This deride brave finish of the lyric is intended to complement the woman it suggests-Arabella, while likewise giving the writer himself due kudos for being the instrument of her everlasting status. This closure viably reveals the courageous woman's vanity, despite the fact that the vast poem has worked all through as a scrutiny of that vanity. Also, no genuine improvement has occurred: Belinda is requested to deal with her misfortune through a diversion that fortifies her essentially pointless standpoint. Be that as it may, even in its most deriding minutes, this lyric is a delicate one, in which Pope demonstrates a fundamental sensitivity for the social world disregarding its imprudence and flaws. The singing evaluates of his later parodies would be substantially more stringent and less lenient.
The final battle marks erotic description of the actions happening within the party. The lords and ladies, illustrate the writer’s aim of mock-agony. Sir Plume’s action of drawing Clarissa down and Belinda flying to her foe with passion are a few examples that showcase the satire present in the final battle. The explanation why Baron was not afraid: “sought no more than on his foe to die,”(Pope,CantoV) explicitly suggests that his final goal was sexual consummation.
This last fight is the summit of the long succession of ridiculous activities. Pope summons by naming the Roman divine-beings who were most dynamic in fighting, contrasting the unemotional Baron with Aeneas ("the Trojan"), who left his adoration to end up as the creator of Rome.
The whole framework suggests that Pope’s magnum opus is fully constructed through mock-epic style with examples and rhetorical references which are clear and make fun of the societal hindrances in different lives.