Pope ‘s The Rape of the Lock and Bronte ‘s Jane Eyre pigment a disclosure and monstrous vision of high-society. The writers expose the follies, amour propres, inhuman treatments and lip services of the beau-monde at the clip they were composing, with the usage of both absurd and abhorrent imitations and stereotypes. Such an onslaught was relevant to both times ; Bronte wrote Jane Eyre in response to the Chartist motion ( 1838-1848 ) – the first large-scale working category labor originating that sought societal and political reform in the UK – straight before the 1848 revolutions which shook Europe, whilst Pope wrote The Rape of the Lock during the Protestant consolidation in England, a clip when the elect societal, political and educational circles and establishments excluded non-Protestants. Both eras held a more marked division between the societal categories ; Jane is ‘trampled on ‘ , attacked and ‘excluded ‘ ( 252 ) throughout her life because of her ‘caste ‘ ( a word that suggests societal boundaries are insurmountable ) and place as a governess. Bronte, besides a governess in her clip, describes her ain cruel intervention by the aristocracy she served: ‘None but those who had been in the place of a governess could of all time gain that dark side of ‘respectable ‘ human nature, [ … ] a dictatorship of which one would instead be the victim than the inflictor. ‘ Similarly, Pope was shunned by and excluded from respectable society because of his Catholic beginnings and physical malformations ; both writers experienced firsthand the ‘narrow human philosophies ‘ of their times, which served merely to ‘elate and amplify a few ‘ in society and afflict agony on the remainder, and strike back against them with their plants.
The plants reveal the upper category ‘ warped sense of values ; Belinda, Georgiana and Blanche embody the amour propre of a society that values beauty and position over morality and mind. It takes the unfiltered position of an foreigner, such as Jane, to gain the true worth of a character such as Blanche ; albeit a really ‘beautiful ‘ , ‘accomplished ‘ and extremely respected lady, Blanche lacks ‘tenderness ‘ , ‘truth ‘ , and ‘originality ‘ . We see her inhuman treatment in full coloring material when she recounts with sadistic pleasance, and pride, the governesses that she and her sister terrorised in their childhood ; ‘we might make what we pleased ; plunder her desk and her workbasket, and turn her draws inside out ‘ ( 178 ) . She labels governesses ‘incubi ‘ ( 177 ) , yet she is incognizant of her error in comparing her governesses to male devils ( incubi ) , as opposed to female ( succuba ) . Possibly Blanche is non rather the ‘clever blade ‘ ( an ironically fitting metaphor, ‘blade ‘ intimations at her malicious nature ) she claims to be. Similarly, Belinda, ‘Fairest of persons ‘ ( I, 27 ) and the object of every ‘gaze ‘ ( I, 13 ) , is a beauty will little substance. Pope refers to her ‘infant idea ‘ , a phrase that ambiguously hints at both artlessness and moronic naivete, and ‘unfix ‘d ‘ head, connoting her ideas spark from one thing to another in a negligent and shallow mode ; she is like Georgiana, whose ‘spoiled pique ‘ and ‘acrid spirit ‘ seem non to bury when set aside her ‘pink cheeks and aureate coils ‘ ( 15 ) . Kernel of character is non the lone thing valued under visual aspect and position ; in the Rape, religion is perverted, as we see the Bible included amongst the list of fiddling and earthly objects of amour propre that adorn her shelves, like ‘Puffs, Powders, Patches ‘ and ‘Billet-doux ‘ ( I, 138 ) ; like the ‘sparkling Cross ‘ ( two, 7 ) she wears round her cervix, its spiritual and religious intensions have been negated, and it has become alternatively a mere stylish decoration, whilst in Jane Eyre, we learn that in the universe of the upper category, matrimony is based on the eligibility of ‘rank and connections ‘ ( 186 ) instead than love.
The plants oscillate between two satirical tones: amusing and astringent. Amusing: the Rape of the Lock is infused throughout with interplay between the fiddling and the of import ; the incongruousness between the fiddling capable affair ( the larceny of a lock of hair ) and the grandiose linguistic communication Pope employs is a remark on the aristocracy ‘s inclination to handle fiddling events with a disproportional sum of involvement and dignities. The verse form follows every convention of the heroic manner ; Homeric inversions – ‘Bright as the Sun, her eyes the gazers work stoppage ‘ ( two, 13 ) – and names – ‘fatal engine ‘ ( three, 149 ) – are present ; antediluvian linguistic communication that might be more suitable to the description of a conflict – ‘seized alive ‘ ( four, 3 ) , ‘march ‘d ‘ , ‘victor ‘ ( three, 52 ) , ‘verdant field ‘ ( three, 53 ) , ‘broad saber ‘ ( three, 55 ) , ‘mow ‘d down ground forcess ‘ ( three, 62 ) , ‘pierced battalions ‘ ( three, 85 ) – colour the description of the card game ; ‘sylphs ‘ , Pope ‘s replacement for the Gods and goddesses of heroic poems that watch over the supporters, influence the events of the verse form ; and Pope even dedicates the work to a ‘Muse ‘ – any one of the nine goddesses of poesy who inspired the creative activity of the humanistic disciplines, the ‘Muse ‘ is closely associated with Greek heroic poem – called ‘Caryll ‘ . Acerbic: Brocklehurst claims to keep Humility as the most of import Christian grace, and inflicts on his students a deplorable and deficiently ‘plain ‘ ( 34 ) life style so that they might accomplish ‘spiritual sophistication ‘ ( 63 ) : ‘unhealthy nature of the site ; … the brackish, foetid H2O ‘ used in readying of the nutrient, ‘the student ‘s wretched vesture and adjustments ‘ ( 83 ) , ad nauseam. Yet despite enforcing this philosophy on his pupils, his married woman and girls walk around ‘splendidly attired in velvet, silk, and pelts ‘ and have their hair ‘elaborately curled ‘ ; we see Brocklehurst ‘s lip service in full coloring material, when we recall him censuring a student for holding curly hair, and demanding that she have it ‘cut off wholly ‘ ( 64 ) . Jane ‘s history of his characteristics – ‘What a face he had [ … ] ! What a great nose! And what a oral cavity! And what big outstanding dentition! ‘ ( 32 ) – when she meets him for the first clip is evocative of Little Red Riding Hood ‘s conversation with the cloaked wolf – this allusion, combined with the description of his face as a ‘carved mask ‘ ( 31 ) , links Brocklehurst to prevarications and camouflage from the beginning ; he embodies the pseudo-piety, lip service and dictatorship of the Victorian aristocracy. The two tones achieve different effects, and yet both point a satirical finger at the upper category.