and Roman traditions, who are sometimes benevolent and sometimes malicious, but always intimately involved in earthly events. The scheme also makes use of other ancient hierarchies and systems of order. Ariel explains that women’s spirits, when they die, return “to their first Elements.” Each female personality type (these types correspond to the four humours) is converted into a particular kind of sprite. These gnomes, sylphs, salamanders, and nymphs, in turn, are associated with the four elements of earth, air, fire, and water. The airy sylphs are those who in their lifetimes were “light Coquettes”; they have a particular concern for Belinda because she is of this type, and this will be the aspect of feminine nature with which the poem is most concerned. Indeed, Pope already begins to sketch this character of the “coquette” in this initial canto. He draws the portrait indirectly, through characteristics of the Sylphs rather than of Belinda herself. Their priorities reveal that the central concerns of womanhood, at least for women of Belinda’s class, are social ones. Woman’s “joy in gilded Chariots” indicates an obsession with pomp and superficial splendor, while “love of Ombre,” a fashionable card game, suggests frivolity. The erotic charge of this social world in turn prompts another central concern: the protection of chastity. These are women who value above all the prospect marrying to advantage, and they have learned at an early age how to promote themselves and manipulate their suitors without compromising themselves.

13. The Sylphs become an allegory for the mannered conventions that govern female social behavior. Principles like honor and chastity have become no more than another part of conventional interaction. Pope makes it clear that these women are not conducting themselves on the basis of abstract moral principles, but are governed by an elaborate social mechanism—of which the Sylphs cut a fitting caricature. And while Pope’s technique of employing supernatural machinery allows him to critique this situation, it also helps to keep the satire light and to exonerate individual women from too severe a judgment. If Belinda has all the typical female foibles, Pope wants us to recognize that it is partly because she has been educated and trained to act in this way. The society as a whole is as much to blame as she is. Nor are men exempt from this judgment. The competition among the young lords for the attention of beautiful ladies is depicted as a battle of vanity, as “wigs with wigs, with sword-knots sword-knots strive.” Pope’s phrases here expose an absurd attention to exhibitions of pride and ostentation. He emphasizes the inanity of discriminating so closely between things and people that are essentially the same in all important (and even most unimportant) respects. Pope’s portrayal of Belinda at her dressing table introduces mock-heroic motifs that will run through the poem. The scene of her toilette is rendered first as a religious sacrament, in which Belinda herself is the priestess and her image in the looking glass is the Goddess she serves. This parody of the religious rites before a battle gives way, then, to another kind of mock-epic scene, that of the ritualized arming of the hero. Combs, pins, and cosmetics take the place of weapons as “awful Beauty puts on all its arms.”

14. Canto 2 summary After preparing, Belinda sets out to Hampton Court Palace accompanied by ''Nymphs'' and gentlemen. Among the group, she is the most beautiful person, her eyes are compared to the sun, and her graceful personality and actions are described as art. Belinda's glory is based on her golden locks referred to as a love's labyrinth. One of the gentlemen, the Baron, became obsessed with her locks and plans to steal them at the social event. For his wish to come true, he built an altar that morning and prayed to the gods for his success, but they made only half his wish come true. While everyone is carefree, Ariel worries about the misfortune that's about to happen. To prevent the bad fate, Ariel summons the Nymphs and gives a task to everyone. Zephyretta will look after her fan, Brillante will protect her earrings, Momentilla will look after her watch, and Crispissa will protect her lock. The other fifty sylphs will look after Belinda's petticoat. If one is not doing his job properly, a great punishment will come their way. Ariel assigns himself the duty to protect Belinda's lapdog, Shock.

15. Canto 2 analysis Pope compares Belinda's beauty to something divine, but the description is somewhat ironical because society values appearance and social interaction more than moral or intellectual ones. But the author also shows a portrayal where her charms are enough to make anyone forget about her faults. Her traveling by boat represents the parody of an epic hero. The mention of the cross necklace suggests Belinda's lack of religiousness, the cross only being just an ornament rather than a representation of her faith. On their way to Hampton Court Palace, Ariel expresses his worry about future events, mentioning that it could be something trivial like the loss of jewellery or something important like her heart or virginity. This makes the reader think about how much Ariel cares for Belinda's virtue. The author previously compared Ariel and Satan in ''Paradise Lost'' to imply that the sylphs are more devilish than angelic.

16. Canto 3 summary As soon as the boat reaches Hampton Court Palace, the group goes off to enjoy their courtly activities. After some time, Belinda decides to play a game called ombre with two of the gentlemen. With the help of the sylphs, Belinda takes the lead by using her strongest cards. The first one is called ''' Spadillo '', her next one is called the '' Manillo '' and it has the same impact as the first one, but the third card has less impact and only manages to take one trump card and a ''plebian'' card. Soon the game takes a turn for the worse when Baron catches her King with the help of his Queen. Close to being beaten, Belinda uses her King of Hearts against Baron's Ace and wins the battle. After the events, coffee is served to the ladies and the gentlemen. The smell of the coffee awakens Baron's desire to steal the lock. Clarissa gives him a pair of scissors like a lady giving aid to a knight. The sylphs try to warn Belinda of the danger, but Ariel gives up on protecting her after learning of her feelings for an ''earthly lover''. The Baron cuts her lock, and the space is filled by Belinda's terrifying scream.

17. Canto 3 analysis The author describes the Court Palace as a mix of serious business and leisure. He comically shows how the higher social class puts their greed over empathy or justice. They would rather give a death sentence just to eat sooner. Pope continues to treat the events at court with such seriousness that it creates a comic effect. Every epic poem shows a great battle between mortals and gods, but Pope's card game is a parodic imitation of the epic battle emphasizing the silliness of life at court. The struggle between the Baron and Belinda foreshadows the tension later on, as they struggle to dominate the other. The three attempts to cut Belinda's lock are a representation of heroic challenges, especially in the romance genre. The image of romance is more emphasized when Clarissa gives the Baron a pair of scissors. Belinda's resistance is shown by the author as a form of affection. Her screams are compared in an ironic way to Baron's feat.

18. Canto 4 summary Belinda’s “anxious cares” and “secret passions” after the loss of her lock are equal to the emotions of all who have ever known “rage, resentment and despair.” After the disappointed Sylphs withdraw, an earthy gnome called Umbriel flies down to the “Cave of Spleen.” In his descent he passes through Belinda’s bedroom, where she lies prostrate with discomfiture and the headache. She is attended by “two handmaidens,” Ill-Nature and Affectation. Umbriel passes safely through this melancholy chamber, holding a sprig of “spleenwort” before him as a charm. He addresses the “Goddess of Spleen,” and returns with a bag of “sighs, sobs, and passions” and a vial of sorrow, grief, and tears. He unleashes the first bag on Belinda, fueling her anger and despair.

19. There to commiserate with Belinda is her friend Thalestris. (In Greek mythology, Thalestris is the name of one of the Amazons, a race of warrior women who excluded men from their society.) Thalestris delivers a speech calculated to further foment Belinda’s indignation and urge her to avenge herself. She then goes to Sir Plume, “her beau,” to ask him to demand that the Baron return the hair. Sir Plume makes a weak and slang-filled speech, to which the Baron disdainfully refuses to accept. At this, Umbriel releases the contents of the remaining vial, throwing Belinda into a fit of sorrow and self-pity. With “beauteous grief” she grieves over her fate, regrets not having heeded the dream-warning, and regrets the lonely, pitiful state of her sole remaining curl.

20. Canto 4 analysis Belinda's initial reaction is heroic, but mocked: her 'Screams of Horror' are undermined by the implication that similar emotions may be expected in serious and minor situations equally, ‘When Husbands or when Lap-dogs breathe their last’ . And yet Canto IV turns this perspective around again by suggesting that Belinda’s reactions are also driven by forces beyond her conscious control. Umbriel, a Gnome, and ‘a dusky melancholy spright’, reflecting the poem's evil side, visits the 'Cave of Spleen' to gain Belinda's hysteria. The canto is a parody of underworld journeys in which heroes meet the death. However, this underworld looks to be internal, since Pope is exploring the dark psychology of physical -inspired sorrow. The 'Spleen' is an abdominal organ that was supposed to cause a variety of diseases during Pope's time, including migraine, sadness, and hysteria. Pope envisions a physical scene of bizarre psychological aberrations, again fusing the animate with the inanimate.

21. Despite the fact that 'Men prove with Child,' the 'pow'rful Fancy' that transforms humans into objects of surreal sexual suggestion is still mostly a feminine domain: Umbriel addresses himself to the 'wayward Queen' who governs 'the Sex' (women) 'to Fifty from Fifteen'. This turns Belinda’s response to the loss of the lock into something which is driven by irrational bodily impulse, with undisclosed sexual significance. Umbriel gets ‘Spleen’ to gather up ‘the Force of Female Lungs’,/Sighs, Sobs, and Passions, and the War of Tongues’ in ‘a wondrous Bag’; he also receives a ‘Vial’ filled with ‘fainting Fears,/Soft Sorrows, melting Griefs, and flowing Tears’ . Emotion becomes something like a chemical experiment, and Umbriel returns to tear the ‘swelling Bag’, allowing ‘all the Furies’ to issue ‘at the Vent’ , and breaks ‘the Vial whence the Sorrows flow’ . The result is a ‘raging’ tirade from Thalestris, Belinda’s Amazonian friend, against the triumphant male sex , and a weeping lament from Belinda . Emotions of this extent, the poem appears to suggest, cannot be authentic but must be artificially stimulated or produced by some element which would be better controlled.

22. Canto 5 summary The Baron remains impassive against all the ladies’ tears and reproaches. Clarissa delivers a speech in which she questions why a society that so adores beauty in women does not also place a value on “good sense” and “good humour.” Women are frequently called angels, she argues, but without reference to the moral qualities of these creatures. Especially since beauty is necessarily so short-lived, we must have something more substantial and permanent to fall back on. This sensible, moralizing speech falls on deaf ears, however, and Belinda, Thalestris and the rest ignore her and proceed to launch an all-out attack on the offending Baron. A chaotic tussle ensues, with the gnome Umbriel presiding in a posture of self- congratulation. The gentlemen are slain or revived according to the smiles and frowns of the fair ladies. Belinda and the Baron meet in combat and she emerges victorious by peppering him with snuff and drawing her bodkin. Having achieved a position of advantage, she again demands that he return the lock. But the ringlet has been lost in the chaos, and cannot be found. The poet avers that the lock has risen to the heavenly spheres to become a star; stargazers may admire it now for all eternity. In this way, the poet reasons, it will attract more envy than it ever could on earth.

23. Canto 5 analysis Clarissa’s speech, like Sarpedon’s, is a reminder of transience and mortality; but in the Iliad it is also an incitement to battle. Pope places the speech at the start of Canto V, as a possible response, though astute readers will remember that Clarissa is the one who gave the Baron the scissors in the first place. But Belinda takes nothing of the advice except the concealed reminder of the incitement to warfare, which is what then takes place: Pope does not in the end put the lid on her anger and subjugate it to an easily available moral norm. Not only does Belinda resist, but she fights with a certain success through the rest of the Canto: Jove’s scales reckon the Lock more weighty than the combined ‘Wits’ of the Men. This does not mean that the battle is not comic, but it does suggest that Belinda is not necessarily wrong to reject Clarissa’s advice. The gender war is mock-epic in full cry: Homeric passions and mythological conflicts are superimposed on the aggressive rattle of female costume. However, while the battle is taken seriously by the women as a struggle for power, it appears to be persistently regarded by the men as an especially titillating form of sexual game in which the ‘killing’ is all done by the conventions of lyric poetry

24. Belinda gains the right to have the lock (her reputation) restored, but what she actually receives is the poem itself . The lock is not to be found; not that it has gone to ‘the Lunar Sphere’ where the worthless junk which symbolises human love affairs fetches up . Belinda’s hair becomes comet-like (‘comet’ is from the Greek for ‘hair’, because of its hair-like tail); Pope is offering his own poem as the compensatory vehicle of a stellar transformation: Belinda loses the lock but wins the poem, Pope claims, in adopting a male perspective on her redeemed ‘fame’: For, after all the Murders of your Eye, When, after Millions slain, your self shall die … This Lock, the Muse shall consecrate to Fame, And mid’st the Stars inscribe Belinda’s Name!

25. Symbols The lock Belinda's lock symbolizes the importance of female beauty in society. The author uses hyperbole to describe the two locks in Canto II, ironically saying that they can make any man freeze when he sees them. When the Baron cuts Belinda's curl, she also loses her reputation in society. In Pope's time, a woman's respectability was based on her spotless reputation, purity, and virtue. The last part when the lock ascends to heaven is the most absurd part of the poem. Pope wanted to transmit humorously that the curl is too precious to be in a mortal's hand. Playing Cards In ''The Rape of the Lock'', Belinda, the Baron, and another gentleman are playing a game of ombre that symbolizes the unimportance of life at court. The author describes the game as an epic battle where queens, kings, and nobles battle against each other. While in an epic poem, the figures take part in a real battle where their lives are at stake, the three characters could simply imitate that struggle through a game of cards. The author shows how Belinda and the others' lives at court are empty, trivial, and laughable.

26. The Bodkin Near the end of the final battle, Belinda draws a bodkin against the Baron. The bodkin was first worn by Belinda's mother, and it represents the swords or spears used by the protagonists in epic poems.

27. Themes Beauty The poem revolves around the story of a lovely woman, Belinda, who lost her stunning hair to a nobleman known as Baron. As the poem progresses it becomes more and more silly, and the character collapse into a fight over the lock. Acocording to Pope, self- obssesion is a complete waste of time and completely illogical. The poem`s conclusion seems to indicate that true beauty would have some value, but when it is used in poetry, it achieved a kind of literary immortality. Religion and morality The Rape of the Lock highlights religious and moral themes as well.Pope was raised in a Catholic family. Humorous evaluation of Protestantism are present throughout the poem. Owning land or living in London was made difficult for Catholic families by Protestants. The Pope mocks the hypocritical religious rhetoric of that era and suggests that Christianity is not the best perspective. Understanding the mysteries of human behavior and self-obsession cannot be achieved using it. The Pope's ideology states that the entire Christian religion, whether Catholic or Protestant, is guided by human actions.

28. Immorality and carefree nature of upper class The society portrayed by Pope involves the upper class pursuing their own goals through trivial and vain pursuits. His depiction was that upper-class individuals only focus on themselves and their obsessions. The society in this poem is one that cannot tell the difference between important and insignificant things. Their personal life, luxuries, and vanity are the things that matter to them. A life that is beyond the ordinary and common. He makes fun of their foolish actions and self-absorbed attentions. He has hidden the fact that this society leads to immorality and distraction between humans. Unfortunately, all members of the upper class end up empty-handed at the end. Satire on materialistic relationship In actuality, the Rape of the Lock is the Rape Of Honour , a social satire in which honor was not considered valuable by those ladies. It looks like the poet was living in the 21st century. Nowadays, it is common for individuals to live in living relationships without getting married. This wasn't the case for everyone many years ago. The poet has revealed this in his poem, if we deeply study it with symbolic meaning. The poet is focused on every relationship. People are not fond of the friendship of those who are not as good as they are. When Belinda’s lack was cut, her friends left her alone, the incident is a social satire on the emptiness in relationships between the people of that era.

29. Character list 04

30. Belinda Belinda is based on the historical Arabella Fermor, a member of Pope’s circle of prominent Roman Catholics. Robert, Lord Petre (the Baron in the poem) had precipitated a rift between their two families by snipping off a lock of her hair. The Baron This is the pseudonym for the historical Robert, Lord Petre, the young gentleman in Pope’s social circle who offended Arabella Fermor and her family by cutting off a lock of her hair. In the poem’s version of events, Arabella is known as Belinda. Caryl The historical basis for the Caryl character is John Caryll, a friend of Pope and of the two families that had become estranged over the incident the poem relates. It was Caryll who suggested that Pope encourage a reconciliation by writing a humorous poem. Goddess The muse who, according to classical convention, inspires poets to write their verses.

31. Shock Belinda’s lapdog. Ariel Belinda’s guardian sylph, who oversees an army of invisible protective gods. Umbriel The chief gnome, who travels to the Cave of Spleen and returns with bundles of sighs and tears to aggravate Belinda’s vexation. Brillante The sylph who is assigned to guard Belinda’s earrings Momentilla The sylph who is assigned to guard Belinda’s watch Crispissa The sylph who is assigned to guard Belinda’s “fav’rite Lock”

32. Clarissa A woman in attendance at the Hampton Court party. She lends the Baron the pair of scissors with which he cuts Belinda’s hair, and later delivers a moralizing lecture. Thalestris Belinda’s friend, named for the Queen of the Amazons and representing the historical Gertrude Morley, a friend of Pope’s and the wife of Sir George Browne (rendered as her “beau,” Sir Plume, in the poem).

33. Influence 05

34. Pope's fanciful conclusion to his work, translating the stolen lock into the sky, where "'midst the stars [it] inscribes Belinda's name", alludes to the similar myth about the hair of the (real-world) Berenice II of Egypt, said to have been taken up to the heavens as the constellation Coma Berenices. This celestial conclusion contributed to the eventual naming of three of the moons of Uranus after characters from The Rape of the Lock: Umbriel, Ariel, and Belinda. The first two are major bodies, named in 1852 by John Herschel, a year after their discovery. The inner satellite Belinda was discovered in 1986, and is the only other of the planet's twenty-seven moons taken from Pope's poem rather than Shakespeare's works. Modern adaptations of The Rape of the Lock include Deborah Mason's opera-ballet, on which the composer worked since 2002. Its premiere was as an opera-oratorio in June 2016, performed by the Spectrum Symphony of New York city and the New York Baroque Dance Company. There was a 2006 performance at Sheffield University's Drama Studio of a musical work based on Pope's poem composed by Jenny Jackson.

35. Thank you for the attention!

36. Bibliography https://en.wikipedia.org/wiki/The_Rape_of_the_Lock https://www.sparknotes.com/poetry/rapeofthelock/