Formative Assessment Essay

The cross of the engross, written by pope in response to a feud between two friends close towhat the theft of a lock of hair, is subversive in its evolution of the comic sarcasm genre into the field of epos poetry. pontiff, an greedy student of the Greek larges (he produced his own translations of some that provided practicall(a)y of his income during his life), takes the basic skeleton of an desperate its structure, critical circumscribe and even linguistic points and crafts around the skeleton a verse form of wit and comedy that is at its sum total sumptuousal, but also determinations this very expansive backbone to undermine its reports own vastness and to satirise the content that has been moulded around the form. This creative activity from pontiff marks the offshoot of the epic genre, transforming it into mock epic, an independent genre that bears umteen of the traits of its forebearer in a new light.The transformations to the epic that pontiff undertakes in the Rape of the Lock to satiric effect can be broadly split into transformations of adventurous content and transformations of deluxe language. The former can be clearly observed here Pope takes a staple of epic writing, heroic appliancery, and mental synthesiss its determination to his sarcastic needs. The weapon itself is given, through with(predicate) the use of a similar description, adequate enter with great weapons like Agamemnons sceptre, whose fund was used to reinforce Agamemnons dominance and power in the Iliad, world forged by Hephaestus and owned by the Gods from Zeus to Kronos.Belindas weapons lineage is farthermost less great. Instead of a scepter, the weapon of kings and priests in Homers writing, Belinda wields a threader, a hair needle. Even that expiration itself is satirical Agamemnons kingship is of great logical innuendo to the Iliad so the parallel with a bodkin, which think to the hair in question much like the scepter links with kingship, makes a clear statement on the relation importance of the quarrel in the Rape of the Lock.The lineage too satirises the pointlessness of bitterness no claim of divinity (and and so righteousness) is made on the part of Belindas weapon in fact its lineage mainly consists of feminine objects with the only male mentioned in its lineage also be the only one to explicitly be mentioned dying. Perhaps Pope, often accused of existence somewhat sexist, is using this line of business and training to imply that the whole issue is a womans trifle and postcode next to the male quarrels of Achilles and Agamemnon.On blanket of this, the weapon is not the fixed core group of the lineage as in the Iliad, in which the weapon started as a godly weapon and stayed that way. Instead the object is chatoyant it starts as signet rings, develops into a buckle and past becomes a bodkin. Pope changes up the epic formula of the mighty weapon into something iridescent and thus insignificant, paral leling with the argument he is satirising, the implication being that it is insignificant and will well be forgotten. The weapon also shows some other perversion of the epic poem that Pope uses.Protection, be it through armour or weaponry, tends to have a exalted place in the Greek epics. Heroes often go into famed suits of armour or use shields/weapons to survive insurmountable odds (for specimen the reflective shield in Perseus tale in Ovids Metamorphoses that slays Medusa). This element of protection, providential or otherwise, is a theme that Pope subverts consistently. From the slyph Ariel who is half dissolvd even by light to the Cosmetic powers of her dress and make-up, zippo effectively protects Belinda.The bodkin is no different, it fails to protect her locks from being cut in the initial case, and here, although she uses it to attack the Baron, it fails to return its charge, her hair, to her. Pope is modernising traditional epics, using these typical protections to mock high societies fixation on appearance. All of her superficial facing beauty and quaint bodkins cannot protect her from the advances of a wizard man, so what, Pope asks, is the use of all this artifice? Pope also mutates generic language elements from epic literature for his satirical intentions.In this passage, the clearest example is in his use of the ten syllable rhyming heroic duad. Pope takes the rhyme of the couplet and uses it to link together two separate words or ideas, often to a comical effect. Here, in the lines, Nor feared the chief the nonequivalent fight to try, Who sought-after(a) no more than on his foeman to die. Pope has the first line of the couplet set up the Barons bravery by expounding his bravery in fighting against Belinda in unequal combat (ironic in itself due to Belindas natural weakness compared to his manly dominance referred to in the next couplet) before defeating the heroic xpectancy with a inner pun the artistic style to die holding a t the period a dual meaning referring to sexual climax, and often premature climax at that. His heroism is built up and destroyed within a couplet with the contrast of noble bravery and base passion providing a humorous and satirical twist on the typical heroism of the heroic couplet by suggesting that the drive cigarette the Barons actions is, at its deepest level, sexual, preferably than noble or courtly.