“A Heav’nly Image in the Glass”: The Illustration as Mirror of the Culture of Consumption in The Rape of the Lock
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This paper explores the significance of mirrors shown in two illustrations of Alexander Pope’s The Rape of the Lock in the context of the culture of consumption and the print culture of the early eighteenth century. After investigating Pope’s influence and control over the creation of the illustrations, the paper examines how the mirror is used as a medium that reflects contemporary materialistic culture. Even though Pope is torn between his aspiration to be a gentleman and his need to make a profit from writing, he is fully engaged in the entire production process of his book as artifact. Set against the backdrop of the artistic tradition of presenting the mirror as a symbol of vanity, in particular female vanity and memento mori, the frontispiece illustration of The Rape of the Lock foregrounds the mirror as the main tool for exhibiting the luxuries that make up Belinda’s life of consumption. Venus-like Belinda looking at the mirror exposes herself as a commodity that is consumed by the gaze and whose value is enhanced with cosmetics. The multiple layers of commodification, from the illustration itself as a decoration of a book that presents itself as an artifact to Belinda displaying herself, gesture to the complex implications of a rapidly commercializing print culture amidst a growing generalized culture of consumption.
Abstract
This paper explores the significance of mirrors shown in two illustrations of Alexander Pope’s The Rape of the Lock in the context of the culture of consumption and the print culture of the early eighteenth century. After investigating Pope’s influence and control over the creation of the illustrations, the paper examines how the mirror is used as a medium that reflects contemporary materialistic culture. Even though Pope is torn between his aspiration to be a gentleman and his need to make a profit from writing, he is fully engaged in the entire production process of his book as artifact. Set against the backdrop of the artistic tradition of presenting the mirror as a symbol of vanity, in particular female vanity and memento mori, the frontispiece illustration of The Rape of the Lock foregrounds the mirror as the main tool for exhibiting the luxuries that make up Belinda’s life of consumption. Venus-like Belinda looking at the mirror exposes herself as a commodity that is consumed by the gaze and whose value is enhanced with cosmetics. The multiple layers of commodification, from the illustration itself as a decoration of a book that presents itself as an artifact to Belinda displaying herself, gesture to the complex implications of a rapidly commercializing print culture amidst a growing generalized culture of consumption.
참고문헌 (22)
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