Canto II Summary

Lines 1-18

Not with more Glories, in th' Etherial Plain,
The Sun first rises o'er the purpled Main,
Than issuing forth, the Rival of his Beams
Lanch'd on the Bosom of the Silver Thames.
Fair Nymphs, and well-drest Youths around her shone,
But ev'ry Eye was fix'd on her alone.
On her white Breast a sparkling Cross she wore,
Which Jews might kiss, and Infidels adore.
Her lively Looks a sprightly Mind disclose,
Quick as her Eyes, and as unfix'd as those:
Favours to none, to all she Smiles extends,
Oft she rejects, but never once offends.
Bright as the Sun, her Eyes the Gazers strike,
And, like the sun, they shine on all alike.
Yet graceful Ease, and Sweetness void of Pride,
Might hide her Faults, if Belles had faults to hide:
If to her share some Female Errors fall,
Look on her Face, and you'll forget 'em all.

• Canto II opens with Belinda traveling down the River Thames. This is the main river that runs through London. People in the 18th century used to hire boats—kind of like a water taxi—to take them to destinations up and down the river. Belinda's on her way to a party at Hampton Court, a few miles upriver from her house. 
• The boat is full of her equally well-dressed and good-looking friends, male and female, but Belinda outshines them all. She's wearing a jeweled cross necklace as part of her ensemble, and she's making a ton of small talk. And even though she can be flirtatious, she's so superficially nice to everyone and she looks so good that everyone forgives her if she accidentally hurts someone's feelings. If there were such things as "popular" school cliques in Belinda's day, she would totally belong to one. 
• We are back to the sun again in these first few lines of Canto II. Remember how "Sol" (a.k.a., the sun) was so shy about peeping through Belinda's window curtains at the beginning of Canto I, because Belinda's very eyes would rival his beams for beauty? Here Pope continues the metaphor that relates Belinda and the sun, taking it to the absolute nth degree in the first four lines, where she is "the Rival of his Beams" (3). 
• What's going on with that cross around her neck in lines 7-8, the one "Which Jews might kiss, and Infidels adore"? 
• Here's the deal: Pope is gently poking fun at religious prejudices here, telling us that Belinda is so beautiful at this moment, even a Jewish person or an "infidel" (by this Pope probably means a follower of Islam; yes, you're right in guessing that people in Pope's day were not as tolerant of different religions as we are now) would kiss the very Christian cross she wears. It's another reminder (as if we needed one here, right?) of how darn good she looks.
• Pope hits us with a simile in lines 13-14, comparing Belinda to the sun (again), telling us that just like the sun, her smiles and brightness shine on everyone alike. A great compliment, isn't it? But look at it again more closely and you'll see it's got a double edge: the sun is superficial, not deep. So, by extension, is our friend Belinda.

Lines 19-46

This Nymph, to the Destruction of Mankind,
Nourish'd two Locks, which graceful hung behind
In equal Curls, and well conspir'd to deck
With shining Ringlets her smooth Iv'ry Neck.
Love in these Labyrinths his Slaves detains,
And mighty Hearts are held in slender Chains.
With hairy Sprindges we the Birds betray,
Slight Lines of Hair surprize the Finny Prey,
Fair Tresses Man's Imperial Race insnare,
And Beauty draws us with a single Hair.
Th' Adventrous Baron the bright Locks admir'd,
He saw, he wish'd, and to the Prize aspir'd:
Resolv'd to win, he meditates the way,
By Force to ravish, or by Fraud betray;
For when Success a Lover's Toil attends,
Few ask, if Fraud or Force attain'd his Ends.
For this, e're Phoebus rose, he had implor'd
Propitious Heav'n, and ev'ry Pow'r ador'd,
But chiefly Love — to Love an Altar built,
Of twelve vast French Romances, neatly gilt.
There lay three Garters, half a Pair of Gloves;
And all the Trophies of his former Loves.
With tender Billet-doux he lights the Pyre,
And breathes three am'rous Sighs to raise the Fire.
Then prostrate falls, and begs with ardent Eyes
Soon to obtain, and long possess the Prize:
The Pow'rs gave Ear, and granted half his Pray'r,
The rest, the Winds dispers'd in empty Air.

• Finally, Pope introduces us to the locks themselves, the main subject of the poem's title, which he describes as hanging, perfectly curled and shiny, down the back of Belinda's neck. 
• In these lines we also meet the Baron, the male protagonist of the story, who Pope tells us has been plotting and planning to steal those locks for a long time. 
• In fact, we learn in lines 35-44 that he spent the early morning of this very day praying for the opportunity. We also learn in lines 45–46 that his prayers have been halfway granted. Belinda's doom is sealed.
• Do you think that the locks of hair hanging down Belinda's neck are accidental? Yeah right. She's actually "Nourish'd" (20) them both, knowing full well that a few strategic curls can be very attractive. Pope gives us two tidy metaphors here: in lines 23-24 the locks are "slender Chains" with the power to enslave their beholder; in lines 25-28 they are tools for catching admirers, much like "Sprindges" (i.e. snares) or fishing line might catch a bird or a fish. 
• If love was a battlefield in the first Canto, here at the beginning of the second Canto love is a little more like a hunting trip, with Belinda out to catch herself a boyfriend. We wouldn't say she is literally planning on tying up a likely dude with her hair, though (this isn't Tangled, kids).

Lines 47-72

But now secure the painted Vessel glides,
The Sun-beams trembling on the floating Tydes,
While melting Musick steals upon the Sky,
And soften'd Sounds along the Waters die.
Smooth flow the Waves, the Zephyrs gently play,
Belinda smil'd, and all the World was gay.
All but the Sylph — With careful Thoughts opprest,
Th' impending Woe sate heavy on his Breast.
He summons strait his Denizens of Air;
The lucid Squadrons round the Sails repair:
Soft o'er the Shrouds Aerial Whispers breathe,
That seem'd but Zephyrs to the Train beneath.
Some to the Sun their Insect-Wings unfold,
Waft on the Breeze, or sink in Clouds of Gold.
Transparent Forms, too fine for mortal Sight,
Their fluid Bodies half dissolv'd in Light.
Loose to the Wind their airy Garments flew,
Thin glitt'ring Textures of the filmy Dew;
Dipt in the richest Tincture of the Skies,
Where Light disports in ever-mingling Dies,
While ev'ry Beam new transient Colours flings,
Colours that change whene'er they wave their Wings.
Amid the Circle, on the gilded Mast,
Superior by the Head, was Ariel plac'd;
His Purple Pinions opening to the Sun,
He rais'd his Azure Wand, and thus begun.

• Poor Ariel. He and his posse of Sylphs have come along for the ride, to keep an eye on Belinda and make sure the party goes well for her. But while for all of the humans in the boat this is a perfect morning—the sun is shining, music is playing, Belinda is smiling—Ariel can't get the dire portents of the morning out of his head. Bad stuff's gonna go down.
• He calls all of the Sylphs together from the air and from their perches in the boat sails, to have a quick strategy meeting and prepare for the worst. Unseen by Belinda and her friends, the gorgeously colored and transparent Sylphs gather around their leader, who begins to speak.
• In this passage Pope uses a lot of color, light, and air language to underscore the fragile beauty of these frivolous creatures: they speak in "Aerial whispers"(57) that to humans might sound only like "Zephyrs"—a Greek word for a light, playful breeze (51 and 58)—they "Waft" and sink in "Clouds of Gold" (60). 
• More great words in this part that completely nail the image: "Transparent," "fluid," "dissolv'd in Light," "airy," "glitt'ring," and "filmy." Pope wants to make totally certain that you don't miss his point: the Sylphs are beautiful, colorful, and delicate, like a lot of butterflies. You didn't miss his point, did you?

Lines 73-142

Ye Sylphs and Sylphids, to your Chief give Ear,
Fays, Fairies, Genii, Elves, and Daemons hear!
Ye know the Spheres and various Tasks assign'd,
By Laws Eternal, to th' Aerial Kind.
Some in the Fields of purest Aether play,
And bask and whiten in the Blaze of Day.
Some guide the Course of wandring Orbs on high,
Or roll the Planets thro' the boundless Sky.
Some less refin'd, beneath the Moon's pale Light
Hover, and catch the shooting stars by Night;
Or suck the Mists in grosser Air below,
Or dip their Pinions in the painted Bow,
Or brew fierce Tempests on the wintry Main,
Or o'er the Glebe distill the kindly Rain.
Others on Earth o'er human Race preside,
Watch all their Ways, and all their Actions guide:
Of these the Chief the Care of Nations own,
And guard with Arms Divine the British Throne.
Our humbler Province is to tend the Fair,
Not a less pleasing, tho' less glorious Care.
To save the Powder from too rude a Gale,
Nor let th' imprison'd Essences exhale,
To draw fresh Colours from the vernal Flow'rs,
To steal from Rainbows ere they drop in Show'rs
A brighter Wash; to curl their waving Hairs,
Assist their Blushes, and inspire their Airs;
Nay oft, in Dreams, Invention we bestow,
To change a Flounce, or add a Furbelo.
This Day, black Omens threat the brightest Fair
That e'er deserv'd a watchful Spirit's Care;
Some dire Disaster, or by Force, or Slight,
But what, or where, the Fates have wrapt in Night.
Whether the Nymph shall break Diana's Law,
Or some frail China Jar receive a Flaw,
Or stain her Honour, or her new Brocade,
Forget her Pray'rs, or miss a Masquerade,
Or lose her Heart, or Necklace, at a Ball;
Or whether Heav'n has doom'd that Shock must fall.
Haste then ye Spirits! to your Charge repair;
The flutt'ring Fan be Zephyretta's Care;
The Drops to thee, Brillante, we consign;
And Momentilla, let the Watch be thine;
Do thou, Crispissa, tend her fav'rite Lock;
Ariel himself shall be the Guard of Shock.

To Fifty chosen Sylphs, of special Note,
We trust th' important Charge, the Petticoat.
Oft have we known that sev'nfold Fence to fail;
Tho' stiff with Hoops, and arm'd with Ribs of Whale.
Form a strong Line about the Silver Bound,
And guard the wide Circumference around.

Whatever spirit, careless of his Charge,
His Post neglects, or leaves the Fair at large,
Shall feel sharp Vengeance soon o'ertake his Sins,
Be stopt in Vials, or transfixt with Pins.
Or plung'd in Lakes of bitter Washes lie,
Or wedg'd whole Ages in a Bodkin's Eye:
Gums and Pomatums shall his Flight restrain,
While clog'd he beats his silken Wings in vain;
Or Alom-Stypticks with contracting Power
Shrink his thin Essence like a rivell'd Flower.
Or as Ixion fix'd, the Wretch shall feel
The giddy Motion of the whirling Mill,
In Fumes of burning Chocolate shall glow,
And tremble at the Sea that froaths below!

He spoke; the Spirits from the Sails descend;
Some, Orb in Orb, around the Nymph extend,
Some thrid the mazy Ringlets of her Hair,
Some hang upon the Pendants of her Ear;
With beating Hearts the dire Event they wait,
Anxious, and trembling for the Birth of Fate.

• For these final sixty or so lines of Canto II, Ariel gives a stirring, grandiose speech to his army of Sylphs that warns them of Belinda's possible danger. First (74-90) he gives an overview of the entire spirit world, starting at the very top of the pecking order with those spirits who guide the cosmos and the galaxy, moving through those in charge of the sea and the weather, on down to those who guard and guide humanity, including the spirits who "guard with Arms Divine the British Throne" (61). 
• He and his Sylphs, he goes on to say, have a much less important job: to keep an eye on society women like Belinda. In lines 91-100, he gives us details: Sylphs help with hairstyles, makeup, and fashion, without their humans ever knowing it. 
• Powders and washes, flounces and furbelows: it's all fun and games until Ariel throws down the doom and gloom in line 101.
• He warns the Sylphs that "black Omens" threaten their Belinda, and that they all have to pull together to guard her from whatever terrible thing is about to happen to her. 
• In lines 111-122, he assigns certain posts to certain Sylphs: one for her fan, one for her earrings, one for her watch, one for her hair, and Ariel himself tells us he will protect Shock the dog. 
• Fifty Sylphs are assigned to keep an eye on Belinda's skirt (dresses were BIG in those days). The final 14 lines of Ariel's speech (123–136) threaten any Sylph who falls down on the job with some horrific punishments. The speech over, the Sylphs all take their protective positions, and wait. Cue more ominous music.
• Here we go again with another of Pope's poetic juxtapositions; in fact, Ariel's entire speech puts the sublime and the ridiculous side by side so often that the chief Sylph could quit his day job and go write for Monty Python's Flying Circus. 
• From his opening shout-out to all classes of spirits (that's what he means in lines 73 and 74, when he calls to "Ye Sylphs and Sylphids" and to all of the "Fays, Fairies, Genii, Elves and Daemons") to his description of the grand powers that move the planets and stars in their orbits, or control the weather, or keep an eye on the Queen of England, his speech in lines 73 through 90 is about as inflated as you can get. 
• But where, in all of this pomp and circumstance, do he and his fellow Sylphs fit in? After line 91, we get the answer: the realm of the ridiculous. Bling and frills, curls and perfume, the keen fashion sense of the idle rich—right up next to the sun, moon, stars, and the government of nations. 
• If you haven't snorted your milk through your nose yet, you might get there soon: the juxtapositions keep on coming thicker and faster from lines 105 through 110 as Ariel speculates on what Belinda's dire fate will be. Pope is making much of the couplet form here to bring his juxtapositions across. 
• Take a close look at lines 105 and 106: "Whether the Nymph shall break Diana's law,/ Or some frail China jar receive a Flaw." The "Nymph" is Belinda, and "Diana" in that first line is the Roman goddess of chastity and the moon. What do you think "Diana's law" might be? Yep, you're right: Ariel is wondering if Belinda might lose her virginity today. A pretty monumental thing, if it did happen. 
• But what does Pope juxtapose that with, in the very next line? Whether or not a vase might get a crack in it. If you feel like Ariel has his priorities confused by putting these two things on an equal footing within a couplet, you're right. 
• Now look at the juxtaposition that occurs within the very next line: "Or stain her Honour, or her new Brocade." "Brocade" stands for a new dress made out of a fancy embroidered fabric. Is the Ariel equating a stain on Belinda's honor with a stain on her dress? Absolutely. Is that messed up? Absolutely. 
• Keep on going, and you'll see more examples of this over the next two lines, ending finally with Ariel getting anxious about the fate of Shock the dog. 
• Notice how Pope is developing that whole juxtaposition thing into commentary on the priorities of the society he lives in. Have you ever listened to your friends freaking out over Justin Bieber's current relationship status and thought, get real, people.
• Yeah, it's kind of like that. 
• Check out the odd names that Ariel gives to specific Sylphs when he assigns a protective mission to each one in lines 111-116.
• Remember the word "Zephyr" from earlier in this Canto, which referred to a gentle breeze? Here we have a Sylph named "Zephiretta," whom Ariel assigns to watch Belinda's fan. Get it? 
• And see why "Brillante" might be needed to keep an eye on her diamonds, and "Momentilla" her watch? "Crispissa" is a play on the Latin word for "curl." Pope is having a ton of geek fun with words here, as you might have noticed. Puns galore.
• And then there's the issue of the petticoat in line 117-122. Sure, women's skirts were huge in those days, but fifty Sylphs are needed to guard it? What do you think Ariel is getting at here? Hint: it has something to do with "Diana's law" again. Bingo. 
• Someone getting up Belinda's skirts (figuratively and literally) would probably be one of the worst things that could happen to her reputation. If you are starting to think that reputation and honor, mainly when it came to sex, were really important to young society women in the 18th century, you're right on the money. 
• And while women's corsets and petticoats were pretty formidable in those days (as the poem describes, made with hoops and whalebone, which was a little springy), the implication here is that all of that construction might not be enough to keep out a persistent suitor. 
• Now on to Ariel's punishments for those Sylphs who might fall asleep on the job, in lines 123-136. Slacking Sylphs might find themselves stuck in small glass jars or poked with pins, dunked in cosmetic "Washes" (imagine drowning in a lake of Sea Breeze), or stuck in a hairpin (that's the "Bodkin's eye" in line 128).
• They might also get gooed up in hair gel or lotion ("Gums and Pomatums," line 129), shrunk into nothingness ("Alom-stypticks" were astringents that were used for first-aid to stop bleeding), or imprisoned in a coffee grinder, or drowned in a sea of hot chocolate.
• With the coffee grinder Pope gets in a tiny allusion in line 133 to the Classical Greek character Ixion, who was doomed to revolve on a wheel in Hades for eternity. Yep, more juxtaposition. It's everywhere 
• Overall, these are perfect punishments for the frivolous Sylphs, wouldn't you say? No wonder they so diligently repair to their posts in Belinda's skirts, hair, and earrings, to wait for whatever comes. Are you starting to worry about her yet?