Wordsworth states this his Preface that he ‘[chose] incidents and situations from common life and to relate or describe them, in a selection of language really used by men’ underlining his purpose of creating a poetry that reflects verity, and the beauty in the complexity of nature.Furthermore, ideas of Augustan conformity versus a Romanticist’s individualistic viewpoint is shown through Pope’s ‘An Essay on A Criticism’ and in Wordsworth’s preface. Instead, techniques such as zeugma and chiasmus allow his various messages to coexist. Web.
By utilizing juxtaposition and metamorphosis, he seems to critique an age in which men and women have lost their bearings among frills and frivolity. By transforming women, men, and hairpins, Alexander Pope creates a playful, yet mordant satire of the lazy, leisurely lifestyles of beaux and belles. Although there is not a blatant parallel, it is significant that men are included in this running list of animals. The “pleasurable effects of poetry are produced by subliminal verbal patterning” (Ligget 17). Scholars have offered numerous possible explanations. Pope asks, “Was it for this you took such constant care/ The bodkin, comb, and essence to prepare?/ For this your locks in paper durance bounds,/ For this with torturing irons wreathed around?/ For this with fillets strained your tender head,/ And bravely bore the double loads of lead?” (IV, 97-102). This is a far cry from the valorous, epic hero which the Baron sees himself to be, and Belinda later becomes.However, it is not long before these lightly satirical beginnings transform into a battleground where gender wars ensue and Pope wields his strongest satire. He also criticizes modern writing for its preoccupation with what he calls ‘a craving for extraordinary incident’, condemning ‘frantic novels’ similar to that of Pope.Another major difference between both Augustanism and Romanticism in relation to Pope and Wordsworth is the use of place in Pope’s poem ‘Windsor Forest’ and Wordsworth’s ‘Tintern Abbey’. In addition, because this line involves only the verb “is,” the reader is invited to contrast it with the previous line, in which an action verb occurs.
Alexander Pope began his career translating many of the classical works, including those by Horace and Homer, and was thus very familiar with the literary conventions of epic poetry. 9 November 2011.Drabble, Margaret, and Jenny Stringer.
. However, Pope portrays Belinda as possessing neither of the two. By limiting a woman’s ability to express her individuality, Pope manages to repress the essence of femininity. Women, however, are not above believing in the machinery because they are nave as children are. One might even perhaps consider the significance of “breaks” in the second half-line; though used to refer to the ox, it is possible that it references the poet as well, and the “breaking” occurs, not only of the clod, but of the line as well.If this theory of enacted metaphor is continued, it might suggest that the poet himself is implicitly being compared to the ox – dull in the first half-line, and then, as the breakage and turning of the line occurs, transformed into an active, transformative being. The rape of the lock is not the lusty, virile conquest, which would be anticipated for the Baron as a male warrior. New content is on the way… His use of “true Briton” to describe the personae of the speaker, Thales, in the poem implies a strong sense of pride, but even that pride is not powerful enough to make one stay in London. By defining Ariel as a man, Pope places Belinda under the care of yet another virile figure.An important aspect of the child/woman comparison is that the ignorance is attributed to innocence. While his intellect and industrious nature obtained for him a comfortable existence, his accession to the upper class would never be possible.