Comment on Pope's use of supernatural machinery in The Rape of the Lock

Question: Comment on Pope's use of supernatural machinery in The Rape of the Lock.

Or, Write on Pope's use of the epic machinery in The Rape of the Lock.

Or, Write a brief account of the activities and the role of the supernatural beings in The Rape of the Lock.

Or, What purpose does the supernatural machinery serve in The Rape of the Lock?

Or, Comment on the Rosicrucian machinery in Pope's The Rape of the Lock.

Or, Critically examine Pope's use of epic Machinery in The Rape of the Lock.

Answer: “The Rape of the Lock” is a masterpiece by Alexander Pope. It occupies a permanent place in the history of English literature. It is commonly acknowledged as one of the finest parodies of epic poems in English. In this poem, he uses supernatural machinery very successfully. The use of supernatural machinery is one of the essential features of an epic- poem. His use of supernatural machinery enhances the superiority of this poem. Generally, supernatural machinery means supernatural characters. In an epic poem, god and supernatural beings take part as the supernatural agents. These supernatural agents are called “Machinery”. The use of supernatural machinery plays a vital role in the poem "The Rape of the Lock”. The use of supernatural machinery makes this poem traditional and distinctive.

“Machinery” is an allied word that means the set of supernatural devices used for the development of a plot in a drama or a poem. This word has been explained by Alexander Pope in “Dedication to Mrs. Arabella Former” in the following way: “The Machinery is a term invented by the critics to signify that part which the Deities, Angels or Demons are made to act in a poem”. The term has come from the mechanical device to drop angels, fairies, and other supernatural figures on the stage by means of a pulley or a like instrument.

The supernatural machinery in Pope's mock-epic consists of different classes of spirits. Of course, he does not treat all the four classes of spirits. He is concerned only with two classes here- the Sylphs and the Gnomes.

In “The Rape of the Lock”, Pope's machinery is based on the Rosicrucian doctrine of spirits. According to the doctrine, the four elements were fire, water, earth, and air. These elements were inhabited by four kinds of spirits namely Salamanders, Nymphs, Gnomes, and Sylphs respectively.

Pope felt the need to introduce the machinery in his poem, “The Rape of the Lock” after having read a book by French author, Abbe-de-Villiers, containing an account of the Rosicrucian doctrine of spirits. All his friends with the exception of Addison approved of the idea and Pope adjusted to the poem the parts about the supernatural spirits.

The supernatural spirits- the Sylphs and the Gnomes play a very significant and useful part in the scheme of the story of the poem. The Sylphs are not physical beings. They are all light and color. They cannot mingle with the action as human agents. Their function is more delicate. They are the unseen protectors of the chastity of maidens who are on the point of yielding to their lovers. The Gnomes are the earthly spirits. They fill the minds of proud maidens with foolish ideas.

“The Rape of the Lock” may be described as a satirical comedy of manners. In this poem, the Sylphs are both a mirror and a mocking of customs and conventions of the society of the time. Belinda is told in a dream that Sylphs guide and protect her.

The fairies of "A Midsummer Night's Dream” are also tiny beings. But they are different in nature and spirit from the Sylphs and the Gnomes of "The Rape of the Lock”. The former are gay, delightful spirits, wandering about in the moonlight. They embody all the beauty and freshness of nature. They are endowed with supernatural power and play pranks on human beings. But in “The Rape of the Lock" the supernatural spirits are different. They are artificial spirits. They have all vanity and superficiality. They take delight in the game of Ombre and help Belinda in the game:

"Soon as she spreads her Hand, the’ Aerial Guard
Descent, and sit on each important Card."

The functions of the supernatural machinery in the poem, "The Rape of the Lock” is remarkable. Ariel, who guards Belinda, assigns different functions to the spirits under his control. One was given the charge of Belinda's fan, another was to take off her earrings, the third was to look after her watch, and the fourth was to guard her favorite lock. Ariel was to take charge of the dog. The important duty of guarding the petticoat was given to fifty chosen Sylphs. Ariel warned the pigmy band of spirits against negligence in their duties. Several punishments were to be awarded to those who failed in the discharge of their duties.

To sum up, we may safely say that the Pope's use of supernatural machinery enhances his artistic excellence. It is the machinery that enables him, in various ways, to create the mock-epic effect. All the epic poets like Homer, Virgil, and Milton used supernatural machinery in their epic poems. In the same way, Pope's “The Rape of the Lock” occupies a lofty place as an epic poem.