'3 a structure':
Hampton Court, a palace on the Thames, a few miles above London. It was
begun by Wolsey, and much enlarged by William III. Queen Anne visited it
occasionally, and cabinet meetings were sometimes held there. Pope
insinuates (l. 6) that the statesmen who met in these councils were as
interested in the conquest of English ladies as of foreign enemies.
'8'
Tea was still in Queen Anne's day a luxury confined to the rich. It
cost, in 1710, from twelve to twenty-eight shillings per pound.
'9 The heroes and the nymphs':
the boating party which started for Hampton Court in Canto II.
'17'
Snuff-taking had just become fashionable at this time. The practice is
said to date from 1702, when an English admiral brought back fifty tons
of snuff found on board some Spanish ships which he had captured in Vigo
Bay.
In the 'Spectator' for August 8, 1711, a mock advertisement is inserted
professing to teach "the exercise of the snuff-box according to the most
fashionable airs and motions," and in the number for April 4, 1712,
Steele protests against "an impertinent custom the fine women have
lately fallen into of taking snuff."
'22 dine':
the usual dinner hour in Queen Anne's reign was about 3 P.M. Fashionable
people dined at 4, or later. This allowed the fashionable lady who rose
at noon time to do a little shopping and perform "the long labours of
the toilet."
'26 two ... Knights':
one of these was the baron, see l. 66.
'27 Ombre':
a game of cards invented in Spain. It takes its name from the Spanish
phrase originally used by the player who declared trumps: "Yo soy
l'hombre," 'i.e.' I am the man. It could be played by three, five, or
nine players, but the usual number was three as here. Each of these
received nine cards, and one of them named the trump and thus became the
"ombre," who played against the two others. If either of the ombre's
opponents took more tricks than the ombre, it was "codille" (l. 92).
This meant that the opponent took the stake and the ombre had to replace
it for the next hand.
A peculiar feature of ombre is the rank, or value, of the cards. The
three best cards were called "matadores," a Spanish word meaning
"killers." The first of these matadores was "Spadillio," the ace of
spades; the third was "Basto," the ace of clubs. The second, "Manillio,"
varied according to the suit. If a black suit were declared, Maniilio
was the two of trumps; if a red suit, Manillio was the seven of trumps.
It is worth noting also that the red aces were inferior to the face
cards of their suits except when a red suit was trump.
A brief analysis of the game played on this occasion will clear up the
passage and leave the reader free to admire the ingenuity with which
Pope has described the contest in terms of epic poetry.
Belinda declares spades trumps and so becomes the "ombre." She leads one
after the other the three matadores; and takes three tricks. She then
leads the next highest card, the king of spades, and wins a fourth
trick. Being out of trumps she now leads the king of clubs; but the
baron, who has actually held more spades than Belinda, trumps it with
the queen of spades. All the trumps are now exhausted and the baron's
long suit of diamonds is established. He takes the sixth, seventh, and
eighth tricks with the king, queen, and knave of diamonds, respectively.
Everything now depends on the last trick, since Belinda and the baron
each have taken four. The baron leads the ace of hearts and Belinda
takes it with the king, thus escaping "codille" and winning the stake.
'30 the sacred nine':
the nine Muses.
'41 succint':
tucked up.
'54 one Plebeian card':
one of Belinda's opponents is now out of trumps and discards a low card
on her lead.
'61 Pam':
a term applied to the knave of clubs which was always the highest card
in Lu, another popular game of that day.
'74 the globe':
the jeweled ball which forms one of the regalia of a monarch. The aspect
of playing cards has changed not a little since Pope's day, but the
globe is still to be seen on the king of clubs.
'79 Clubs, Diamonds, Hearts':
these are the losing cards played by Belinda and the third player on the
baron's winning diamonds.
'99'
Pope's old enemy, Dennis, objected to the impropriety of Belinda's
filling the sky with exulting shouts, and some modern critics have been
foolish enough to echo his objection. The whole scene is a masterpiece
of the mock-heroic. The game is a battle, the cards are warriors, and
Belinda's exclamations of pleasure at winning are in the same fashion
magnified into the cheers of a victorious army.
'100 long canals':
the canals which run through the splendid gardens of Hampton Court, laid
out by William III in the Dutch fashion.
'106 The berries crackle':
it would seem from this phrase that coffee was at that time roasted as
well as ground in the drawing-room. In a letter written shortly after
the date of this poem Pope describes Swift as roasting coffee "with his
own hands in an engine made for that purpose."
Coffee had been introduced into England about the middle of the
seventeenth century. In 1657 a barber who had opened one of the first
coffeehouses in London was indicted for "making and selling a sort of
liquor called coffee, as a great nuisance and prejudice of the
neighborhood." In Pope's time there were nearly three thousand
coffee-houses in London.
'The mill':
the coffee-mill.
'107 Altars of Japan':
japanned stands for the lamps.
'117-118'
The parenthesis in these lines contains a hit at the would-be omniscient
politicians who haunted the coffee-houses of Queen Anne's day, and who
professed their ability to see through all problems of state with their
eyes half-shut. Pope jestingly attributes their wisdom to the inspiring
power of coffee.
'122 Scylla':
the daughter of King Nisus in Grecian legends. Nisus had a purple hair
and so long as it was untouched he was unconquerable. Scylla fell in
love with one of his enemies and pulled out the hair while Nisus slept.
For this crime she was turned into a bird. The story is told in full in
Ovid's 'Metamorphoses', Bk. VIII.
'127 Clarissa':
it does not appear that Pope had any individual lady in mind. We do not
know, at least, that any lady instigated or aided Lord Petre to cut off
the lock.
'144 An earthly Lover':
we know nothing of any love affair of Miss Fermor's. Pope mentions the
"earthly lover" here to account for Ariel's desertion of Belinda, for he
could only protect her so long as she "rejected mankind"; compare Canto
I, ll. 67-68.
'147 Forfex':
a Latin word meaning scissors.
'152'
Pope borrowed this idea from Milton, who represents the wound inflicted
on Satan, by the Archangel Michael as healing immediately--
Th' ethereal substance closed
Not long divisible.
--'Paradise Lost', VI, 330-331.
'165 Atalantis': 'The New Atalantis',
a four-volume "cornucopia of scandal" involving almost every public
character of the day, was published by a Mrs. Manley in 1709. It was
very widely read. The Spectator found it, along with a key which
revealed the identities of its characters, in the lady's library already
mentioned ('Spectator', No. 37).
'166 the small pillow':
a richly decorated pillow which fashionable ladies used to prop them up
in bed when they received morning visits from gentlemen. Addison gives
an account of such a visit in the 'Spectator', No. 45.
'167 solemn days':
days of marriage or mourning, on which at this time formal calls were
paid.
'173 the labour of the gods':
the walls of Troy built by Apollo and Neptune for King Laomedon.
'178 unresisted':
irresistible.