It is with the "airy sylphs" that our principal concerns lie, as it is these with whom Belinda, our heroine and supposed counterpart of Miss Fermor, is associated.
In the poem the role of the supernatural beings is multi-faceted, and they are used by Pope to demonstrate many ideas. These sylphs are seen to be representative of the "light coquettes" on whom the poet is making comment, however, the purpose of employing these supernatural beings in this way by Pope is twofold. Firstly, he is free to satirise the superficiality of the time without exposing himself to the imminent public outcry. Pope portrays these beings as the guardians of women:.
"Our humbler province is to tend the fair" .
Obsessed with the beauty, grace and chastity of their charges, the sylphs perform an allegorical function, representing the conventions of the Augustan society. Yet by exposing these foibles "through characteristics of the sylphs rather than of Belinda herself" Pope is fulfilling the workings of satire, showing us a society obsessed with superficial splendour, class and social status. The inclusion of the sylphs allows Pope to critique the situation whilst the supernatural quality still keeps the story in the realms of fantasy. When Pope speaks in Canto II of the roles of the sylphs, the juxtaposition of guardians of the "British Throne" with the idea that certain sylphs exist "To change a flounce, or add a furbelow" , serves to completely deflate the passage. This is only one of many striking examples of Pope's use of bathos as a device to aid his satire.
In Canto III, we have a fine example of subtlety of Pope's satire, this time a comment on the obsession on the society of early eighteenth century with class and the aristocracy. Pope speaks of how the sylphs in the game of Ombre sit on Belinda's cards, guiding their mistress but still concerned with rank and hierarchy.
