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UNDERSTANDING
POPE:
THE
RAPE
OF
THE
LOCK
Understanding Pope
UNDERSTANDING
POPE:
Robert A. Albano
MERCURYE PRESS
Los Angeles
UNDERSTANDING POPE:
The Rape of the Lock
Robert A. Albano
MERCURYE PRESS
Los Angeles
TABLE OF CONTENTS
7
Critics divide Pope's literary career into three
stages:
8
SOCIAL CRITICISM
9
SOME COMMENTS ON
"THE EDUCATOR"
[His] index-hand
Held forth the virtue of the dreadful wand;
His beavered brow a birchen garland wears,
Dropping with infant's blood, and mother's tears.
(lines 139-42)
10
has just received a whipping.
The Educator presents a speech to the goddess
Dulness in which he explains that he only allows rote
learning to take place in his school. Rote learning
refers to memorizing large amounts of information
without having the students really comprehend or
understand the information. He never allows the
students to use their "fancy" (line 156), their
imaginations. Instead, the Educator will "confine" their
thoughts. He will only allow them to memorize the
information that he feels is important. As the
Educator's metaphor explains, these teachers "hang
one jingling padlock on the mind" (line 162). In other
words, they try to lock up the minds of the students so
that the students will not think freely for themselves.
Of course, the Educator does not like poets. And he
regrets it deeply if he cannot eliminate any poetic talent
that a student may have (lines 163-65).
Pope obviously did not appreciate the
educational system in England. In the passage on the
Educator, the poet is explaining that people become
poets or great statesmen despite the educational system,
not because of it.
11
PURPOSE AND METHOD IN
THE RAPE OF THE LOCK
12
(or sections) long. The second version, completed in
1717, contains five cantos. This second version,
especially, established Pope (as some critics suggest) as
the master of "witty, urbane satire." Some critics even
add that it is "the most brilliant mock epic" in English
literature.
In the poem, the character of the Baron
represents Lord Petre. And the character of Belinda
represents Arabella Fermor. The primary setting is the
tearoom or teahouse. And the conflict, quite simply,
may be referred to as "the battle of the sexes." This is
the expression used to describe differences and
occasional conflicts between the two genders.
However, it is especially used to describe the conflict
between a man and a woman when their relationship
develops difficulties or even falls apart.
The student should especially note two poetic
devices or features. (1) Pope uses literary allusions or
references to the great epics of the past: The Iliad, The
Odyssey, The Aeneid, and Paradise Lost. (2) But perhaps
the most important poetic feature of this poem is
hyperbole (or exaggeration). The poet takes small,
unimportant, or trivial matters and makes them appear
to be great, grand, or epic. In this way the poet creates
his mock epic. Such literary works make fun of an
unimportant person or event by making that person or
event appear to be great (as if the person were equal to
the great Greek hero Achilles or as if the event were as
significant as the Trojan War).
The student should also note a theme
concerning innocence in the poem. In The Rape of the
Lock the word innocence can mean both (1) goodness and
(2) chastity. Pope is then using the word innocence as a
13
pun to suggest the sexual nature or quality of his
heroine, Belinda. The title also suggests, perhaps, the
sexual nature of the major characters. Generally
speaking, in this poem the word rape means "to take by
force." So, the literal interpretation of the title
indicates how the Baron (Lord Petre) takes a lock of
hair without the permission of Belinda (Arabella
Fermor). However, the title also can suggest another
meaning, a sexual one.
14
EPIC FEATURES
15
5. THE STYLE: The style is elevated or
grand poetry.
6. THE POET: The poet is mostly
objective. He does not give his
opinions on the topic or story of his
epic.
16
4. CATALOG OF WARRIORS, SHIPS,
OR ARMIES: The poet often presents
a catalog or list in the epic. For
example, in an epic like The Iliad, a list
of all of the Greek kings and warriors
appears. Each king or warrior is also
briefly described. Part of the purpose
of an epic was historical. The epic
would record or preserve the names of
the great heroes from a nation's past.
5. FORMAL SPEECHES: The main
characters in an epic will usually make
formal speeches. For example, in The
Iliad the captains or leaders of both the
Greek and Trojan armies address or
speak to their troops in a formal
manner.
6. EPIC SIMILE: The epic simile is also
called the Homeric simile. It is longer
and more descriptive than a simple
simile that may be found in a short
poem. John Milton uses many epic
similes in Paradise Lost.
17
ROSICRUCIAN IMAGERY
18
Rosicrucians believed that there were spirits that were
connected to each of these elements. If one could
control these spirits, they stated, then one could also
control the elements.
During the 17th and 18th centuries, the views of
the Rosicrucians spread across Europe and into
England. Many fashionable or affluent (rich) people
especially became fascinated by the Rosicrucian
promise of power and wealth. In a sense, the
fascination with the Rosicrucians became a kind of fad
or popular activity for many of the gullible (or easily
fooled) people of that time. Of course, the fascination
with Rosicrucian beliefs suggests a contrast to the
logical and practical views normally associated with the
people living during the Age of Reason.
Alexander Pope did not believe in the
Rosicrucian claims. However, the idea of elemental
spirits struck him as the perfect choice for the
supernatural creatures in his poem. In this way, Pope
not only finds a suitable poetic device for his mock epic.
But he also indirectly finds a way to satirize or make
fun of the Rosicrucians and all those people who
blindly accepted the Rosicrucian beliefs.
In the poem Pope describes the four elemental
spirits. But in his poem, these spirits are so tiny that
they are invisible to the human eye. They are also quite
comical. To add to the humor even more, Pope
invented a story to explain the origins of these comic
spirits (explained below).
19
THE STRUCTURE OF
THE RAPE OF THE LOCK
20
Canto 2 includes a scene at the Baron's house.
The Baron prepares a sacrifice to the God of Love so
that he can successfully cut off Belinda's two beautiful
locks of curly hair. Meanwhile, Ariel seeks the
assistance of other sylphs to help him so that he can
protect Belinda.
21
In Canto 5 another woman named Clarissa
also presents a speech. Clarissa is the Baron's friend.
In her speech she tells Belinda not to be so angry and
not to place so much value on physical beauty. Belinda,
however, is too angry to listen to her. Her argument or
fight against the Baron continues. Finally, Belinda takes
some tobacco and throws it at the Baron. The Baron
sneezes. When he does this, he drops the lock of hair.
Everybody looks for the lock, but they cannot find it.
Magically, the lock flies up into the night sky and turns
into a bright and shining star.
22
CANTO 1
23
through the curtains in Belinda's bedchamber. The sun
has risen, and Belinda should be getting out of bed.
However, a sylph, a spirit of the air, uses magic on her
to keep her asleep (line 20). The name of the sylph is
Ariel, but this is not revealed until much later in the
canto (line106). Ariel presents a "morning dream" (line
22) to Belinda. As Ariel whispers into Belinda's ear,
Belinda dreams or envisions the things he talks about.
Most of Canto 1 is actually a speech: the
words spoken by Ariel to Belinda as she sleeps (from
line 27 to 114). Ariel tells Belinda that if she ever had a
vision of "airy elves" (line 31) or other supernatural
creatures that she had heard about from stories or fairy
tales, then she should "hear and believe" (line 35) what
Ariel is about to tell her. In other words, Ariel is
saying that such visions are real. There really are fairies.
Ariel is about to warn Belinda of some tragedy that will
afflict her. Thus, he knows it is important for Belinda
to believe him.
Ariel tells Belinda that the secrets of the
magical or supernatural world are only revealed to two
categories of humans: "maids" and "children" (line 38).
The word maids here refers to young women who are
still innocent, who are still virgins. Thus, Ariel is saying
that only the innocent ones are capable of hearing and
believing in the sylphs and other such creatures.
Indirectly, Pope is criticizing the Rosicrucians for their
beliefs in such fantastical creatures. Pope is suggesting
that their belief is childish and simplistic. This is an
example of social criticism.
Ariel further tells Belinda that when fair
maidens go to the theater ("the box" in line 44) or the
park ("the Ring") or anywhere else, numerous sylphs fly
24
around them and protect them. Ariel also explains the
origins of the supernatural creatures. He tells Belinda
that the sylphs were once beautiful maidens: "once
enclosed in woman's beauteous mold" (line 48). But,
when they died, they turned into supernatural creatures.
Ariel adds that when these women turn into sylphs,
they still enjoy the activities that they liked when they
were human. If they liked card games (such as Ombre)
or driving in chariots as women, then they would
continue to like such activities as sylphs (lines 51-56).
Of course, all of this is Pope's invention, not
Rosicrucian belief.
Ariel then explains that there are actually four
kinds of supernatural creatures, corresponding to the
four elements:
25
3. Gnomes: The Gnomes correspond to the
element of earth. Women who are prudes
(excessively proper or righteous) and who
are always causing trouble turn into
Gnomes. (lines 63-64)
26
innocence, the Sylphs can no longer protect her. So,
the Sylphs constantly work to keep the maidens from
giving too much attention to any one man. As Ariel
expresses it, "They shift the moving toyshop of their
heart" (line 100). This is a metaphor. The heart is a
moving toyshop for these fickle coquettes, these
flirtatious young women, because they quickly move
from one man to another just as a child might quickly
move from one toy to another in a toyshop.
The main reason why Ariel speaks to Belinda,
though, is to warn her. Ariel explains that he saw an
omen in the stars that some "dread event" (line 109)
will happen to Belinda. Once again, Pope is using
hyperbole here. Ariel tells Belinda that he is not
exactly sure what the event will be. But he does tell her
this:
27
earlier. The word refers to the minor but beautiful
nature goddesses frequently appearing in Greek
mythology. Pope uses the word here to praise Belinda,
to say that she has the beauty of one of these
goddesses. Pope is also using hyperbole in this section
of the poem to describe a simple activity. Not only
does Belinda become a goddess, but also her maid or
servant becomes an "inferior priestess" (line 127).
Further, Pope describes the actions of applying make-
up as "sacred rites" (line 128).
The student might wonder why Pope devotes
so many lines to Belinda's make-up procedures. The
answer is that this scene is a parody of related scenes
in epics. One of the most common scenes in epics
(and in some medieval romances) involves the arming
of the hero. The student may recall how Sir Gawain,
in Sir Gawain and the Green Knight, prepared himself
before going out to seek the Green Knight. In that
romance the poet devoted several long passages to the
way Gawain dressed himself. The poet named and
described each article of clothing and each piece of
armor. In Pope's mock epic, the dressing scene
parallels this oral formula. But here the hero is not a
brave knight: rather, the hero is a young coquette. And
here cosmetics (or make-up) become the armor that
Belinda uses as protection against the dangers that she
will face.
28
CANTO 2
29
describe these locks: for example, "labyrinths" (line 24)
and "chains" (line 25). Belinda's locks of hair are a trap
for all men because, when a man stares at them, he falls
hopelessly in love with her. Thus, he is trapped in his
love for Belinda; but she will never return that love. So,
the trap is a deadly one.
30
will burn as his sacrifice. In fact, he even uses a "billet-
doux," a love letter, to start the fire. The scene
suggests that the Baron will give up or "sacrifice" the
love of all other women if he can obtain the two
beautiful curls on the back of Belinda's neck. Of
course, this implies or symbolizes that the Baron
wants to give up the love of all other women because
he is in love with Belinda.
The gods up in the heavens may not always
respond to the sacrifice, but in this case the poet
informs the readers (foreshadowing) about the result:
31
force in his future struggles against God. Pope's
literary allusion, then, comically links the Baron to
Satan. Of course, the difference in goals between
Satan and the Baron is tremendously vast. Satan wants
to hurt God by damning all of mankind. The Baron,
on the other hand, only wants two locks of hair. The
absurdity of the comparison makes it humorous.
There is, however, one other major difference between
Satan and the Baron. Satan decides to use fraud in his
struggle against God, but the Baron decides to use
force to obtain the two locks of hair.
32
insects. Also, their powers are not so very great. Once
again, Pope is taking something very small and making
it appear grand and epic.
Like the devils in Hell, the Sylphs also seem to
have their own occupations. In fact, Pope even
provides a catalog or list of these occupations:
33
Ariel finds his job of protecting Belinda to be a
pleasing one. He then goes on to explain that most of
his duties concerns how Belinda puts on her make-up
or how she arranges her hair (lines 93-100). In other
words, he has an easy job most of the time.
Ariel then tells his companions about the omen,
about the "dire disaster" that will soon happen to
Belinda. Ariel discusses the possibilities of what might
happen. The reader should note the use of
juxtaposition (placing side by side for the purpose of
contrast) here (in lines 105-09). The disaster could be
quite serious or trivial (relatively insignificant):
34
More humor occurs at the end of Canto 2 as
Ariel assigns specific tasks to each of the Sylphs (lines
112-15). The reader should note that Pope creates
names for these Sylphs that relate to their jobs:
35
Ariel himself will guard Shock. Further, Ariel
assigns fifty Sylphs to guard Belinda's petticoat (lines
117-18). A petticoat is a skirt or underskirt. During
the Neoclassic Period such garments could be quite
elaborate. Ariel describes Belinda's petticoat as having
seven layers of cloth ("that sevenfold fence") and
having a framework of hoops made of bone ("ribs of
whale") that will cause her dress to extend out in a
circular fashion around her lower body. The reason
why Ariel assigns so many Sylphs to guard the petticoat
is another example of sexual symbolism. The
petticoat, of course, covers Belinda's sexual parts.
Thus, Ariel is once again suggesting that Belinda may
lose her virginity or chastity.
Ariel ends his speech by warning the other
Sylphs that if they do not do their jobs properly, they
will be severely punished. The imagery of these
punishments also contributes to the humor of the epic.
These punishments (lines 126-36) are a mock
equivalent to the punishments found in Hades as
described in The Iliad by Homer or The Aeneid by Virgil.
Catalog of Punishments
1. Being trapped in a jar
2. Being pinned down (like a butterfly)
3. Being submerged in dirty water
4. Being stuck inside the eye of a needle
5. Having his wings glued together
6. Becoming thin like a dried flower
7. Being tied on a moving wheel (like Ixion)
8. Being submerged in hot chocolate
36
The reference to Ixion is, of course, another
mythological allusion. Ixion is a figure from Greek
mythology who was punished eternally in Hades. He
was tied to a large wheel that would constantly move
and constantly crush him.
37
CANTO 3
38
The reader does not really need to know how
Ombre is played to follow the game. Belinda has many
spades (as opposed to clubs, diamonds, or hearts) in
her hand. Since she is the first to play, she gets to
declare which suit of the four suits of cards will be
trumps. That is, she gets to declare which suit will be
the strongest. Of course, she chooses spades (line 46).
Each player holds nine cards. The player then presents
a card from his or her hand. The player with the best
card gets to take the other two cards. This action
continues until all nine cards are played.
39
Belinda wins the first four hands, but now the Baron
starts to win a few hands:
The ninth and last hand will decide the winner of the
game:
40
The reader should make a special note about
two aspects of this game. First, Pope uses military
imagery throughout his description of the game. The
military words are quite numerous: band, troops,
combat, war, leaders, unconquerable, captive, yield,
victor, saber, rebel, engage, armies, warlike, host,
powers, conquest, and battalions. The card game in
Pope's mock epic thus becomes the equivalent of a
mighty battle between the Greeks and the Trojans in
Homer's great epic. Once again, Pope takes something
trivial (a card game) and makes it seem grand or epic in
scale.
The second point the reader should note is the
symbolism suggested in the last two hands of the
game. Belinda loses the queen of hearts. The
symbolism suggests that she loses her heart to the
Baron. That is, Belinda falls in love with the Baron. So,
Belinda blushes: "the blood the virgin's cheek forsook"
(line 89). She blushes because of her emotions, not
because she has lost a card.
41
As soon as Belinda wins the game, she shouts
in excitement and triumph (lines 99-100). But then the
poet interrupts his story to comment on the action
(authorial intrusion). The poet notes that Belinda
should not be so quick to celebrate because fate often
has a way of turning good luck into bad. The student
may recall how fate is also referred to as a strong but
usually negative force in Anglo-Saxon poetry and
especially in Beowulf.
As Belinda is drinking her coffee, the Baron
begins to make his move. Another woman named
Clarissa loans the Baron a pair of scissors (line 127).
She does this because she apparently likes the Baron
very much. As the Baron moves closer to Belinda,
hundreds of Sylphs try to blow the curl away from the
Baron. Other Sylphs unite to make Belinda's earring
twitch or move slightly. When Belinda feels the twitch,
she turns around. So, the Baron has to stop. He
cannot get close enough to Belinda to cut her hair.
But then Ariel reads Belinda's mind (lines 139-
46) and discovers that Belinda is in love with the Baron:
"an earthly lover lurking at her heart." This is bad news
for Ariel. He can only protect Belinda as long as she is
innocent and pure and not thinking sexually about any
man. So, he must leave her. Once again the reader
should note the use of symbolism here. Ariel's
abandoning Belinda symbolizes her sexual interest in
the Baron.
With her guardian Sylph now gone, the Baron
is able to approach Belinda and cut one of her two
locks of hair. One of the other Sylphs tries to stop the
scissors, but he instead gets cut in half himself.
Fortunately, this is not too serious for the Sylph. Since
42
he is made of air, he can easily put himself back
together again. Belinda, on the other hand, is not so
fortunate. She will never be able to put her lock of hair
back on her head.
43
CANTO 4
44
the underworld -- lies on a bed in a melancholy or
depressed state. Many allegorical figures (abstract
qualities that are personified) attend the Queen. Pain
stands by her side, while Megrim (or Headache) stands
by her head. Two other allegorical attendants who are
standing near the Queen are Ill-Nature (having a bad or
nasty temper) and Affectation (having a phony or
artificial manner of behavior).
The Cave is filled with heavy vapors or mists,
and ghosts are floating everywhere. The most unusual
and most humorous passage contains a description
(imagery) of the odd spirits who dwell there:
45
Similarly, Umbriel lists his accomplishments
(lines 67-76):
46
open these gifts over the heads of Belinda and the
others in the coffeehouse in order to make them
extremely angry and upset. The reader should note the
mythological allusion to Ulysses (the Roman name
of Odysseus; line 82). In The Odyssey the hero receives
a bag of winds from Aeolus, the god of winds.
Odysseus needs this gift to make his sailboat move
when there are no winds on the sea.
Umbriel returns to the coffeehouse (in line 89)
and finds Belinda crying in the arms of another woman
named Thalestris. Umbriel breaks the magical bag over
their heads. Thalestris tells Belinda that the Baron's act
will cause her to be the victim of malicious gossip, and
that such gossip will cause Belinda to lose her "honor"
(line 110). Such a comment also suggests a loss of
virtue, a loss of virginity. Thalestris also tells Belinda
that the Baron will enclose the lock of hair in a crystal
and set it in a ring to wear on his finger (line 114).
Finally Thalestris goes to her friend, Sir Plume, for help;
but Sir Plume can only stutter and stammer.
The Baron is still happy over his victory and
claims that he will wear the ring (containing the lock)
on his hand forever (line 138). Umbriel then opens his
second gift, the vial, over Belinda's head (line 142).
Belinda begins to sigh and cry.
The fourth canto ends with a speech spoken by
the heroine (lines 147-76). This is the speech on ill
humor. Once again Pope is mocking the more serious
speeches of genuine epics. Belinda cries that she
wishes she had never been to the coffeehouse in
Hampton Court. In fact, she even wishes that she had
never ever been in the company of men. She even
states that there were omens (line161) that warned her
47
about some approaching evil: (1) her cosmetic box fell
three times, (2) the china tea set shook, (3) Poll, the
parrot, would not speak, and (4) Shock misbehaved.
Then Belinda remembers her dream and Ariel's
warning. But it is too late!
48
CANTO 5
49
under control. Moreover, the expression suggests the
use of reason. A reasonable woman knows that her
beauty will fade. Therefore, she will not place so much
emphasis on that particular quality. Clarissa ends the
speech with these final words of advice:
50
In Greek mythology there is a force more
powerful than the gods. That force is Fate. To know
what Fate demands, Zeus, the mightiest of the Greek
gods, would hold up a scale. Fate would determine the
outcome of a serious event like the Trojan War.
In Pope's epic Jove (or Jupiter, the Roman
equivalent to Zeus) holds up a scale (lines 71-74). Fate
determines that Belinda's side should win the war. In
other words, the Baron will not be able to keep the lock
of hair.
The war ends with the battle of the two
champions, a typical device or formula in epic
literature. Here Belinda encounters the Baron directly
just as Achilles encountered Hector in The Iliad.
Belinda's weapon, though, is a pinch of "snuff" (line 82)
a small amount of tobacco that fashionable people in
London would sometimes inhale. Belinda throws the
snuff at the Baron, and that causes him to sneeze: "the
high dome re-echoes to his nose" (line 86). What the
reader does not find out until later, though, is that
when the Baron sneezes, he loses the lock of hair.
Belinda does not know either. So, she pulls out
a "bodkin," a long, sharp hairpin. The word bodkin can
also refer to a dagger or knife. So, this hairpin becomes
Belinda's deadly weapon.
In some medieval stories, a warrior's sword
might actually have a history of its own. The metal
that the sword is made out of may have come from
another weapon or armor that belonged to some
ancestor or famous hero. In Pope's mock epic,
Belinda's hairpin also has a history. Pope jokingly
provides the history of this bodkin or hairpin. The
metal was used in the following items:
51
1 a ringed ornament for a necklace belonging to
Belinda's great-great grandfather
2 a large belt buckle for her great-great
grandmother
3 a whistle and bells for her grandmother when
the grandmother was a child
4 a hairpin belonging to her mother
52
chased after it. Pope then adds (in line 135) that the
new star looks even brighter than the planet Venus (the
planet of love named after the Roman goddess, an
equivalent to the Greek Aphrodite). So, thereafter,
lovers from the earth will look and think that the light
from the planet of love is shining on them.
Pope concludes by directly telling Belinda to
stop her crying for the lock because now part of her is
immortal. The lock will continue to blaze for countless
generations and will be a lasting memorial of Belinda's
beauty and fame.
53
THE CHINA JAR IMAGERY
54
On the other hand, the poem also presents a
serious theme: the fall from innocence to
experience. Some critics note that such a theme is
common to literature and even includes the fall of Eve
from the Garden of Eden. The imagery of the broken
china jar as well as the other references to virginity and
sexuality contributes to this more serious theme.
Because the poem does also operate on this level,
Pope's intended purpose, to get Lord Petre and
Arabella Fermor to reconcile and become friends again,
did not entirely succeed.
55
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