Alexander Pope’s Satire of 18th-Century Society
Pope, Satire, and the Scriblerus Club
This essay aims to analyse how Alexander Pope establishes a critique of society through his poem *The Rape of the Lock* (1712). Pope was a leading figure among the Augustan poets and also belonged to the Scriblerus Club. This was an informal association of male authors formed around 1714, centered on the fictional character Martinus Scriblerus, a satirical figure. Its members included:
- Jonathan Swift
- Alexander Pope
- John Gay
- John Arbuthnot
- Henry St. John
- Thomas Parnell
A common feature of their work was the use of satire as a critique, whether targeting society, social constructs, or institutions.
The Mock-Epic Form in *The Rape of the Lock*
In *The Rape of the Lock*, one of Pope’s most relevant and experimental poems, satire is employed extensively. He describes it as a mock-epic poem, a genre used to satirize trivial events by treating them with epic grandeur. The poem reflects the tendency of Pope and the Scriblerus Club to expose and attack corruption, pedantry, superficiality, and hypocrisy. In this poem, he employs a demystifying strategy, applying epic themes and tone satirically to mundane subjects. This is the essence of the mock-epic.
Mirroring Aristocratic Life
*The Rape of the Lock* reflects numerous customs of the 18th-century aristocracy. For this reason, some critics have considered it a mirror of English aristocratic society during that period.
The Triviality of Elite Pursuits
Firstly, the poem represents a time when the wealthy elite, including politicians and governors, indulged in trivial pursuits like card games, gossip, and social intrigue. The poem suggests a morally superficial society. For instance, the game of Ombre in Canto III represents these activities.
Ombre: Battleground of the Sexes
The extended description of the Ombre game mimics epic battle scenes, elevating a card game to the level of warfare for satirical effect. Its length and detailed description build tension and parody epic conventions. Furthermore, the game highlights the fashionable, and sometimes cutthroat, nature of card playing during Queen Anne’s reign.
Another critical element is the ‘war of the sexes’. This idea is represented in Canto III (lines 25-27, depending on edition, often paraphrased as Belinda confronting two gentlemen in the game). Here, Belinda confronts two gentlemen in the game of Ombre. By treating the card game as a monumental battle, Pope uses trivial events to ridicule the preoccupations and inflated self-importance of the upper classes.
Critique of Religious Attitudes
Pope also critiques the superficiality of religious observance. Consider these lines about Belinda’s cross:
On her white breast a sparkling cross she wore,
(Canto II, lines 7-8)
Which Jews might kiss, and infidels adore.
Religion is symbolized by the cross Belinda wears. However, Pope presents it more as a fashion accessory than an object of devotion. This treatment is satirical. Its placement on her breast, coupled with the line ‘Which Jews might kiss, and infidels adore’, suggests that onlookers’ attention is drawn to her beauty (an erotic focus) rather than the religious symbol. He thus juxtaposes the sacred and the profane, highlighting a potential trivialization of faith. Through this, Pope critiques the shallow approach to religious symbols and worship in early 18th-century society.
Conclusion: Pope’s Enduring Social Critique
In conclusion, Alexander Pope’s masterful use of satire in *The Rape of the Lock* to ridicule social and religious vanities is crucial for understanding contemporary discontent with the prevailing social system. Pope employed his renowned wit to craft a social critique, exposing negative aspects of aristocratic life, perhaps with the implicit hope of encouraging reflection or improvement. Furthermore, the poem exemplifies the Augustan era’s tendency towards satire as a tool to expose societal flaws, corruption, and hollow values—a strategy shared by Pope and his contemporaries in the Scriblerus Club.