The Rape of the Lock as a Mock/Comic Epic

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What makes an Epic Comic?

Before discussing comic or mock-epic, let us make things clear about the actual Aristotelian epic. Aristotle terms epic as "a narrative poem written in heroic hexameter. It has four constituent parts namely plot, character, thought and diction." In slightly modern terms, an epic is a story of heroic deeds of a protagonist whose life, victory or defeat pretty much decides the fate of his nation. On the other hand, mock-epic mimics the same elevated diction as that of epic. But it presents something trivial (minor) in magnified grandeur through exaggeration, satire and ridicule. But the chief purpose of writing a mock-heroic is the reformation of society through an obvious moral lesson.

How is the Rape of the Lock a Mock-heroic?

Pope intends to present the Rape of the Lock as a mock-epic. Like other mock-epics, this poem presents the trivial matter like cutting a lock of hair as an infliction like the ancient Trojan War. Pope himself asserts the triviality "Slight is the subject" but he also deems it "a dire offence" and "a mighty contest[s]" to picture this poem as a mock-heroic. Pope implies techniques like elevated diction, heroic imagery, exaggeration, irony and personification to shape this poem into a heroi-comic. He even begins his poem in epical fashion through invocation by calling [seeking help to] the muse, Caryl, who is not a goddess but Pope's friend who encourages him to write this mock-epic to put a full stop to the 'slight' love dispute between Lord Petre and Miss Fermor.

Epical Expressions

The first noticeable mock-heroic element in The Rape of the Lock is Pope's use of grand diction. He presents minor happenings through epical grandeur through hyperbole and exaggeration. For instance, Belinda's toilet scene [don't take toilet for its literal meaning. Here toilet means a domestic beauty parlour] in which she is denoted as an "inferior priestess" while her toilet an "alter"; the make-up artist "nymph" [serving her priestess]; articles of cosmetics as "various offerings of the world" and the process of make-up as a sacred "ritual". But my personal favourite is the Game of Ombre [a game played through forty decks of cards in which the loser has to pay money] which is presented like an epic battle. The game is itself recognized with "combat"; the table a "battlefield" and cards as "coloured troops" and "routed army".

Small Made Grand

Pope utilizes the conventional epical techniques to turn the small into grand. He achieves this goal through the introduction of Ariel [supernatural machinery]. Ariel warns Belinda of the possible mishap in a dream and protects her lock through an uncountable number of sylphs. Similarly, the trivial fight between Byron and Belinda is compared to the fatal wars between gods and goddesses and their pins and fans are sketched as spears in this poem. He also reduces the importance of husband to a lapdog or increases the importance of lapdog to a husband,

Not louder shrieks to pitying Heaven are cast,
When husbands, or when lapdogs breathe their last.

Mock-Epic Imagery

A mock-epic is incomplete without mock-heroic imagery in it. The Rape of The Lock is replete with fine examples of such imagery. For instance, take a closer look at this verse from Canto III,

The little Engine on his Finger's Ends:
This just behind Belinda's Neck he spread,

Here, the little engine is used as a mock-heroic image to signify the scissor which is "appointed" to cut the lock of Belinda. Pope also uses other images like 'a two-edged weapon’, ‘spear’, ‘fatal engine’, ‘forfex’ and ‘shears' to amplify the trivial working of the scissors. Thus, such imagery creates a ridiculously enjoyable situation in the mind of a reader.

Conflict

Conflict is the soul of every epic and mock-epic. The characters in this mock-epic are subjected to external conflicts like the game of Ombre and the war of nerves. They also suffer from internal or psychological conflicts as both men and women try to dominate each other.

Humour

Humour is a mandatory element of a mock-epic. There are numerous instances of humour in this poem. The poet uses all humorous techniques like irony, exaggeration, ridiculous and sensational happenings to create a humorous atmosphere in this poem. From the description of grumpy husbands to the war of Ombre and Byron's and Belinda's supporters fighting with each other is depicted through comical humour.

Moral

The main essence of a mock-epic is the moral lesson that it preaches through its satirical caricaturing. The Rape of the Lock gives the moral lesson of securing one's physical and spiritual chastity. Belinda exposes herself to the fashionable society and she has to pay the prize through being deprived of her beautiful locks of hair. Thus falling a victim to the 'time-pass' activities of the young boys. Pope conclusively states,

Charms strike the sight, but merit wins the soul.

Conclusion

Pope subtly mixes epical and satirical accounts, thus formulating an astounding mock-epic in The Rape of The Lock. Dennis correctly reflects it "a perfect specimen of the poetic burlesque" while Dr. Johnson comments on it as "the most attractive of all ludicrous compositions."