The Rape of the Lock

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Absolem and Achitophel

TABEER BAKHT
EP-1815042
Q 1(a) Alexander Pope’s Rape of the Lock is a “mock-epic” poem. Explain what this term
means and how Rape of the Lock fits this description.

Pope’s “The Rape of the Lock” is drenched in satire from tip to toe. Through this poem, Pope
attempted to fit a baggy garment over the elegant mannequin of epic poetry which naturally
aroused laughter among the onlookers. However, it is essential to understand that Pope’s
target of parody was not the mannequin, i.e the elegant epic structure of poetry, rather, he
poked mockery at the ridiculous nature of the garment that people of 18 th century proudly
wore. Thus, the objective of my discussion is to point out instances from the poem at hand
to reveal how Pope achieved the target.

Before analyzing the subject and content of this poem for its mock-epic elements, let us first
draw our eyes upon the language and diction that Pope employed in this mock-epic. Pope
deliberately made use of hyperbolic statements and elevated diction to contrast the trifling
discourse that is being presented. We notice the word ‘rape’ used in the title which usually
denotes a horrific act of robbing someone of their dignity. However, Pope utilizes the word
to describe a not-so-horrific act of clipping a maiden’s lock. Moreover, the use of the article
‘the’ with the noun lock elevates its significance. In this way, Pope pokes satire by giving
weight to a mere strand of hair and calling it ‘the lock’. Furthermore in canto I, Pope
addresses Belinda as ‘the Fairest of the mortals’, which again reflect the deliberate use of
hyperbole. In epic poetry, such diction was reserved for deities and muse but it is being used
in this poem for Belinda. Along with such exaggerated diction, we also notice an abundance
of paradoxical comparisons that supports the claim of Rape of the lock being a mock-epic
poem. When describing the extended arrangements of Belinda in the toilet, Pope states
“The hungry judges soon the sentence sign/ And wretches hang that Jurymen may dine …/
And the long labours of the toilet cease.” These verses compare the tough labours of judges
and jurymen in carrying out the death sentences of convicts with Belinda’s worthless toilet
preparations. Moreover, in Canto III, Baron is shown to reach the state of madness caused
by coffee which is perhaps the mildest intoxicant; “Coffee…/ Sent up in vapors to the Baron's
brain/ New Stratagems, the radiant Lock to gain.” Again in Canto III, when describing the
palace of Queen Anna, Pope writes that here the Queen “dost sometimes counsel take- and
sometimes tea.” The the important act of governing a counsel is put with a comparatively
social and trivial act of sipping tea. These instances and many others in the poem reflect the
comic yoking of two objects of very different degrees of importance which proves the poem
to be a mock-epic one.
Pope repeatedly invoked classical epic devices to establish an ironic contrast between is
structure and its content. From the first canto to the last, readers are introduced to the
artificial life of elite society submerged in the world of triviality. However, they exhibit this
triviality in the most grandiose way possible which is what Pope mocked in this epic.
Belinda’s extensive morning preparations kick off with ‘sacred rites’ in front of a ‘heavenly
image’. A reader might expect sacred rites of prayers in front of a heavenly image of a god or
goddess as in a classical epic, rather, Belinda is shown indulged in the ‘sacred rites of Pride’
afront a heavenly image that is her own. Even the cross that she wears in Canto II serves no
religious purpose other than enhancing her physical beauty. Moreover, just as an epic
warrior is ladened with armor, shield, breastplate and sword, Belinda is donned with “Puffs,
Powder, Patches, Bibles, Billet-doux.” Belinda’s army is “files of pins extending their shining
rows.” Such comical comparisons are characteristic of mock-epic.

Emerging from Belinda’s glam room, readers accompany Belinda to the Hampton Court. The
journey to reach the mentioned destination is again described in such an elevated style as if
it is a rough march towards a battlefield rather than a smooth flight to a palace. The whole
episode of the card game is dominated by war-like diction; men included in the game are
referred to as ‘Knights’, Belinda swells her breast for the upcoming ‘conquests’, members
involved in the game are ‘troops’, and this whole game is a fierce ‘combat’. The verse ‘hoary
Majesty of Spades appears’ seems like an announcement made after the sighting of a large
marching troop of an enemy when in reality it is only a couple of spades thrown over a
table. This militaristic game of ombre comes to an end with Baron chopping Belinda’s locks
using “a two-edged weapon from a shining case”. Such a dramatic diction, which easily suits
the description of a sword, is used to point towards a knife. Furthermore, Belinda’s outrage
to the ‘rape’ of her hair is heavily satirical; “then flash’d the living lightning from her
eyes/And screams of horror rend th’affrightened skies.” Likewise, Baron’s celebration of his
latest triumph is stated in a manner entirely inappropriate to its importance.

It is interesting to note how Pope mentioned the classical gods of Phoebus, also called
Apollo- the god of the sun, and Zephyrus, classical god of West wind. By such deliberate
classical inclusions, Pope aimed to draw contrast to the ‘light militia of the lower sky’
included in the action of this mock-epic. The fragile and airy spirits of the air, the Sylphs, also
hint towards the lightness and frivolity of the subject discussed. Pope also mentioned the
victories of Troy in Canto IV so that the readers could compare the ridiculous celebration of
Baron triggered over a piece of lock and laugh at this absurdity.

Even the punishments mentioned in the poem are trivial and comical. When all the Sylphs
were appointed tasks such as the ‘mighty charge’ of ‘the petticoat’, those who were to fail
in the execution of their work were announced to endure penalties which were to ‘transfixt’
them ‘with Pins’ and ‘Be stopt in Vials’. Punishments as these contrast with the heavy
damnations mentioned in classical epics. Thus, Pope can easily be seen ‘using a vast force to
lift a feather.’

No doubt the critics consider Pope’s mock-epics as “spoon fulls of boiling water.” By wearing
the heavy cloak of epic poetry, Pope mocked the tiny mouse hidden underneath. He
contrasted the mighty against trivial to make the readers realize the sheer ridiculousness of
minute things which we hold so dear.
Q 2(b): Dryden believed that ….

John Dryden, in his preface ‘To The Reader’, claimed that Absolem and Achitophel would
help in “the amendment of vices by correction.” But the more pressing question is of how.
Exactly how did Dryden achieve this goal? The answer is given by Dryden himself in the
preface i.e satire is the path chosen for the execution of this goal. Dryden believed that
satire is a kind of poetry ‘invented for the purging of our minds’. The object of my discussion,
therefore, is to refer to the poem at hand to explain the working of satire which Dryden
employed to purge the mind of the society existing in the restoration age. However, before
we proceed, it is essential to point out that Dryden, in his ‘Essay on satire’, argued that if
rightful amendment of vices is to be achieved, it is essential to treat one subject at a time
and ‘be confined to one particular theme’. Inclusion of several subjects can dim the
importance of the chief subject and ‘make the design double’. Hence, in Absolem and
Achitophel, Dryden in seen practising what he preached in the essay. He put all the weight of
his satire over the crooked political system of the restoration age and in return revealed the
vices ingrained in the system and its subjects.

Absolem and Achitophel is not just a dramatic narrative recounting the story of David and
his son, rather, it is an allegory aiming to reveal the disastrous aftermaths of revolt and
treason. Dryden, through witty criticism, pointed towards the common air of dishonesty and
betrayal that swept through every nook and corner of England. People often revolted
against the very Kings and Queens that they had chosen, “Now wondered why so long had
they obeyed/And idol monarch which their hands had made.” Hence, they were the subjects
whom “No king could govern, nor no God could please.” Furthermore, Dryden, through the
rebellion of Jews, attempted to make his contemporary English reader realize his own state
of moral corruption. He states, “Plots, true or false, are necessary things/ To raise up
commonwealths and ruin kings/So several factions from their first ferment/ Work up to
foam, and threat the government”. The verse reveals the corrupted nature of rebellion that
wipes out every sense of right or wrong among the masses. This is exactly what happened
when the Whigs sided with Duke of Monmouth against Charles II, knowing that his
succession would destroy the rules of the monarchy. They did not hesitate to step on a
wrong path to carry out their religious protestant ideals. Such is the irony that Dryden
pointed towards.
Through satire, Dryden wanted to draw his reader’s attention towards the destructive
destination that awaits when one chooses the path of lawlessness. By drawing parallels
between the Jews and the then English subjects of restoration age, Dryden called the English
public ‘headstrong, moody, and murmuring race’ who were so much driven by their ‘dream
of liberty’ that they wanted no rules to be bounded by. Hence, they kept appointing and
dissolving the Kingdoms. Notice how Dryden used the term ‘general shout’ to point out the
fact that a rebellious mob possesses no head and is triggered by general shouts. Thus, most
of the time majority are rebels just for kicks. Similarly, the Whigs of the restoration period
failed to recognize the true nature of the rebellion that was in the favor of the Earl’s cunning
motives and swept along with the general shouts of revolt. Dryden further used his satire to
draw a highlight the follies of such people by mentioning “ a sober part of Israel’ which was
‘free from stain’ and ‘我 ell knew the value of a peaceful reign.’ Those ‘moderate’ and
‘qualified’ sort of men were the Tories who supported the English monarchy. Thus, through
such parallels, Dryden amended the vices of English subjects by placing the wrong and right
side by side.

Dryden’s belief that Absolem and Achitophel would help in “the amendment of vices by
correction” can also be interpreted in a more direct sense. Dryden attempted to amend the
folly of the English parliament in thinking the Duke of Monmouth as the primary villain of
the rebellion. Through the character of Achitophel, Dryden revealed the true cunning
motives of the Earl of Shaftesbury and how he ‘shed his venom’ into the ears of the Duke.
Hence, through this satire, Dryden corrected the wrong direction of the belief that the
Parliament had adopted which excluded the Earl from the picture.