How we cite our quotes: (Canto.Line)
Quote #1
Hear and believe! thy own Importance know,
Nor bound thy narrow Views to Things below.
Some secret Truths from Learned Pride conceal'd,
To Maids alone and Children are reveal'd:
What tho' no Credit doubting Wits may give?
The Fair and Innocent shall still believe. (I.35–40)
Back to the beginning of the poem, and Belinda's dream, where Ariel tells her all about the Sylphs. Might be more accurate to call it the Church of the Sylphs. Membership, after all, seems restricted to women and children, who—although they are mighty low on the totem pole in Pope's society—seem to get a little validation here from those Sylphs. Can't blame them for wanting to belong to this religion, can you? Hard to not feel important when you're told you've got fairies for an entourage.
Quote #2
Oft when the World imagine Women stray,
The Sylphs thro' mystick Mazes guide their Way,
Thro' all the giddy Circle they pursue,
And old Impertinence expel by new. (I.91–94)
More doctrine from the Church of the Sylphs as explained by Ariel in Belinda's dream. A-ha, so there is a reason why women can behave so erratically? They're not random, they're in fact guided by a higher power (i.e., the Sylphs?) Doesn't that make you feel good?
Quote #3
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. (II.91–100)
On the boat that takes Belinda to her fateful party, Ariel assembles all of her Sylph entourage and explains their overall reason for being. His speech elevates the trivial, makes the mundane magical, doesn't it? You'll never look at putting on makeup in the same way again, will you? But then again, will you ever look at supernatural powers in the same way, if you know they concern themselves with this stuff?
Quote #4
Soon as she spreads her Hand, th' Aerial Guard
Descend, and sit on each important Card,
First Ariel perch'd upon a Matadore,
Then each, according to the Rank they bore;
For Sylphs, yet mindful of their ancient Race,
Are, as when Women, wondrous fond of place. (III.31–36)
As with Ariel's speech in Canto II, here in Canto III the poem elevates the trivial by making the card game a glorious, glamorous pastime. And at the same time, making the Sylphs look ridiculous for caring that much about status in the afterlife.
Quote #5
He watch'd th' Ideas rising in her Mind,
Sudden he view'd, in spite of all her Art,
An Earthly Lover lurking at her Heart.
Amaz'd, confus'd, he found his Pow'r expir'd,
Resign'd to Fate, and with a Sigh retir'd. (III.142–146)
It's the moment of truth in Canto III, as the Baron is about to snip Belinda's lock, and Ariel realizes that he can't protect her any more because she has deep feelings for a man. We're still trying to sort this out. Is it because if Belinda does have an earthly lover, that means she's capable of deep feeling, and is no longer superficial enough for Ariel to protect?
Quote #6
Full o'er their Heads the swelling Bag he rent,
And all the Furies issued at the Vent.
Belinda burns with more than mortal Ire,
And fierce Thalestris fans the rising Fire. (IV.91–94)
Umbriel the Gnome has been to the Queen of Spleen and received a bag full of female anger, sobs, and hysterics, which he dumps over Belinda's head to ensure she won't just laugh off the loss of her lock. What a great excuse or explanation for losing your temper and going totally off the deep end: the Gnome made me do it. (Sounds a little like those Travelocity commercials, yes?)