The Castration of Eloisa in Popes Eloisa to Abelard :: Pope Eloisa to Abelard Essays

The Castration of Eloisa in Popes Eloisa to AbelardIf Popes intent in writing an Ovidian imposing epistle is to show the entire range of his protagonists emotions from meekness to violent passion, then he was wise to choose the twelfth-century story of Eloisa and Abelard as his subject. Eloisa and her teacher Abelard retired to different monasteries after her family discovered they were lovers and brutally castrated him. Years later, Eloisa by chance intercepted a garner from Abelard to a friend chronicling their love affair. The letter reawakened Eloisas long subdue passion for Abelard, and she struggles to reconcile her sexual passion with her religious vows. As she has interpreted a vow of silence, the only mode of expression left to Eloisa is her emotion, which she frequently expresses by weeping. She tells Abelard in her mindTears still are mine, and those I need not spare,Love but demands what else were shed in prayrNo happier task these faded eyes pursue,To read and weep i s all they flat can do. (lines 45-48)Eloisa thus lives in her mind, communicating mentally with God and immediately her former lover Abelard alternately. Popes verse form is his idea of what Eloisa would write to Abelard in a letter, albeit a letter whose writing would guard spanned several years until her death. In his seminal 1969 article The Escape from Body or the Embrace of Body, Murray Krieger states that the poem represents at once a finished letter and a letter that, apparently finished, is actually in the stormy process of being create verbally (34). The richness of Popes verbiage juxtaposed with the rigidity of his couplet form have suggested to critics both the depth of Eloisas emotion and the restraints placed on her by the church building and her vows. This juxtaposition has troubled some critics (including Krieger) as a mismatch. These critics argue that a writer in Eloisas delirious state would produce writing that is some(prenominal) less polished and constra ined than Popes perfect couplets. In fact, that Pope records Eloisas emotional language in the confining couplet verse structure is precisely what Krieger calls the poems failure. I propose that Pope intended Eloisas emotional outbursts to strain against his feature exacting poetic form. I believe Pope constricts Eloisas florid language within the couplet in order to emphasize the severity of the impoundment she suffers in the monastery. Further, I would argue that Eloisas imprisonment in a monastery, unite with the vow of silence and marriage to the Church required of her as originate of her religious confinement, is a symbolic act of