Swift's Representation Of The Function Of Cosmetics example essay topic

Alexander Pope and Jonathan Swift in their respective poems, The Rape of the Lock and The Progress of Beauty, offer opposite representations of the nature and function of cosmetics in eighteenth century society. In The Rape of the Lock, Pope gives a positive representation of cosmetic's nature and function in eighteenth century society. On the other hand, Swift's representation takes a very negative tone. Both poets clearly appreciate and admire the natural beauty of a woman and their opposite opinions and therefore representation of the nature and function of cosmetics, springs from this admiration. Pope, whilst slightly ridiculing cosmetics through his use of satire, represents cosmetics in a positive light through portraying it as something which can enhance natural beauty. Swift vehemently opposes cosmetics in his poem and his representation of the nature and function of cosmetics in eighteenth century society is a direct contrast to Pope's.

He represents cosmetics as something not that enhances natural beauty but as something that destructs the natural beauty of a woman. Essentially in their poetry, Pope represents cosmetics as having a positive nature and function in eighteenth century society and Swift represents cosmetics as having a negative nature and function in eighteenth century society. In The Rape of the Lock Pope's appreciation and admiration for Belinda's beauty is evident. "The Rape of the Lock is... a hymn of praise addressed to beauty", in particular to Belinda's beauty. This praise is evident when Pope writes phrases about Belinda such as "And oped those eyes that must eclipse the day". (Canto 1, 14) Belinda's beauty is frequently praised by Pope throughout The Rape of the Lock and his representation of the nature and function of cosmetics is that it is an enhancer of her natural beauty.

When Belinda goes to the mirror to put on her make-up, Pope writes that "A heavenly image in the glass appears". (Canto 1,125) Her beauty is praised by Pope in its natural form, and Pope describes the function of cosmetics here as something that "calls forth all the wonders of her face". (Canto 1,142) The function of cosmetics according to Pope is to enhance the natural beauty of women. To brighten her eyes, and to add colour to her cheeks and lips.

The wonders of Belinda's face are brought out and are enhanced through the use of cosmetics. The nature of cosmetics here, as represented by Pope, is positive, and its function is to enhance natural beauty. Swift opposes this representation, rather representing the nature of cosmetics as negative in The Progress of Beauty. As opposed to Pope's representation of the function of cosmetics as an enhancer of natural beauty, Swift represents the function of cosmetics as being a destroyer of natural beauty.

A number of times in The Progress of Beauty, Swift alludes to the destructive power of cosmetics due to its poisonous elements. Swift writes that Venus "taught [women] where to find White lead and Lusitania n dish". (Line 60) Swift represents these cosmetics as causing women to waste away; "So rotting Celia strolls the street". (Line 103) All of Pope's descriptions of cosmetics as applied to Celia's face in the poem, are ones of hideousness and disgusting ness. The make-up causes her lips to be cracked and her eyes to be gummy. (Line 15) She becomes a "mingled mass of dirt and sweat".

(Line 20) There is nothing appealing or attractive in the use of cosmetics as Swift represents it. Rather Swift represents the nature and function of cosmetics as a disgusting thing that destructs the beauty of women. Cosmetics are not represented by Swift simply as a temporary destruction of beauty, but also as having the function of permanently destructing beauty, of doing irreparable damage because of its poisonous elements. The nature of cosmetics as represented by Swift is negative, and its function is represented only as one of destruction. Pope's representation of the nature and function of cosmetics as one that is positive is shown particularly through his tone.

Most of the things that are mentioned in The Rape of the Lock are satirized by Pope, including Belinda's use of cosmetics. However the satire is predominately light hearted, indicating Pope's optimistic and light hearted feelings towards the use of cosmetics in eighteenth century society. The satire Pope uses on cosmetics does not put a negative tone on the use of cosmetics, but rather puts into question Belinda's, and therefore other women's priorities. In Pope's poem, "a bible as such belongs with puffs and patches".

Keener's point in writing this is that Pope, by throwing in something as important as the bible with things as futile as puffs and powders and patches, is satirizing Belinda's priorities; for Belinda, religion is just as important as her appearance. Pope does not represent cosmetics as having a negative nature through his satire, but rather shows the futility of women caring as much about their appearance as they do about God. This is the only real satire Pope uses in relation to the use of cosmetics. It may be argued that Pope is using this to show the negative function of cosmetics in eighteenth century society in that it distracts women from God. However, vanity is something that can exist with or without the presence of cosmetics. Even in Eden, Eve was distracted by her own beauty, giving in to vanity.

Therefore it would be fair to argue that this being the only presence of satire of cosmetics in The Rape of the Lock, Pope maintains his representation of the nature and function of cosmetics in eighteenth century society as something that is positive. In comparison to this light satire from Pope, Swift's tone is one of attack. In The Progress of Beauty he displays a tone of viciousness towards cosmetics. In continuing with his negative representation of the nature and function of cosmetics in eighteenth century society, Swift through his poem, viciously attacks the use of cosmetics. Cosmetics are described by Pope like paint, their function to cover and their nature eventually to destroy.

Pope writes that "The paint by perspiration cracks, And falls in rivulets of sweat, On either side you see the tracks, While at her chin the confluent's met". (Line 37-40) Swift is clearly against the use of cosmetics in eighteenth century society and he shows this quite openly through The Progress of Beauty. He does not shy away from speaking harshly about women who use cosmetics, shown when he describes Celia as having "Cracked lips, foul teeth, and gummy eyes". (Line 15) His tone is constantly one of viciousness. At some points he eases up a bit in his vicious tone, but mostly his tone becomes one of sarcasm. "Thus, after four important hours Celia's the wonder of her sex".

This sarcastic line ridicules the amount of time women spend only to destroy themselves. Swift's tone throughout the poem, whether sarcastic or vicious serves to further support his representation of the nature and function of cosmetics in eighteenth century society as being negative and destructive. In The Rape of the Lock, Pope never represents cosmetics as having a negative nature or function. He offers some warnings towards the end of his poem, that is simply advice about not focusing on the external things that can fade. Clarissa says that "Beauties in vain their pretty eyes may roll; Charms strike the sight, but merit wins the soul". Keener sums up Pope's point here in saying "Optimistically reposing all one's trust in beauty, pessimistically concentrating upon what 'shall fade,' both attitudes are fallacious".

Pope offers some advice on not becoming tied down to being obsessed with ones image. In terms of representing the nature and function of cosmetics, Pope seems to just be warning women not to let it rule them. He still maintains his positive representation of cosmetics. Swift also offers warnings against the use of cosmetics.

However, his warnings are a stark contrast to those of Pope. Swift's warnings are specifically against the use of cosmetics, and fitting with his tone of viciousness, they come across more like threats. "But, art no longer can prevail when the materials all are gone, The best mechanic hand must fail, When nothing's left to work upon". (Line 77-80) Swift seems to be threatening women that cosmetics are so destructive that one day if they keep using them, they may have no face left to put cosmetics on. When comparing the warnings given to women by Swift and Pope in regards to cosmetics, it is evident that they have contrasting opinions on the nature and function of cosmetics in eighteenth century society. Pope shows a desire to protect women, to make them aware of the dangers of being image obsessed, but not at all in this does he condemn cosmetics.

Swift also offers warnings, but as opposed to Pope's The Rape of the Lock, his The Progress of Beauty is full of condemnation for cosmetics and threats to women about the 'dangers' of cosmetics. In The Rape of the Lock and The Progress of Beauty, both Pope and Swift give representations of the nature and function of cosmetics in eighteenth century society. Their representations are completely contrasting, as the representation of the nature of cosmetics given by Pope is positive, yet Swift represents a negative nature of cosmetics. Pope represents cosmetics to perform the function of enhancing natural beauty.

On the other hand Swift's representation of the function of cosmetics is one that destroys natural beauty. Evidence for these representations can be found in the tones used by both of the poets, in their descriptions of cosmetics and its effects, and in distinct phrases where they offer warnings and speak distinctly about cosmetics and its advantages and disadvantages. Essentially, Pope represents the nature and function of cosmetics in eighteenth century society as positive and as something to enhance natural beauty, whereas Swift represents the nature and function of the same cosmetics as being negative and as something which destroys the natural beauty of women.