In Restoration and Eighteenth Century literature, the writers were more apt to express their desires and experiences on paper, rather than repress their behavior and experiences that the "politeness" of their society prohibited. The Restoration and Eighteenth Century have often been associated with placing high moral values on good manners, courtesy, and respect. However, this is only visible when looking at the society from the exterior. Their preoccupation with politeness was channeled into a state of mind, rather than an act. An interior examination of Restoration and Eighteenth Century society illustrates a society preoccupied with the grandeur of fashion and commodities, as well as holding an abstract view on moral principles. Material possessions were of the utmost importance, while the proper clothing and meticulous appearance became the embodiment of "politeness". On the outside they fit the archetype that their society expected, while on the inside they fit the archetype that their society created.

The Rape of the Lock is a comical indictment of the vanities and redundancy of Eighteenth Century high society. Based on a real life occurrence, Pope intended for the poem to make li

The misguided moral values of Eighteenth Century Society continue to reveal themselves when the Baron cuts of a lock of Belinda's precious hair. Belinda boasts all of the typical female idiosyncrasies, which have occurred as a result of society training and educating her to act in this manner. Pope implies that the rape of Belinda's lock of hair is more devastating than an actual rape of Belinda herself. Belinda validates this assumption when she states: "Oh hadst thou, cruel! been content to seize / Hairs less in sight, or any hairs but these!" (ll1175-176). The declaration that Belinda would rather lose hair "less in sight" signifies the extent to which she values outward appearance above everything else. Belinda would rather suffer a violation of her own integrity rather than an infringement of her outward appearance.

That all her vanities at once are dead:

British Literature. Vol. I. Ed. David Damrosch. New York: Addison-Wesley, 1999. 185-241.

Think not, when woman's transient breath is fled,

And though she plays no more, o'erlooks the cards.

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Approximate Word count = 840
Approximate Pages = 3 (250 words per page double spaced)