Canto II
Not with more Glories, in th' Ethereal Plain, The Sun first rises o'er the purpled Main, Than issuing forth, the
Rival of his Beams Launch'd on the Bosom of the Silver Thames. Fair Nymphs, and well-drest Youths around her
shone, But ev'ry Eye was fix'd on her alone. On her white Breast a sparkling Cross she wore, Which Jews
might kiss, and Infidels adore. Her lively Looks a sprightly Mind disclose, Quick as her Eyes, and as unfix'd as those: Favours
to none, to all she Smiles extends, Oft she rejects, but never once offends. Bright as the Sun, her Eyes the Gazers
strike, And, like the Sun, they shine on all alike. Yet graceful Ease, and Sweetness void of Pride, Might hide her
Faults, if Belles had Faults to hide: If to her share some Female Errors fall, Look on her Face, and you'll forget
'em all.
This Nymph, to the Destruction of Mankind, Nourish'd two Locks which graceful hung behind In equal Curls, and well
conspir'd to deck With shining Ringlets the smooth Iv'ry Neck. Love in these Labyrinths his Slaves detains, And mighty
Hearts are held in slender Chains. With hairy sprindges we the Birds betray, Slight lines of Hair surprise the Finny Prey, Fair Tresses Man's Imperial Race insnare, And Beauty draws us with a single Hair.
Th' Advent'rous Baron the bright Locks admir'd, He saw, he wish'd, and to the Prize aspir'd: Resolv'd to win, he
meditates the way, By Force to ravish, or by Fraud betray; For when Success a Lover's Toil attends, Few ask, if Fraud
or Force attain'd his Ends.
For this, ere Phoebus rose, he had implor'd Propitious Heav'n, and ev'ry Power ador'd, But chiefly Love-to Love an Altar built, Of
twelve vast French Romances, neatly gilt. The Baron's Prayer There lay three Garters, half a Pair of Gloves, And all the Trophies of his former Loves. With tender Billet-doux
he lights the Pyre, And breathes three am'rous Sighs to raise the Fire. Then Prostrate falls, and begs with ardent Eyes Soon
to obtain, and long possess the Prize: The Pow'rs gave Ear, and granted half his Pray'r, The rest, the Winds dispers'd
in empty Air.
But now secure the painted Vessel glides, The Barge (Beardsley) The Sun-beams trembling on the floating Tydes, While Musick steals upon the Sky, And soften'd Sounds along the Waters
die. The Barge (Du Guernier) Smooth flow the Waves, the Zephyrs gently play, Belinda smil'd, and all the World was gay. All but the Sylph-With
careful Thoughts opprest, Th' impending Woe sat heavy on his Breast. He summons straight his Denizens of Air; The
lucid Squadrons round the Sails repair: Soft o'er the Shrouds Aerial Whispers breath, That seem'd but Zephyrs to the
Train beneath. Some to the Sun their Insect-Wings unfold, Waft on the Breeze, or sink in Clouds of Gold. Transparent
Forms, too fine for mortal Sight, Their fluid Bodies half dissolv'd in Light. Loose to the Wind their airy Garments
flew, Thin glitt'ring Textures of the filmy Dew; Dipt in the richest Tincture of the Skies, Where Light disports
in ever-mingling Dies, While ev'ry Beam new transient Colours flings, Colours that change whene'er they wave their Wings. Amid
the Circle, on the gilded mast, Superiour by the Head, was Ariel plac'd: His Purple Pinions op'ning to the Sun, He
rais'd his Azure Wand, and thus begun.
Ye Slyphs and Sylphids, to your Chief give ear, Fays, Fairies, Genii, Elves, and Daemons hear! Ye
know the Spheres and various Tasks assign'd By Laws Eternal to th' Aerial Kind. Some in the Fields of purest Aether
play, And bask and whiten in the Blaze of Day. Some guide the Course of wand'ring Orbs on high, Or roll the Planets
through the boundless Sky. Some less refin'd, beneath the Moon's pale Light Pursue the Stars that shoot athwart the
Night; Or suck the Mists in grosser Air below, Or dip their Pinions in the painted Bow, Or brew fierce Tempests on
the wintry Main, Or o'er the Glebe distil the kindly Rain. Others on Earth o'er human Race preside, Watch all their
Ways, and all their Actions guide: Of these the Chief the Care of Nations own, And guard with Arms Divine the British
Throne.
Our humbler Province is to tend the Fair, Not a less pleasing, tho' less glorious Care. To save the Powder from too
rude a Gale, Nor let th' imprison'd Essences exhale; To draw fresh Colours from the vernal Flow'rs, To steal from
Rainbows ere they drop in Show'rs A brighter Wash; to curl their waving Hairs, Assist their Blushes, and inspire their
Airs; Nay oft, in Dreams, Invention we bestow, To change a Flounce, or add a Furbelo!
This Day, black Omens threat the brightest Fair That e'er deserv'd a watchful Spirit's Care; Some dire Disaster,
or by Force, of Slight, But what, or where, the Fates have wrapt in Night. Whether the Nymph shall break Diana's law, Or some frail China jar receive a Flaw, Or stain her Honour, or her new Brocade, Forget her Pray'rs, or
miss a Masquerade, Or lose her Heart, or Necklace, at a Ball; Or whether Heav'n has doom'd that Shock must fall. Haste
then ye Spirits! to your Charge repair; The flutt'ring Fan be Zephyretta's Care; The Drops to thee, Brillante, we consign; And, Momentilla, let the watch be thine; Do thou, Crispissa, tend
her fav'rite Lock; Ariel himself shall be the guard of Shock
To Fifty chosen Sylphs, of special Note, We trust th' important Charge, the Petticoat: Oft have we
known that sev'nfold Fence to fail, Tho' stiff with Hoops, and arm'd with Ribs of Whale. Form a strong Line about the
Silver Bound, And guard the wide Circumference around.
Whatever Spirit, careless of his Charge, His Post neglects, or leaves the Fair at large, Shall feel sharp Vengeance
soon o'ertake his Sins, Be stop'd in Vials, or transfixt with Pins; Or plung'd in Lakes of bitter Washes
lie, Or wedg'd whole Ages in a Bodkin's Eye: Gums and Pomatums shall his Flight restrain, While clog'd he beats his silken Wings in vain; Or Alom-Stypticks
with contracting Pow'r Shrink his thin Essence like a rivell'd Flower. Or, as Ixion fix'd, the Wretch shall feel The
giddy Motion of the whirling Mill, Midst Fumes of burning Chocolate shall glow, And tremble at the Sea that froaths
below!
He spoke; the Spirits from the Sails descend; Some, Orb in Orb, around the Nymph extend, Some thrid the mazy Ringlets
of her Hair, Some hang upon the Pendants of her Ear; With beating Hearts the dire Event they wait, Anxious, and trembling
for the Birth of Fate.
Analysis
In this Canto Pope describes Belinda’s
beauty as something divine, something which Belinda herself insinuates when she creates a metaphorical altar to her own beauty.
This portrayal of Belinda’s beauty is somewhat ironic due to the fact that it is reflecting negatively on a system of
public values in which external characteristics rank higher than moral ones. However, Pope shows reverence to Belinda’s
beauty when he says that Belinda’s beauty can cause one to forget her “female errors”, if she has any.
Moreover, Pope suggest that the general human
readiness to worship beauty is a subtle yet certain sacrilege. The cross that Belinda wears serves a more ornamental than
religious function. It is this cross on her “white breasts” that
a “Jew” and an “infidel” would kiss, not because it symbolizes religion or anything spiritual it’s
just her breasts. However, the Baron, the most significant of those that worship Belinda offers sacrifices, as too grant him
favor by some unknown power to gain victory over Belinda. This act of Sacrifice is the most epic act of this mock epic. The
Baron offered his old love tokens as a sacrifice to win over Belinda. This sacrifice is similar to those done by the Greeks
and the Romans before a great important battle. Another allusion to the epic form is his prayers and sacrificed is only half
completed. Usually in epic stories that favor of one god meant the hatred of another, although he still steals one lock of
Belinda’s hair.
In the first canto the religious imagery surrounding
Belinda’s dress ritual gave way to a militaristic conceit. Her curls are compared to a trap to ensnare women’s
enemy, men. It is ironic that a woman is supposed to attract men and repel them
at the same time. In this canto Pope starts to reveal the sexual allegory of the poem. Pope already associates to the cutting
of Belle’s curl as rape and starts to add words such as ravish and betray to the poem.
Pope also goes on mocking and making satirical
comments, allusions and metaphors to mock and criticize his societies failure and moral diminishment. Pope gives a clearer
satire saying “On her white breasts a sparkling Cross she wore, which Jews might kiss, and Infidels adore.” This
comment portrays societies failure to place moral values higher than outer appearance. Pope also mocks at societies failure
to place trivial things under important matters. Pope conveys this mockery through the allusion of the Baron’s sacrifice
to that of epic acts of sacrifice to gods. Moreover Pope criticizes the prideful ness of society by portraying Belle as making
an altar to her own beauty. Furthermore, Pope continues to mock this society in hopes of bringing these two families together
by showing them the humor in their actions.
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