The Rape of the Lock

Alexander Pope

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 the baggy garment of 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, that is, the elegant epic structure of poetry,
rather, he pokes 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.
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 of an 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.” This verse the important act of governing a counsel 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 as 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.

Conclusively, by wearing the heavy cloak of epic poetry, Pope mocked the tiny mouse hidden
underneath. By contrasting the mighty against trivial, Pope attempted to make the readers
realize the ridiculousness of minute things which we hold so dear.