Genre Criticism

The Piece of String

Guy de Maupassant




Synopsis


ALONG ALL THE ROADS around Goderville the peasants and their wives were coming toward the burgh because it was market day. The men were proceeding with slow steps, the whole body bent forward at each movement of their long twisted legs; deformed by their hard work, by the weight on the plow which, at the same time, raised the left shoulder and swerved the figure, by the reaping of the wheat which made the knees spread to make a firm "purchase," by all the slow and painful labors of the country. Their blouses, blue, "stiff-starched," shining as if varnished, ornamented with a little design in white at the neck and wrists, puffed about their bony bodies, seemed like balloons ready to carry them off. From each of them two feet protruded.
Some led a cow or a calf by a cord, and their wives, walking behind the animal, whipped its haunches with a leafy branch to hasten its progress. They carried large baskets on their arms from which, in some cases, chickens and, in others, ducks thrust out their heads. And they walked with a quicker, livelier step than their husbands. Their spare straight figures were wrapped in a scanty little shawl pinned over their flat bosoms, and their heads were enveloped in a white cloth glued to the hair and surmounted by a cap.
Then a wagon passed at the jerky trot of a nag, shaking strangely, two men seated side by side and a woman in the bottom of the vehicle, the latter holding onto the sides to lessen the hard jolts.
In the public square of Goderville there was a crowd, a throng of human beings and animals mixed together. The horns of the cattle, the tall hats, with long nap, of the rich peasant and the headgear of the peasant women rose above the surface of the assembly. And the clamorous, shrill, screaming voices made a continuous and savage din which sometimes was dominated by the robust lungs of some countryman's laugh or the long lowing of a cow tied to the wall of a house.
All that smacked of the stable, the dairy and the dirt heap, hay and sweat, giving forth that unpleasant odor, human and animal, peculiar to the people of the field.
Maître Hauchecome of Breaute had just arrived at Goderville, and he was directing his steps toward the public square when he perceived upon the ground a little piece of string. Maître Hauchecome, economical like a true Norman, thought that everything useful ought to be picked up, and he bent painfully, for he suffered from rheumatism. He took the bit of thin cord from the ground and began to roll it carefully when he noticed Maître Malandain, the harness maker, on the threshold of his door, looking at him. They had heretofore had business together on the subject of a halter, and they were on bad terms, both being good haters. Maître Hauchecome was seized with a sort of shame to be seen thus by his enemy, picking a bit of string out of the dirt. He concealed his "find" quickly under his blouse, then in his trousers' pocket; then he pretended to be still looking on the ground for something which he did not find, and he went toward the market, his head forward, bent double by his pains.
He was soon lost in the noisy and slowly moving crowd which was busy with interminable bargainings. The peasants milked, went and came, perplexed, always in fear of being cheated, not daring to decide, watching the vender's eye, ever trying to find the trick in the man and the flaw in the beast.
The women, having placed their great baskets at their feet, had taken out the poultry which lay upon the ground, tied together by the feet, with terrified eyes and scarlet crests.
They heard offers, stated their prices with a dry air and impassive face, or perhaps, suddenly deciding on some proposed reduction, shouted to the customer who was slowly going away: "All right, Maître Authirne, I'll give it to you for that."
Then lime by lime the square was deserted, and the Angelus ringing at noon, those who had stayed too long scattered to their shops.
At Jourdain's the great room was full of people eating, as the big court was full of vehicles of all kinds, carts, gigs, wagons, dumpcarts, yellow with dirt, mended and patched, raising their shafts to the sky like two arms or perhaps with their shafts in the ground and their backs in the air.Just opposite the diners seated at the table the immense fireplace, filled with bright flames, cast a lively heat on the backs of the row on the right. Three spits were turning on which were chickens, pigeons and legs of mutton, and an appetizing odor of roast beef and gravy dripping over the nicely browned skin rose from the hearth, increased the jovialness and made everybody's mouth water. 

All the aristocracy of the plow ate there at Maître Jourdain's, tavern keeper and horse dealer, a rascal who had money. The dishes were passed and emptied, as were the jugs of yellow cider. Everyone told his affairs, his purchases and sales. They discussed the crops. The weather was favorable for the green things but not for the wheat. Suddenly the drum beat in the court before the house. Everybody rose, except a few indifferent persons, and ran to the door or to the windows, their mouths still full and napkins in their hands. After the public crier had ceased his drumbeating he called out in a jerky voice, speaking his phrases irregularly: "It is hereby made known to the inhabitants of Goderville, and in general to all persons present at the market, that there was lost this morning on the road to Benzeville, between nine and ten o'clock, a black leather pocketbook containing five hundred francs and some business papers. The finder is requested to return same with all haste to the mayor's office or to Maître Fortune Houlbreque of Manneville; there will be twenty francs reward."Then the man went away. The heavy roll of the drum and the crier's voice were again heard at a distance. Then they began to talk of this event, discussing the chances that Maître Houlbreque had of finding or not finding his pocketbook. And the meal concluded. They were finishing their coffee when a chief of the gendarmes appeared upon the threshold. He inquired: "Is Maître Hauchecome of Breaute here?" Maître Hauchecome, seated at the other end of the table, replied: "Here I am." And the officer resumed: "Maître Hauchecome, will you have the goodness to accompany me to the mayor's office? The mayor would like to talk to you." The peasant, surprised and disturbed, swallowed at a draught his tiny glass of brandy, rose and, even more bent than in the morning, for the first steps after each rest were specially difficult, set out, repeating: "Here I am, here I am."

The mayor was awaiting him, seated on an armchair. He was the notary of the vicinity, a stout, serious man with pompous phrases. "Maître Hauchecome," said he, "you were seen this morning to pick up, on the road to Benzeville, the pocketbook lost by Maître Houlbreque of Manneville." The countryman, astounded, looked at the mayor, already terrified by this suspicion resting on him without his knowing why. "Me? Me? Me pick up the pocketbook?" "Yes, you yourself." "Word of honor, I never heard of it." "But you were seen." "I was seen, me? Who says he saw me?" "Monsieur Malandain, the harness maker." The old man remembered, understood and flushed with anger. "Ah, he saw me, the clodhopper, he saw me pick up this string here, M'sieu the Mayor." And rummaging in his pocket, he drew out the little piece of string. But the mayor, incredulous, shook his head. "You will not make me believe, Maître Hauchecome, that Monsieur Malandain, who is a man worthy of credence, mistook this cord for a pocketbook." The peasant, furious, lifted his hand, spat at one side to attest his honor, repeating: "It is nevertheless the truth of the good God, the sacred truth, M'sieu the Mayor. I repeat it on my soul and my salvation." The mayor resumed: "After picking up the object you stood like a stilt, looking a long while in the mud to see if any piece of money had fallen out." The good old man choked with indignation and fear. "How anyone can tell--how anyone can tell--such lies to take away an honest man's reputation! How can anyone---" There was no use in his protesting; nobody believed him. He was con. fronted with Monsieur Malandain, who repeated and maintained his affirmation. They abused each other for an hour. At his own request Maître Hauchecome was searched; nothing was found on him. Finally the mayor, very much perplexed, discharged him with the warning that he would consult the public prosecutor and ask for further orders. The news had spread. As he left the mayor's office the old man was sun rounded and questioned with a serious or bantering curiosity in which there was no indignation. He began to tell the story of the string. No one believed him. They laughed at him. He went along, stopping his friends, beginning endlessly his statement and his protestations, showing his pockets turned inside out to prove that he had nothing. They said: "Old rascal, get out!" And he grew angry, becoming exasperated, hot and distressed at not being believed, not knowing what to do and always repeating himself. Night came. He must depart. He started on his way with three neighbors to whom he pointed out the place where he had picked up the bit of string, and all along the road he spoke of his adventure. In the evening he took a turn in the village of Breaute in order to tell it to everybody. He only met with incredulity. It made him ill at night. The next day about one o'clock in the afternoon Marius Paumelle, a hired man in the employ of Maître Breton, husbandman at Ymanville, returned the pocketbook and its contents to Maître Houlbreque of Manneville. This man claimed to have found the object in the road, but not knowing how to read, he had carried it to the house and given it to his employer. The news spread through the neighborhood. Maître Hauchecome was informed of it. He immediately went the circuit and began to recount his story completed by the happy climax. He was in triumph. "What grieved me so much was not the thing itself as the lying. There is nothing so shameful as to be placed under a cloud on account of a lie." He talked of his adventure all day long; he told it on the highway to people who were passing by, in the wineshop to people who were drinking there and to persons coming out of church the following Sunday. He stopped strangers to tell them about it. He was calm now, and yet something disturbed him without his knowing exactly what it was. People had the air of joking while they listened. They did not seem convinced. He seemed to feel that remarks were being made behind his back. On Tuesday of the next week he went to the market at Goderville, urged solely by the necessity he felt of discussing the case. Malandain, standing at his door, began to laugh on seeing him pass. Why? He approached a farmer from Crequetot who did not let him finish and, giving him a thump in the stomach, said to his face: "You big rascal." Then he turned his back on him. Maître Hauchecome was confused; why was he called a big rascal? When he was seated at the table in Jourdain's tavern he commenced to explain "the affair." A horse dealer from Monvilliers called to him: "Come, come, old sharper, that's an old trick; I know all about your piece of string!" Hauchecome stammered: "But since the pocketbook was found." But the other man replied: "Shut up, papa, there is one that finds and there is one that reports. At any rate you are mixed with it." The peasant stood choking. He understood. They accused him of having had the pocketbook returned by a confederate, by an accomplice. He tried to protest. All the table began to laugh. He could not finish his dinner and went away in the midst of jeers. He went home ashamed and indignant, choking with anger and confusion, the more dejected that he was capable, with his Norman cunning, of doing what they had accused him of and ever boasting of it as of a good turn. His innocence to him, in a confused way, was impossible to prove, as his sharpness was known. And he was stricken to the heart by the injustice of the suspicion. Then he began to recount the adventures again, prolonging his history every day, adding each time new reasons, more energetic protestations, more solemn oaths which he imagined and prepared in his hours of solitude, his whole mind given up to the story of the string. He was believed so much the less as his defense was more complicated and his arguing more subtile. "Those are lying excuses," they said behind his back. He felt it, consumed his heart over it and wore himself out with useless efforts. He wasted away before their very eyes. The wags now made him tell about the string to amuse them, as they make a soldier who has been on a campaign tell about his battles. His mind, touched to the depth, began to weaken. Toward the end of December he took to his bed. He died in the first days of January, and in the delirium of his death struggles he kept claiming his innocence, reiterating: "A piece of string, a piece of string--look--here it is, M'sieu the Mayor."

Criticism

Genre Criticism focuses on the form and structure of the literary piece. The Piece of  String by Guy de Maupassant is obviously a short story because it has a distinct characteristics that are present in short stories like it can be read in just one sitting and  a way shorter than novels but longer than novelletes. 

Narratology

Les Miserables

Victor Hugo

Synopsis 

The major plot involves Jean Valjean who is released from prison, and through the kindness of Father Myriel, becomes a new man. He gets a new name via association with Myriel and his obvious kindness and generosity to others and gradually builds a successful and prosperous life for himself with a renovation of the jet-work industry in Montreuil-surmer. One of his employees is-although unknown to him-fired by the head mistress because of an illegitimate baby. Fantine goes from one occupation to another, finally becoming a prostitute.

A minor incident takes place in the streets, and Fantine is arrested by Javert. Valjean, who has become known as Mayor Madeleine, forces Javert to release her and takes her into his own house when he hears her story. Fantine is in extremely poor health, however, and dies without ever seeing her child again, even though Valjean had promised to get the child.

Meanwhile, another man has been arrested and mistakenly identified as Valjean. Valjean appears in court, revealing the truth and losing both his business and his position in Montreuil-sur-mer. Although he is arrested, he breaks out long enough to hide his fortune. He spends additional time in prison, working aboard a ship. Eventually he escapes again and retrieves Cosette from the evil Thenardiers whom Fantine had trusted to take care of the child.

Then begins 10 years of hiding, moving from place to place, always staying just ahead of Javert. Seven or eight happy years are spend in a convent where Valjean works with the gardener and Cosette attends a girls’ school.

Feeling that Cosette must have opportunity to experience all of life, they leave the convent when she is about 15. Valjean is nearly betrayed and recaptured due to the insidious if somewhat unwitting deeds of the Thenardiers.

While Valjean is continuously on the lookout for people who might have guessed his identity and makes their home always in out of the way places, Cosette becomes aware of her own femininity and beauty. She and Marius spot each other and fall in love.

Marius is a college student who has been raised by his grandfather after the old man had disowned his son-in-law for supporting Napoleon. Marius discovers the truth about his father shortly after his death and enmity develops between himself and his grandfather. With little income, Marius in unable to marry Cosette and prevent Valjean from taking her away again, and his grandfather refuses to give consent for a marriage to someone he assumes is beneath him.

In Paris, politics, work issues, and various unsatisfactory conditions are gradually bringing a faction of workers and college students to the point of revolt. An insurrection takes place; Marius joins in hoping to die since he will not be able to have Cosette. Valjean joins the insurrection because he believes he is losing Cosette’s love and because, although he hates him bitterly, he intends to try to protect Marius for Cosette.

When the barricades are finally overtaken, Valjean rescues Marius and escapes through the city sewers. Marius is unconscious and does not know who rescued him. When his health returns, he insists once again on marrying Cosette, and this time the grandfather relents. Old wounds are at least partially healed. As Javert is also dead, it would seem that Cosette, Valjean, Marius and his grandfather could all form one happy family. Cosette and Marius marry, but Valjean reveals the truth of himself to Marius who gradually banishes him from even seeing Cosette.

The Thenardiers are a continuous nuisance and occasionally a real threat throughout the book, but in spite of Thenardier’s intention to bring harm to Valjean, he actually reveals the truth of Valjean’s history to Marius.

Valjean dies in the end, but it is with contentment after a joyful reunion with Cosette. He is content to know that Cosette and Marius have “forgiven” him, although it seems as though Valjean himself is the one who has the right to be on the forgiving end of things. 

Criticism

Victor Hugo's Les Miserables has an exciting and wonderful narration. The novel delivered the story by the past lives of the major characters and how  it intertwined with the other characters . This makes the piece more interesting and unified. The events that chronologically happened had met the connection of the present conditions of the characters based on the actions they committed.   

Logocentricism

I Thank You God

Bernard Dadie

"I thank you God for creating me black,
For having made me
the total of all sorrows,
and set upon my head
The World.
I wear the lively of the Centaur
And I carry the world since the first morning.
White is a colour improvised for an occasion
Black, the colour of all days
And I carry the World since the first evening.
I am happy
with the shape of my head
fashioned to carry the World,
satisfied
With the shape of my nose,
which should breathe all the air of the World,
happy
With the form of my legsprepared to run through all the stages of the World.I thank you God for creating me blackFor making of mePorter of all sorrows..Still I amGlad to carry the World,Glad of my short armsOf my long armsOf the thickness of my lips..I thank you God for creating me blackWhite is a colour for special occasionsBlack the colour for every dayAnd i have carried the World since the dawn of timeAnd my laugh over the World, through the night, creates the Day.I thank you, God for creating me black"

Criticism

Logocentricism is subjected to the meaning of  words itself in a literary piece without giving much attention to the author. One example of this type is " I Thank You God", a poem written by Bernard Dadie which eventually became the highlight of his works. It perfectly fits the logocentricists' point of view because the poem has its deep meaning and for the readers to understand it, is by paying attention to the word's profound  sense. Words or phrases that have figures of speech or hidden meanings  like porter of sorrows, I have carried the world and my nose that must snuff every wind of the world  are present in the song; hence, it  is a must to stick on what the word tells to extract its significance.

Darwinism

Before The Dawn

Nicholas Wade

Synopsis 

New York Times science reporter Wade looks at how new knowledge derived from studying the human genome is changing the way we view our species' past and present. The recent deciphering of our genetic inheritance provides a valuable research tool for studying human prehistory, the long, murky millennia between the separation of humanity from its closest primate kin and the springing up of cities in Mesopotamia 6,000 years ago. When data gathered in disciplines such as archaeology, linguistics and anthropology is looked at in conjunction with the genetically recorded anatomical changes that occurred in response to altering circumstances encountered by early humans, a host of notions about prehistory come into clearer focus. Since virtually none of these notions is fully provable, however, the new genetics-based data has generated a slew of disagreements in fields already rife with contention. Wade seems to know all the arguments of virtually all the players: heavyweights such as Noam Chomsky, Edward O. Wilson and Jared Diamond, as well as a host of lesser-known specialists. His fascinating, surprisingly readable text takes readers on an excursion into arcane realms where academics generally carry on their food fights out of public view. The genetics-based evidence examined here touches on contemporary hot-button issues; some seem to indicate that human evolution fostered by natural selection continues today in response to social as well as environmental pressures. Wade offers views of inherited, race-based differences that are anathema to politically correct social scientists. Nor will intelligent-design proponents appreciate his obvious admiration for the wisdom and prescience of Charles Darwin and his belief that those who challenge Darwin's conclusions about species origins are believers of myths. A meaty, well-written, if occasionally overenthusiastic study, filled with speculation that will leave some uncomfortable and others angry.

Criticism
Darwinism, a literary criticism named after Charles Darwin, the father of human evolution who had shocked the world by his theory of evolution- that man came from the apes. Basically, many people especially the religious sects disagreed with his theory making it more controversial and shocking conclusion of his time. Nicholas Wade's "Before the Dawn" features Darwin's theory and  other follow up studies by researchers and scientists who were at hand support the evolution theory. On his book, human genome is a key center subject that leads to the existence of humanity as well as the rising of different races that we have now today.

Archetypal Criticism

Tungkung langit at alunsina

(Filipino Mythology)


Synopsis 

In the beginning there was nothing and there was everything. The world is made of mists, formless and shapeless things, and confusions everywhere. From this confusion there grows two Gods, Tunkong Langit and Alunsina. These two Gods marry and lived in the highest realm of ethereal space. Tungkung Langit took the responsibility of writing everything in the world, his job is to restore order, chaos and the confusion around him, so everyday he left to do his job, and leave Alunsina in their home. 
While Tungkung Langit is responsible, Alunsina is lazy, jealous, and selfish. She likes to daydream or comb her hair all day long. And because she was a jealous goddess, Alunsina always sends the sea breeze to spy on Tungkung Langit. When the god found this out, he was not pleased. There was a quarrel. Tungkung Langit says that it is ungodly of her to be jealous. Alunsina resented it. Tungkung Langit lost his temper; he divested his wife of her powers and sends her away. No one knew where she went, she just disappeared. 
Several days after, Tungkung Langit became very lonely. But he doesn't know where to find her or where to start looking for her. He missed Alunsina terribly, especially whenever he comes home after his work and finds his house empty. 
One day, he thought of an idea, he made the sea, the earth, and filled the ground with trees and flowers. He made the earth and sea beautiful, so that when Alunsina would see it, she would come home. But she didn't. So he took Alunsina's jewels and put it in the sky, and still Alunsina did not came back. Up to this time, Tungkung Langit still lives alone in his palace in the sky. When it rains, it is said to be Tungkung Langit"s tears, still longing for the return of his beloved Alunsina. 

Criticism

Archetypal or mythological literature primarily talks about gods and goddesses, nature and creation. everywhere in the world, in every country there are myths exist that explain the origin of everything in exception of scientific means. Philippines is one of those countries that is rich in mythology and folklore. Including  Tungkung Langit and Alunsina, the tale of god and goddess  consorted with love and affection yet by jealousy, envy and misunderstandings were separated. Tungkung langit  created  things like heavenly bodies and thunder to bring Alunsina back to him. The story's elements: nature, creation and divine being are distinct characteristics of archetypal.

Neo Classicism

The Rape of the Lock

Alexander Pope

Synopsis 

In the beginning of this mock-epic, Pope declares that a "dire offence" (Canto 1 line 1)^[1] has been committed. A lord has assaulted a "gentle belle"(line 8), causing her to reject him. He then proceeds to tell the story of this offence.

It begins with Belinda still asleep. Her "guardian Sylph"(line 20), named Ariel, warns her while she sleeps that "some dread event [impends], Ere to the main this morning sun descend; But Heaven reveals not what, or how, or where; Warned by the Sylph, oh pious maid beware!"(line 109-110). Belinda then awakes and proceeds to get ready for the day with the help of her maid, Betty. The Sylphs, though unseen, also contribute. "These set the head, and those divide the hair, some fold the sleeve, whilst others plait the gown"(line 146-147). Belinda appears so beautiful that as she journeys to Hampton Court (canto 3 line 1-10) "every eye was fixed on her alone"(Canto 2 line 6). Here Pope also describes Belinda's two locks of hair "which graceful hung behind"(line 20). The Baron, one of Belinda's suitors, greatly admires these locks and conspires to steal one. He builds an altar and on it places "all the trophies of his former loves"(line 40), sets them on fire, and fervently prays "soon to obtain, and long posses"(line 44) the lock.

Ariel, disturbed by the impending event, though he does not know what it will be, summons many sylphs to him and instructs them to guard Belinda from anything that may befall her, whether she "forget her prayers, or miss a masquerade, Or lost her heart, or necklace, at a ball"(line 108-109). These spirits hover over Belinda, anxious to protect her as she arrives at Hampton Court. Here she is invited to play a game of ombre, which game she wins.

The Baron still conspires to get her lock. He acquires a pair of scissors and tries to snip it off. The Sylphs sent to watch over her, intervene by blowing "back the hair" and twitching "the diamond in her ear"(canto 3 line 136-137), causing Belinda to look around, and stopping the Baron in his plans. This happens three times, but in the end the Baron manages to cut off the lock (also cutting a Sylph in two, but Pope reassures us that "airy substance soon unites again [line 152]). When Belinda discovers her lock is gone, she falls into a tantrum, with "living lightning" flashing in her eyes"(line 155). The Baron celebrates his victory.

A gnome name Umbriel journeys to the Cave of Spleen and from the Queen receives a bag of "sighs, sobs, and passions, and the war of tongues"(canto 4 line 84) and a vial filled "with fainting fears, soft sorrows, melting griefs, and flowing tears"(line 85-86) and brings them to Belinda. He finds her dejected in the arms of the woman Thalestris, and pours the bag and vial over them both. This causes all the emotions from the bag and vial to fill them.

Many people, moved by Belinda's grief over her lock, demand it back, but the Baron is unrepentant and refuses. Clarissa admonishes them to keep their good humor, but they don't listen and "called her prude"(canto 5 line 165), and instead a court battle ensues between the nobles. Their weapons are glares, songs, and wits. Belinda fights with the Baron and throws snuff up his nose to subdue him. She threatens to kill him with a bodkin (a sharp hairpin).^[2] She demands that he restore the lock, but they soon discover that it has been completely lost. They search everywhere for it, but cannot find it.

At the end, Pope tells us to "trust the Muse--for she saw it upward rise...A sudden star, it shot through liquid air, and drew behind a radiant trail of hair"(canto 5 line 252-257). Belinda's lock of hair became a star and "this lock the Muse shall consecrate to fame, and 'midst the stars inscribe Belinda's name"(line 280). Even when we are all dead and gone, Belinda's lock of hair shall live on forever.In the beginning of this mock-epic, Pope declares that a "dire offence" (Canto 1 line 1)^[1] has been committed. A lord has assaulted a "gentle belle"(line 8), causing her to reject him. He then proceeds to tell the story of this offence.

It begins with Belinda still asleep. Her "guardian Sylph"(line 20), named Ariel, warns her while she sleeps that "some dread event [impends], Ere to the main this morning sun descend; But Heaven reveals not what, or how, or where; Warned by the Sylph, oh pious maid beware!"(line 109-110). Belinda then awakes and proceeds to get ready for the day with the help of her maid, Betty. The Sylphs, though unseen, also contribute. "These set the head, and those divide the hair, some fold the sleeve, whilst others plait the gown"(line 146-147). Belinda appears so beautiful that as she journeys to Hampton Court (canto 3 line 1-10) "every eye was fixed on her alone"(Canto 2 line 6). Here Pope also describes Belinda's two locks of hair "which graceful hung behind"(line 20). The Baron, one of Belinda's suitors, greatly admires these locks and conspires to steal one. He builds an altar and on it places "all the trophies of his former loves"(line 40), sets them on fire, and fervently prays "soon to obtain, and long posses"(line 44) the lock.

Ariel, disturbed by the impending event, though he does not know what it will be, summons many sylphs to him and instructs them to guard Belinda from anything that may befall her, whether she "forget her prayers, or miss a masquerade, Or lost her heart, or necklace, at a ball"(line 108-109). These spirits hover over Belinda, anxious to protect her as she arrives at Hampton Court. Here she is invited to play a game of ombre, which game she wins.

The Baron still conspires to get her lock. He acquires a pair of scissors and tries to snip it off. The Sylphs sent to watch over her, intervene by blowing "back the hair" and twitching "the diamond in her ear"(canto 3 line 136-137), causing Belinda to look around, and stopping the Baron in his plans. This happens three times, but in the end the Baron manages to cut off the lock (also cutting a Sylph in two, but Pope reassures us that "airy substance soon unites again [line 152]). When Belinda discovers her lock is gone, she falls into a tantrum, with "living lightning" flashing in her eyes"(line 155). The Baron celebrates his victory.

A gnome name Umbriel journeys to the Cave of Spleen and from the Queen receives a bag of "sighs, sobs, and passions, and the war of tongues"(canto 4 line 84) and a vial filled "with fainting fears, soft sorrows, melting griefs, and flowing tears"(line 85-86) and brings them to Belinda. He finds her dejected in the arms of the woman Thalestris, and pours the bag and vial over them both. This causes all the emotions from the bag and vial to fill them.

Many people, moved by Belinda's grief over her lock, demand it back, but the Baron is unrepentant and refuses. Clarissa admonishes them to keep their good humor, but they don't listen and "called her prude"(canto 5 line 165), and instead a court battle ensues between the nobles. Their weapons are glares, songs, and wits. Belinda fights with the Baron and throws snuff up his nose to subdue him. She threatens to kill him with a bodkin (a sharp hairpin).^[2] She demands that he restore the lock, but they soon discover that it has been completely lost. They search everywhere for it, but cannot find it.

At the end, Pope tells us to "trust the Muse--for she saw it upward rise...A sudden star, it shot through liquid air, and drew behind a radiant trail of hair"(canto 5 line 252-257). Belinda's lock of hair became a star and "this lock the Muse shall consecrate to fame, and 'midst the stars inscribe Belinda's name"(line 280). Even when we are all dead and gone, Belinda's lock of hair shall live on forever.

Criticism

Neo Classicism. defines the age of reasoning during 17th to 19th centuries. It displays a certain restraint in characteristics of age, which is marked by religious freedom and other concepts. Also accompanied by the touch of renaissance style. The rape of the Lock by Alexander Pope is a mock-heroic narrative poem which first anonymously published in Lintot's Miscellany in May 1712, which means it belongs to the 18th century of renaissance literature. The first epistle consisting of two cantos or 334 lines was later revised into much expanded 5-canto version (794 lines) under Alexander Pope's name inn March 2 1714. The poem was based on real life incident happened and retold by Pope's friend, John Caryll. Arabella Fermor and her suitor, Lord Petre were both from aristocratic recusant- Catholic families who at hand, under the law of Test Act, in which all denominations suffered legal restrictions and penalties except for the Anglicanism. Petre lusting after Arabella had cut off her hair without permission and argument rise between two families. Pope rewrote the incident by his friends' urge to comically join the two. He just added the sylphs or  guardian spirits of virgins to make twists in the poem..

Eco Criticism

Mother of Invention 

by Celia Berrell

(Poem)

Origins Of The Future by Sharon Davson (crayon drawing on rag paper 1985)

Neotenic humankind
is ceaseless of inquiring mind.
With science and technology,
the stopper’s out, dynamically!

From fire to furnaced energy;
from steam to electricity.
We modify genetically,
and glean the stars effectively.

We can’t slow down this gain in pace.
The fascination’s well in place.
Much to learn – with good intention,
drives this mother of invention.

Criticism

 Celia Berrel, known for her environmental advocacies, was inspire to create a piece for mother earth. It is clearly seen that the literary piece is perfect for Eco Criticism since it deals about our environment. The poem reflects about the innovations of science and technology through the passing times wherein, ill effects were caused to the mother of invention which is the nature. Because everything was made out of our environment even chemical elements were already existed since the world began. now the role of humans is to discover and develop this element for their benefit without knowing that it could harm our mother earth.