Exploring Alexander Pope’s Poetry: Windsor Forest and The Rape of the Lock
FROM ALEXANDER POPE, WINDSOR FOREST
These verses are part of the pastoral poem “Windsor Forest”, written by Alexander Pope during the Augustan literary period. Alexander Pope (1688-1744) was an 18th-century English poet, renowned for his satirical verse. Augustan literature flourished during the reigns of Queen Anne, King George I, and George II in the first half of the 18th century, concluding in the 1740s with Pope’s death.
Pope’s Moral Vision and Poetic Principles
Pope believed in the didactic and pleasurable purpose of poetry (docere et delectare). He emphasized decorum, valuing balance, elegance, harmony, good taste, and wit. His poetry, often categorized as Neo-Classical, reflects his admiration for classical works.
Celebrating Nature and Politics in “Windsor Forest”
“Windsor Forest” depicts nature enhanced by man under the patronage of George Granville, Pope’s protector and the First Lord Landsdowne. The poem celebrates Queen Anne’s reign and the Treaty of Utrecht, which ended the War of Spanish Succession. It references Norman Kings who neglected the forests for sport, contrasting them with a vision of nature benefiting the people. The poem draws inspiration from Virgil’s Eclogues, mythologizing England, London, and Windsor Forest. It expresses patriotism, suggesting Windsor’s superiority even to the riches of India or the gods of Olympus.
While primarily a pastoral poem, “Windsor Forest” also contains political elements, reflecting contemporary conflicts. Pope criticizes the execution of Charles I, blaming it for England’s troubles. The poem is written in heroic couplets.
Published as a whole, the poem was written in two parts. The first part, written in 1704, was completed in 1713, becoming a celebration of the Treaty of Utrecht and Queen Anne’s reign.
FROM ALEXANDER POPE, THE RAPE OF THE LOCK I
These verses belong to the satirical poem “The Rape of the Lock”, also written by Alexander Pope during the Augustan period.
Canto 1: A Mock-Epic Opening
Canto 1 begins with a mock-solemn tone, parodying the epic style. The ‘dire offence’ is Lord Peter’s cutting of Belinda’s lock of hair. Pope invokes his friend John Caryl as his ‘Muse’, humorously subverting the traditional invocation to the classical Muse.
Belinda’s World of Beauty and Sylphs
The narrative opens with Belinda awakening to the sun’s rays. Her guardian sylph, Ariel, appears in a dream, warning of an impending disaster. Ariel reveals the role of sylphs as protectors of fashionable young women like Belinda.
Upon waking, Belinda finds a love letter and forgets the dream. She begins her elaborate toilette, a satirical reflection of epic hero preparation. Assisted by her maid, Belinda engages in a ritual of beauty enhancement.
Canto 1 concludes with Belinda’s self-admiration as she prepares for a boat journey to Hampton Court.