The Rape of the

Lock
Study Guide by Course Hero

"The Rape of the Lock" is written in the past tense.

What's Inside
ABOUT THE TITLE
The title "The Rape of the Lock" refers to the theft of a lock of
j Book Basics ................................................................................................. 1 a young lady's hair (Belinda's). The word rape is here used in
the old-fashioned sense to mean "an act of plunder" rather
d In Context ..................................................................................................... 1 than "sexual violation."

a Author Biography ..................................................................................... 2

h Characters .................................................................................................. 4
d In Context
k Plot Summary ............................................................................................. 6

c Plot Analysis ............................................................................................. 10

Mock-Epic Poem
g Quotes ......................................................................................................... 16
Alexander Pope's (1688–1744) "The Rape of the Lock" is
l Symbols ...................................................................................................... 18
written in mock-epic style. A mock epic is a type of satire that
m Themes ....................................................................................................... 19 uses the classical form of an epic poem, usually in a humorous
way. One of the earliest examples of this form is French author
b Narrative Voice ....................................................................................... 20 Nicholas Boileau's (1636–1711) poem "Le Lutrin" (1674–83),
which, like "The Rape of the Lock," deals with two sides of a
trivial argument. In this case, two church dignitaries try to
decide where to place the chapel's lectern. Another example is
j Book Basics "The Battle of the Books," published in 1704 by Anglo-Irish
author and clergyman Jonathan Swift (1667–1745), a friend of
AUTHOR Pope's. Its argument is over the merits of ancient versus
Alexander Pope modern literature.

YEAR PUBLISHED Most mock epics begin, as Pope's does, with the invocation of
1714 the Muse. Other features include speeches; beings with
supernatural powers, such as the sylphs in "The Rape of the
GENRE Lock;" and descents into the underworld. "The Rape of the
Comedy, Satire Lock" also features an epic battle in the style of Homer
(worked in the 9th or 8th century BCE), the Greek poet to
PERSPECTIVE AND NARRATOR
whom the Iliad (c. 750–650 BCE) and the Odyssey (c. 725–675
"The Rape of the Lock" is written from the viewpoint of a third-
BCE) are attributed. Like other mock epics, Pope's poem is
person limited narrator whose focus is primarily the young lady
played for humor, to amuse readers who will recognize these
whose lock of hair is plundered, Belinda.
familiar tropes. It parodies the culture of the day as much as it
TENSE parodies Homer. Finally, the ascent into heaven of the poem's
The Rape of the Lock Study Guide Author Biography 2

lock brings to mind another epic poem, English poet John help by writing the poem. A young man named Robert, Lord
Milton's (1608–74) Paradise Lost (1674). Petre (1690–1713) had cut a curl from the head of Arabella
Fermor (c. 1689–1738), a beautiful young lady he was courting.
In "The Rape of the Lock," Pope portrays all these tropes on a She took offense, and a feud between the two families ensued.
smaller scale than how they would appear in a traditional epic John Caryll (1667–1736), a friend to both Pope and the families,
poem. One of his purposes is to create amusement for the suggested Pope write a humorous poem about the incident.
audience through the manipulation of scale. Greek gods The poem would be a parody to show how the families had
become sylphs, or spirits. An epic battle becomes a card game. blown the situation out of proportion. Pope obliged, treating
The descent into the underworld is portrayed in Umbriel's the participants as if they had been fighting the Trojan War, the
discussion with the Queen of Spleen. epic war between the Greeks and the Trojans in the 12th or
13th century BCE and the subject of Homer's Iliad.

The Augustan Age While Pope may have planned that the poem would only be
read by a few people, it proved a tremendous success. This
The Augustan Age in Latin literature ranged from 43 BCE to 18 success caused the Fermor family to again take offense, this
CE. Because of the peace and prosperity that reigned during time at Pope himself, presumably for the portrayal of
this time, it was the "Golden Age" of classical literature. During Belinda/Arabella in the poem. As a result, Pope published
this era, writers penned sophisticated poetry, the dominant subsequent editions of the poem with a disclaimer stating the
themes being love, love of Rome, and nature. Some of the difference between the extremely vain Belinda of the poem
major works published during this time were Roman poet and Arabella, the real-life owner of the lock.
Ovid's (43 BCE–17 CE) Metamorphoses, written around 8 CE;
Regardless, Lord Petre and Arabella did not marry.
Roman poet Virgil's (70–19 BCE) the Aeneid, written from
around 30 BCE until the time of his death; and the poetry of
Roman poet Horace (65–8 BCE).
a Author Biography
This term also applies to the period of British literature during
which Pope, Jonathan Swift, and others emulated the
Augustan poets. This took place during the first half of the 18th
century, when "The Rape of the Lock" was published. Like the Early Life
Latin poets before them, these British poets wrote about
contemporary philosophy and political issues. However, they Poet and satirist Alexander Pope was born on May 21, 1688, in
often did so through satire. Satire occurs when a writer uses London, England. His father was a wholesale linen merchant.
humor, irony, or exaggeration to reveal or condemn human The year Pope was born, his father retired and moved the
depravity or foolhardiness. family from London to Binfield, Berkshire. Pope was an only
child. He was frequently ill, and as a result he suffered from a
This political and philosophical discourse can be seen in curvature of the spine and only grew to be four feet, six inches
several places in "The Rape of the Lock." It is particularly tall. He battled frequent headaches into adulthood.
apparent in Canto 3 when the characters arrive at Hampton
Court, a royal palace, and gossip about British statesmen and Pope's family was Catholic. Because of prejudice against
foreign tyrants. Catholics in England at the time, for the most part Pope did not
attend school, but rather was tutored at home by Catholic
priests. However, he was largely self-taught, teaching himself

Arabella Fermor and Robert, Latin, Greek, Italian, and French. He also read a great deal. At
age eight he began reading Homer (c. 801 BCE–c. 700 BCE), a

Lord Petre Greek epic poet. Pope is said to have written his first known
poem, "Ode on Solitude," at age 12, but the first recognized
copy of the poem dates to 1709, when he would have been age
Pope bases his poem on a true story: two Catholic families in
21. The same year, he was afflicted with what was probably
Pope's circle were involved in a quarrel, and Pope thought to

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The Rape of the Lock Study Guide Author Biography 3

Pott's disease, a form of tuberculosis that affected his spine. facing the river. He also purchased five acres of land across
He was also frail and had asthma. He believed his ill-health was the road, which he used for a garden. Since this land was
the result of too much studying, which seems unlikely. separated from his house by the road, he began to construct a
However, his inability to participate in many physical activities tunnel under the road. The tunnel led out of the basement of
probably did help him concentrate on his studies. Although he his house, and in a central section Pope created a grotto,
enjoyed traveling and could ride horseback, most of his time which can still be visited today. The grotto had many
was spent reading and writing. interesting geological features, and the informal garden that
could be reached through the passageway was considered
avant-garde at the time.
Early Works At his new villa, Pope worked on a translation of Homer's epic
poem The Odyssey. It was released by subscription, as The
Pope wrote his "Pastorals" at age 16. He composed the poem
Iliad had been, in 1725 and 1726. He also published an
in heroic couplets, paired lines of rhyming iambic pentameter,
imperfectly edited edition of playwright William Shakespeare's
as many of his later works would be. This poem became well
(1564–1616) works and was roundly criticized for doing so.
known and gained Pope friends, including satirists Jonathan
Swift (1667–1745) and John Gay (1685–1732), with whom Pope
would collaborate on later works. Together they would form
the Scriblerus Club, a group of writers who satirized ignorance, Later Works
pretentiousness, and poor taste. Jacob Tonson (c. 1656–1736),
a leading publisher of poetry, published Poetical Miscellanies in Perhaps in response to this criticism, in 1728 Pope published

1709. Pope's "An Essay on Criticism" was then published The Dunciad, a three-book satire making fun of critics.

anonymously in 1711. The essay contained amusing epigrams Published anonymously, it was obviously his work. Written in

such as "A little learning is a dangerous thing" and "To err is the style of Virgil's Aeneid, it cast Lewis Theobald (1688–1744),

human, to forgive, divine." a critic who wrote a "correction" of Pope's Shakespeare

edition, in the lead role. Criticism of The Dunciad was so
In 1712 Pope published the first two cantos of "The Rape of the hostile, it was said Pope wouldn't leave the house without two
Lock"; it was expanded to five cantos in 1714. This poem may loaded pistols. While some have criticized this work as
be his best-known work. It describes a quarrel between two petulant, it is also funny, and Pope reissued the book in 1729
families over a young man's theft of a lock of a young woman's with mock prefaces, indexes, and notes. A final, four book
hair. Pope treated this humorous subject matter as epic, edition was published in 1743 with new material added.
satirizing both the warring families and the social conventions
of the day. Pope meant his philosophical poem "An Essay on Man,"
published in 1733 and 1734, to be the preface to a longer work.
However, he never completed it. The following year, a

Homer Translations and Move collection of Pope's letters was released, supposedly without
his permission, and scandal ensued. However, it turned out he

to Twickenham had edited them and sent them to a publisher in secret.

Other later works included "Of the Use of Riches, an Epistle to

After writing several other poems, Pope turned his attention to Bathurst" (1732), "An Epistle to Cobham, of the Knowledge and
translation. He began with a six-volume translation of Homer's Characters of Men" (1733), and "Of the Characters of Women:
epic poem The Iliad, arranging for the volumes to be available An Epistle to a Lady" (1735). He published "First Satire of the
by subscription, one volume per year, beginning in 1715. By Second Book of Horace, Imitated" to great success in 1733. He
doing this, Pope was able to support himself entirely through went on to write 10 more paraphrases of the work of the
his writing, something very few English poets were able to do. Roman poet Horace (65–8 BCE).

After his father's death in 1717, Pope moved to the village of

Twickenham. There he leased three cottages and built a villa

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The Rape of the Lock Study Guide Characters 4

He and the other sylphs flutter around, trying to protect

Death and Legacy Belinda when she plays cards. Ariel is also a master delegator,
rather like the commander of an army. He assigns all the other
Pope's prolific output slowed significantly after 1738 because sylphs jobs of protecting Belinda.
he was in poor health. His last completed work was The New
Dunciad (1742). He died on May 30, 1744.

Pope's legacy is felt daily, and not only by readers of poetry. Umbriel
He is considered one of the most epigrammatic writers in the
English language. He is oft-quoted, even now, in expressions Umbriel is a born mischief-maker. When he sees Belinda's

such as "Hope springs eternal" and "Fools rush in where angels distress, he calls upon the Queen of Spleen to take advantage

fear to tread." His quote "Act well your part, there all the honor of the situation. He beseeches her to make Belinda more angry

lies" is the motto of the International Thespian Society and so and tearful, and the Queen of Spleen agrees to help him.

has been known to thousands of theater students. Pope was Umbriel then fans the flames in Belinda's conversation with the

the master of the 10-syllable rhyming "heroic couplet." He was Baron.

also the first English poet to become famous in his lifetime in

France and Italy and to see his works translated into other
languages. Thalestris
Thalestris isn't a great friend to Belinda, even though she calls

h Characters herself one. When Belinda is upset, she exacerbates the

situation, reminding Belinda how hard she worked to get her
hair just right. She also tells Belinda her reputation will suffer if
her hair is displayed—and that as a result, Thalestris's own
Belinda reputation will suffer if she tries to defend her.

Belinda does her best to look beautiful, styling her hair at great
length and otherwise worshipping at the altar of beauty. She Clarissa
also plays quite a game of Ombre, a card game. But beautiful
and popular though she is, she isn't a mean girl. In fact, she's Perhaps Clarissa is jealous of Belinda, or else she is in some
known for her good nature. The theft of her lock, however, other way a frenemy. First she helps the Baron to steal
drives her to distraction. Belinda's lock. Then she lectures Belinda about how she needs
to get over it. According to Clarissa in her very long speech,
women need to be nice because their beauty will fade.
Baron
The Baron is a brash young fellow. He knows what he wants Sir Plume
and plots to get it. He pretends to be involved in an innocent
game of Ombre, but all the while he is plotting to steal Sir Plume is a vain and fashionable dandy with an amber
Belinda's curl. He has many other souvenirs from other young snuffbox and a fancy walking stick. He pretty much answers to
ladies and wants to add Belinda's curl to them. He is entirely Thalestris's command. When Thalestris orders him to demand
without sympathy. the Baron return the lock, he does so. He isn't able to get the
lock back, but he tries, appealing to the Baron's civility.

Ariel
Ariel takes his job very seriously. He helps Belinda get ready
and does a much better job than her maid, Betty, ever could do.

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The Rape of the Lock Study Guide Characters 5

Character Map

Baron
Conniving thief
Accomplice

Clarissa Ariel
Mean girl Helpful sylph
Hair thief

Guardian

Belinda
Vain young lady;
Helper has lovely locks

Sir Plume Tormentor Umbriel

Young dandy Mischievous gnome

Friends

Sweethearts Assistant

Thalestris Queen of Spleen

Gossipy young lady Ruler of women's tempers

Main Character

Other Major Character

Minor Character

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The Rape of the Lock Study Guide Plot Summary 6

Full Character List Jove

Jove, the chief of the ancient Roman
gods, weighs the strengths of the men
and women in the final battle.
Character Description
Momentilla is one of the sylphs. It is her
Momentilla
job to guard Belinda's watch.
Belinda is a young lady with beautiful
Belinda
hair. She is the victim of a vile crime.
The Muse sees Belinda's lock of hair
Muse
rise upward into the heavens.
The Baron is a young man who plots to
Baron
steal a lock of Belinda's hair.
The Queen of Spleen is in charge of all
Queen of manner of female conditions. She can
Ariel is a sylph, an airy spirit. Ariel and
Spleen make young ladies more upset than
Ariel the other sylphs are in charge of
they would normally be.
protecting beauty from harm.

Shock is Belinda's dog. He licks her

Umbriel is a gnome who wants to make Shock
Umbriel awake.
Belinda more upset.

Zephyretta is one of the sylphs. It is her

Thalestris is Belinda's friend. Her Zephyretta
Thalestris job to guard the fan.
boyfriend is Sir Plume.

Clarissa conspires with the Baron to

k Plot Summary
Clarissa steal Belinda's lock. In fact, she hands
him the scissors.

Sir Plume is Thalestris's boyfriend. He

Sir Plume tries to get the Baron to return the
lock. Canto 1
Affectation attends the Queen of The narrator says sometimes a dire offense can be committed
Affectation Spleen. She is a young girl who is in the name of love, even though it may seem trivial. He states
something of a hypochondriac. the muse for the poem is C——. This is John Carryl
(1667–1736), the friend who asked Alexander Pope
Betty is Belinda's maid. She believes (1688–1744) to write the poem. He says "Belinda," the girl
she does a very good job getting her
Betty about whom the story is written, can see the poem as well. He
ready, but the sylphs do the heavy
lifting. will tell the story of a dire offense and answer two questions:
Why would a young man assault a beautiful young lady? And
Brillante is one of the sylphs. It is her why would a young lady reject a handsome young man?
Brillante
job to guard the diamonds.
As the story begins, it is morning. Everyone is waking, but
John Carryl (1667–1736), a friend of Belinda is reluctant to rise. Her guardian sylph, a spirit or fairy
John Carryl Alexander Pope's (1688–1744), of the air, apparently invisible, protects her. He has sent a
appears in the poem as C—, its muse. wonderful dream of a handsome young man who whispers
sweet nothings in her ear. Various sylphs, who are stand-ins for
Crispissa is one of the sylphs. It is her the gods often portrayed in epic poetry, all flutter around,
Crispissa
job to guard the lock.
protecting her. They always protect her, whether she attends
the theater or takes a fashionable drive. These sylphs used to
Ill-​nature attends the Queen of Spleen.
Ill-​nature be fashionable people themselves, and now that they're no
She is a dour old lady.
longer alive, they hang around and protect Belinda. They warn

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The Rape of the Lock Study Guide Plot Summary 7

her when something bad is about to happen. They guard the stray curls fall down her neck, giving her a sultry, tousled look.
purity of maidens and protect them against false friends and These two enticing curls practically act like snares in which to
young men who may wish them ill. Her special guardian sylph, trap unsuspecting suitors. Or at least, they definitely get their
named Ariel, protects her from all manner of things, but he attention.
mostly warns her to beware of men.
Specifically, they get the attention of the Baron, who has
Belinda's lapdog, Shock, decides she's been sleeping too long always admired them. He resolves to get the locks by any
and licks her awake. She sees a love letter, and all the sylphs' means necessary. He figures once he has them in his
warnings fly out of her head. She sits down to prepare at her possession, no one will question how he got them. He has
dressing table. Like a priest worshipping at the altar, she prays several other souvenirs from girls with whom he has been in
to the "cosmetic powers" and sees an image of a Madonna, love: purloined romance novels, gloves, and actual love letters.
which turns out to be Belinda's own reflection. The styling of In fact, he has built a shrine with them, a shrine to love, and he
her hair and face resemble the donning of battle armor. Her means to have Belinda's curls ensconced there. He prays to
servant, Betty, helps her, bringing forth "unnumbered the gods to help him get the curls. They hear half his prayers.
treasures" from all over the world: jewels from India, perfumes
from Arabia. She brings out combs of ivory and tortoiseshell The boat sails onward. The delighted Belinda suspects nothing.

for her hair. The sylphs, though unseen, divide her beautiful hair But her sylph Ariel knows something's afoot. Ariel summons all

and help with her gown. Betty gets all the praise for making the other sylphs to help. They come, dressed in various

Belinda beautiful, but the sylphs are really doing the work. They glittering, unearthly attire. Ariel gathers them and speaks: "Ye

arm Belinda with great beauty to make her ready to do Sylphs and Sylphids, to your Chief give Ear, / Fays, Fairies,

battle—or, as it turns out, to go to a party. Genii, Elves, and Dæmons hear!" He says all the creatures have
different functions, some more important than others. Their
overall function, as sylphs, is to protect beauty—specifically,

Canto 2 beautiful women like Belinda. This job may not have the glory
of helping a soldier in battle, but it's still important. To them is
entrusted the crucial tasks of making sure a lady's powder isn't
Belinda cruises on a boat down the Thames, a river in London
messed up, her petticoat is straight, and her hair doesn't frizz.
and southern England. She is surrounded by many other
beautiful young people, but none are as beautiful as she is. She Ariel warns them something bad will happen:
wears a sparkling cross, and her beauty inspires even people
who are not Christian to kiss the cross; they would put their
religious differences aside to worship her. She can do no This Day, black Omens threat the
wrong. She has no faults, although if she ever seems to have
brightest Fair
any, the narrator says, "Look on her Face, and you'll forget 'em
all." That e'er deserv'd a watchful
In short, she looks very good, and everyone stares at her. She Spirit's Care.
smiles on everyone, bestowing bright light like the sun.
It is up to them to stop it. Ariel assigns them all different jobs.
Pope next introduces the lock that is the subject of the poem. One sylph named Zephyretta is assigned to be in charge of
Actually, there are two locks, hanging behind her: Belinda's fan. One named Brillante is in charge of her
diamonds. Momentilla guards her watch. Crispissa is to "tend
In equal Curls, and well conspir'd her fav'rite Lock." Quite a few are assigned to keep her skirt in
order. Ariel warns bad things will happen to sylphs who neglect
to deck their duties.

With shining Ringlets her smooth

Iv'ry Neck.
Belinda and her sylphs have trained her hair so a couple of

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The Rape of the Lock Study Guide Plot Summary 8

somehow reads her thoughts as he sits on the nosegay, or

Canto 3 flowers, she has at her breast. Ariel sees she is in love with
someone, and this renders him powerless. Once she has an
The boat finally reaches the shore, where Hampton Court, the earthly lover, she can no longer be protected by the sylphs.
palace of Queen Anne (1665–1714), awaits the occupants.
Despite the importance of the company, they gossip The Baron's scissors close around the curl. One sylph, still
ferociously about "foreign tyrants" and "nymphs." Pope refers fluttering around, gets cut in half. But fortunately, since it's so
to pretty girls as nymphs, though they seem to be entirely airy, it joins right back together. The lock of hair, however, is
mortal. They wave their fans and take snuff, and "at ev'ry Word not as fortunate. It is severed from her head forever. Belinda
a Reputation dies." screams a terrible scream, worse than if her husband or even
her lapdog had died. The Baron gloats, saying the noble prize
It is noon. The narrator notes at this time of the day, judges is his and his feat will be remembered forever in glory.
decide cases quickly, letting "wretches hang," so they can
leave for their lunch. Belinda plays a card game called Ombre, The narrator assures the reader—and Belinda, perhaps—it was
as prophesized in Canto 1. The sylphs sit on each important pointless even to defend herself against the scissors. The
card, watching over them. She is winning. She plays against the scissors were, after all, made of steel. Steel can destroy the
aforementioned Baron, the man who had his eye on her curls, labors of the gods and even the "imperial Tow'rs of Troy." Poor
and another young man. She enjoys pretty good luck, possibly Belinda's hair didn't stand a chance.
because of the sylphs' watchfulness: "The skillful Nymph
reviews her Force with care; / Let Spades be Trumps, she said,
and Trumps they were." Canto 4
This whole section reads like a battle scene in an epic poem,
Belinda, profoundly upset about the loss of her lock, feels
much like Homer's portrayal of the Trojan War, fought in the
worse than a king taken prisoner in battle, worse than a virgin
12th or 13th century BCE, in The Iliad. Belinda is winning the
whose virginity has outlasted her beauty, worse than an older
battle until suddenly "fate inclines the field" to the Baron, who
lady refused a kiss, worse than a tyrant who died unrepentant.
gets in a good hand. He makes one solid move, then another.
She's just really, really mad.
Finally, with "wily arts," he wins her queen. Belinda is shocked.
The blood leaves her cheeks. However, she has something up And her sylphs can do nothing to help. They go away.
her sleeve (not literally—she isn't cheating). She takes out a Immediately after, we are introduced to Umbriel, a gnome. A
king and exacts her revenge. The narrator warns her not to gnome is a different kind of spirit, one not as wonderful and
revel in her victory. protective as the sylphs.

The group sets about drinking coffee and tea. The Baron, Umbriel knows what he must do. He goes to the Cave of
energized by the caffeine, starts getting excited again about Spleen. There he finds the Queen of Spleen, who has taken to
the idea of stealing Belinda's hair. The narrator warns him he her bed with a migraine. She has two servants attending her.
shouldn't do this. After all, Scylla, a character from Greek One is named "Ill-nature" and the other is "Affectation." Ill-
mythology, stole a lock of hair from her father and ended up nature is an old lady, while Affectation is a pretty young girl.
getting turned into a bird for punishment. Many horrors dwell in the Cave of Spleen, from living teapots
to visions of death. There are also pregnant men, walking
But he cannot be stopped. A girl named Clarissa, apparently
tables, and talking goose pies. Umbriel struggles through all
the Baron's ally in treachery and no real friend of Belinda's,
this, holding a branch of healing spleenwort to protect him. The
presents him with a "two-edg'd Weapon" (i.e., scissors) she's
Queen "rule[s] the Sex from Fifty to Fifteen," so basically she is
been carrying around for just such an occasion. She's like a
in charge of all women. It is she who gives them the vapors,
lady assisting a knight. He takes it.
which was how women having a temper (or, possibly, a

The sylphs try mightily to protect her. They fly around her neck personality or an opinion) were described in Pope's time. In

like insects, attempting to make her turn back to see or maybe fact, she has a whole cavalcade of illnesses at her disposal.

swat at them. She does this several times. Eventually Ariel She is also in charge of the most horrific of all symptoms,

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The Rape of the Lock Study Guide Plot Summary 9

"Female Wit," which might make women "scribble Plays." them and not gone out.
Umbriel tells the queen Belinda isn't usually a mean girl. She's
usually immune to the powers of the queen, but this would be a She now has only one curl, hanging all alone. She worries

good opportunity for the queen to infect her. something may happen to it. She wishes the Baron had stolen
a less visible lock of hair, or any other hair at all.
Umbriel is a mischievous sort. He is bound to raise pimples on
a beautiful face or cause women to have temper tantrums
when they lose a game. He makes their lapdogs sick or Canto 5
rumples their petticoats, and now he wants to mess with
Belinda. He begs the queen to help him. Belinda continues her pleading. Everyone listening is moved to
tears except for the cruel Baron, whose ears are stopped up
The queen hesitates but finally obliges by giving him a bag
against her pleas.
filled with "Sighs, Sobs, and Passions." Pope notes it is similar
to the bag given to Ulysses in Homer's Odyssey, which was Then Clarissa, the girl who helped the Baron to steal the lock in
filled with winds to help his ship get home. The gnome is the first place, makes a plea for civility. She says it is all well
ecstatic and goes happily off with his bag of tricks. and good to be beautiful, but women must also have a good
nature and common sense: "How vain are all these Glories, all
Umbriel finds Belinda, who still suffers from upset, sitting with
our Pains, / Unless good Sense preserve what Beauty gains."
her friend Thalestris. Her name is another classical reference,
After all, beauty will eventually fade. Hair will turn gray. Where
this time to the Queen of the Amazons, who legend has it
will women be, she asks, if they scorn men? The greatest
seduced Alexander the Great (356–23 BCE). Umbriel looses
power of a woman is her good nature. Basically, Clarissa tells
his bag upon them, and Thalestris reminds Belinda of what she
Belinda she should just deal with the Baron stealing her hair
endured to get her hair just right. She used a curling iron, set
because otherwise she looks like she is being difficult.
her hair in papers, and all matter of other tortures just so a
rude young ravisher could steal her hair and display it to his No one buys it. Belinda and Thalestris remain angry. Umbriel is
friends. This will cause such damage to Belinda's reputation, having a wonderful time because of everyone's anger. This
even Thalestris won't be able to defend her, because to do so prompts another Homeric battle, this time involving whalebone
would hurt Thalestris's own reputation. Does Belinda think the corsets and rustling silk. People even hit one another with fans.
Baron will display her curl honorably in a ring upon his hand? This is no civilized game of cards. Thalestris kills people with
Thalestris asks. She concludes it is very doubtful. dirty looks. Sir Plume even gets Clarissa involved.

Therefore, Thalestris says, Thalestris's boyfriend, Sir Plume, Jove, the Roman king of the gods, weighs the relative
should try to reclaim the lock. Sir Plume is a dandy with an strengths of the ladies and gentlemen. Finding that the men
amber snuffbox and a walking stick. Sir Plume confronts the have wit while the women only have hair, he decides the men
Baron and demands the hair back. The Baron refuses. He won should win. But Belinda, in a display of her own wit, puts her
it fair and square, and it's never going back to the lovely head finger and thumb over the Baron's nose:
from which it grew. He's going to wear it forever.

Umbriel, "hateful gnome" that he is, breaks a vial of tears and She with one Finger and a Thumb
sprinkles them all over Belinda. She makes a tearful plea. She
subdu'd,
sobs while wishing she had never gone to Hampton Court. It
was her favorite curl, and now it is lost forever. She wishes she Just where the Breath of Life his
had gone to some distant northern land where they don't even
have chariots. She wishes she'd never learned to play Ombre
Nostrils drew.
and had kept her beauty concealed like a rose in the desert.
She relates all sorts of portents that occurred the morning She throws a pinch of snuff at him. He sneezes, and she
before this happened. Her dog was mean to her, her china threatens him with a hairpin.
decorations were shaking, and she thinks she even heard
Then he confesses his love for her. He's not worried about
sylphs whispering warnings to her. She should have listened to

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The Rape of the Lock Study Guide Plot Analysis 10

death, only about leaving her. He asks her to let him live to burn
with love for her. Meter and Rhyme
"The Rape of the Lock" employs heroic couplets, or pairs of
Rather than so, ah let me still lines that rhyme at the end, written in iambic pentameter. In
iambic pentameter, each line has ten syllables and five feet. A
survive,
foot is the basic unit of measurement of a poem's meter, and
And burn in Cupid's Flames, — but the foot of iambic pentameter contains an unstressed syllable
followed by a stressed syllable. Iambic pentameter is one of
burn alive.
the most common forms of traditional poetry. Alexander Pope
(1688–1744) is considered a master of it, though it was also
She demands the lock back, yelling like Othello, the title frequently employed by Geoffrey Chaucer (c. 1342/43–1400),
character in the play by William Shakespeare (1564–1616) Robert Browning (1812–89), and William Shakespeare
when he demanded his wife's handkerchief. Everyone shouts (1564–1616) in his sonnets.
for him to give the lock back. But, alas, no one can find it.

Everyone wonders where it has gone. They wonder if it has

perhaps gone to the special place where all lost things go, a
Sylphs, Nymphs, and Gnomes
place of lost snuffboxes and broken vows. It has not. The Muse
saw it rise up into the sky, where it takes its place among other Mythological creatures protect Belinda. But rather than the

objects that have inspired poets. In fact, it will inspire this very Greek gods of an epic poem, Pope included sylphs, which are

poem the reader is reading right now. tiny little air fairies that flutter around like dragonflies or
hummingbirds.
Thus, Belinda should not mourn the loss of her lock. It has risen
to eternity. Through the poem it inspired, it will live on forever: Sylphs differ in size from nymphs, who are life-sized. For
example, there is a Greek myth that tells about a nymph named
Daphne, who turned herself into a tree to avoid being chased
This Lock, the Muse shall by the god Apollo. In "The Rape of the Lock," when Pope refers
to nymphs, he means life-sized people, not the tiny, invisible
consecrate to Fame,
sylphs.
And mid'st the Stars inscribe
Umbriel, who appears in Canto 3, is a different kind of creature:
Belinda's Name! a gnome. Unlike sylphs, the gnomes in this poem are not
protective. In fact, they actually want to create mischief. They
are perhaps smaller than nymphs but bigger than sylphs. It is

c Plot Analysis difficult to say since no human seems to come into contact
with Umbriel.

Form An Epic Battle

"The Rape of the Lock" takes the form of a mock epic, a form Every good epic needs an epic battle, and "The Rape of the
that shares several traits with actual epic poems. These traits Lock" is no exception. The first battle in the poem begins with
include calling upon the Muse at the beginning of the poem, Belinda's preparation for a larger battle—the party. When she
characters (such as Clarissa) giving lengthy speeches, epic prepares her face, hair, and clothing, Pope equates these
battles, heaven and hell, and the use of supernatural powers. actions with putting on armor. She also prays to the gods of
The poem is divided into five cantos, or subsections. beauty, much as soldiers might pray for strength the night
before an actual battle. Indeed, Belinda's entire beauty ritual
seems like worship at an altar.

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The Rape of the Lock Study Guide Plot Analysis 11

The battle itself takes place in the form of a game of cards. Arabella's—reaction to having her hair cut off? He may have
Belinda strategizes, then sends in her various soldiers, in the thought it was a little over the top. Immediately after the theft,
form of trump cards and "Particolor'd Troops," or the rest of Belinda weeps and sighs in misery while the gnome Umbriel
her cards. The face cards carry weapons, such as swords. Her goes to the Cave of Spleen. The spleen is the organ in the
top three trump cards are called Spadillio, Basto, and Manillio. body that was thought to control ill humors and anger. (This is
Belinda, acting as commander, sends these soldiers into battle. where the expression "vent your spleen," meaning "let out your
Unbeknownst to her, the sylphs are also there to protect and anger," originated.) Umbriel meets the Queen of Spleen,
help her. Eventually Belinda wins the battle—but not the war. attended by two servants called "Ill-nature" and "Affectation."
Her opponent, the Baron, does not take defeat well. Taking a (Affectation is putting on a show to impress others, such as
double-edged weapon (scissors) from a false friend of pretending to be sickly and delicate.) The queen is also in
Belinda's, he severs her curl. He is victorious. charge of vapors, a word used in Pope's time to refer to
"hysterical" nervous conditions, and of "female wit." Thus, one
A second battle takes place later. This one seems to involve might deduce Pope believes women who think themselves
some physical weapons, such as fans, but also vicious stares witty and entertaining to be simply hysterical. This seems
and frowns. Here, the actual gods get involved, not just sylphs. especially likely a few lines later when it is mentioned this
When he describes the bodkin, or hairpin, with which Belinda queen "make[s] some take Physick, others scribble Plays."
threatens the baron, Pope makes sure to tell the entire history Pope apparently thought female creativity arose from hysteria
of it. The pin has been handed down from generation to or hormones. However, Pope does have Umbriel say that
generation, similar to how the weaponry in an epic battle would Belinda is ordinarily good-natured, and fits of pique are out of
be. character for her.

It is interesting to note that Pope wrote one of his best-known

Victim-Blaming? poems, "An Essay on Criticism," in an apparent attempt to
strike back at critics. Additionally, he had so many enemies, he
The narrator describes how Belinda's curls hang so seductively felt the need to carry two loaded pistols every time he left the
down her back. She has, he remarks, arranged them this way house. Therefore, it seems he might have been a little
specifically, as a temptation. They create a sort of trap for reactionary himself.
unsuspecting men to make them fall in love with her. Is it any
It is worth examining if Belinda really did overreact. A lock of
wonder, the narrator seems to ask, that men would want them?
hair was a token commonly given as a symbol of affection,
This is interesting because it parallels the idea still common
much as a lady might give a knight a handkerchief or ribbon as
today that a woman somehow invites physical assault through
a token of her favor. As such, it was the lady's choice to give,
dressing seductively or from her actions. It should be noted
not a young man's to steal. Unlike some other tokens, such as
that Pope, by parodying this idea, probably recognized its
the purloined gloves referred to in the poem, a lock of hair was
ridiculousness.
actually attached to the lady's head. Cutting it off against her
Later in the poem, however, the narrator states Belinda could will does seem to be a form of assault. Even if a lady gave her
not possibly have defended herself from the scissors because, curl willingly, and from true affection, she would probably like
being made of steel, they were too strong. Therefore, even to choose from where it should be cut, to keep her from
though he was writing in the 18th century, Pope seems to have looking like a scalped pigeon.
understood an important fact. Though Belinda may have
played cards with the Baron and even flirted, she wasn't asking
to have her lock "raped." Clarissa's Speech
Clarissa's speech calls to mind Katharina's long speech at the
Female Hysteria end of Shakespeare's play The Taming of the Shrew (c.
1590–94), wherein the previously shrewish Katharina goes on
But how did Pope really feel about Belinda's—and, therefore, and on about the obedience women owe to their husbands.
The speech begins with Katharina cautioning her previously

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The Rape of the Lock Study Guide Plot Analysis 12

more agreeable sister, Bianca, to "unknit that threatening (1674). Although the lock is gone, it and therefore its owner will
unkind brow, / And dart not scornful glances from those eyes / live forever.
To wound thy lord, thy king, thy governor." Such unkind looks,
Katharina says, mar women's beauty. Katharina goes on to talk This has proved to be true. Over 300 years later, modern

about how ugly anger makes women, eventually saying she is readers are still reading the poem. Indeed, they may even be

"asham'd that women are so simple / To offer war where they familiar with Arabella Fermor (c. 1689–1738), the owner of the

should kneel for peace." Pope eventually published a revised real lock of hair that inspired it.

edition of Shakespeare's complete works, so perhaps he had

Katharina in mind when he wrote Clarissa's speech. The feisty
Katharina's speech seems out of character in Shakespeare's
play, but it is supposed to symbolize how she has changed
through love. Clarissa's speech seems even more out of
character because Clarissa caused all the trouble by helping
the Baron to steal Belinda's hair in the first place. One wonders
if Pope wished to characterize Clarissa as the soft voice of
reason. Or perhaps he wished her to come across as the type
of catty girl who causes all manner of trouble and then steps
back and says, "Who, me?"

In any case, no one in the poem buys it.

The Ending
In the battle that follows Clarissa's speech, Belinda demands
her lock be given back. And here we find another Shakespeare
reference, as she yells for the lock with even more ferocity
than Othello roared for Desdemona's handkerchief in Othello
(1604):

Not fierce Othello in so loud a

Strain
Roar'd for the Handkerchief that
caus'd his Pain.

Here Pope uses hyperbole by comparing the handkerchief in

Othello to Belinda's lock of hair. Othello believes his wife,
Desdemona, gave her handkerchief to her lover, a belief that
eventually drives him to murder her. So again, Pope is telling
the reader Belinda is overreacting.

When, finally, the Baron seems to agree to return the lock, he

can't find it. It has, in fact, risen to the "Lunar Sphere," where it
has inspired a muse to write a poem. This is reminiscent of the
heaven of John Milton's (1608–74) epic poem Paradise Lost

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The Rape of the Lock Study Guide Plot Analysis 13

Plot Diagram

Climax

7
10 Falling Action
Rising Action
6
11
5

4 12

3 Resolution

2
1

Introduction

Introduction Climax

1. Belinda readies for the party. 9. The Baron declares his love for Belinda.

Rising Action Falling Action

2. Belinda enjoys herself on the boat. 10. Everyone searches for the lock but it can't be found.

3. Ariel rallies to protect Belinda from an unknown threat. 11. The lock has been taken up to the sky.

4. Belinda and the Baron play Ombre and Belinda wins.

5. The Baron cuts off Belinda's lock.

Resolution
6. Umbriel and the Queen of Spleen torment Belinda.
12. The lock inspires the Muse to write a poem.
7. Thalestris, Sir Plume, and Belinda try to get the lock back.

8. The Baron rejects their pleas and a battle ensues.

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The Rape of the Lock Study Guide Plot Analysis 14

Timeline of Events

A sunny day

Belinda readies for the party.

Later

Belinda enjoys herself on the boat.

Meanwhile

The Baron plots to steal Belinda's lock.

Meanwhile

Ariel masses the sylphs to protect Belinda.

In the afternoon

Belinda and the Baron play Ombre and Belinda wins.

Then

The Baron steals Belinda's lock.

Afterward

Umbriel finds the Queen of Spleen.

Then

The Queen gives Umbriel a magical bag.

After that

Umbriel lets the bag loose on Belinda and Thalestris.

Next

At Thalestris's bidding, Sir Plume demands the lock back.

A moment later

Belinda gives an emotional speech, and an epic battle

ensues.

During the battle

The Baron declares his love for Belinda.

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The Rape of the Lock Study Guide Plot Analysis 15

After this

The Baron cannot find the lock because it has risen to

the sky.

In the end

The lock inspires the Muse to write a poem.

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The Rape of the Lock Study Guide Quotes 16

intent adores / With Head

g Quotes
uncover'd, the cosmetic Pow'rs. /
"What dire Offense from am'rous A heav'nly Image in the Glass
Causes springs, / What mighty appears."
Contests rise from trivial Things." — Narrator

— Narrator
Here the narrator describes Belinda worshipping at the altar of
beauty and vanity. She's praying to the cosmetic gods, and the
These lines begin the poem, and they are a sort of call to graven image she sees in the mirror is her own face.
action. Love, war, and trivial matters are the subject of the
poem, summed up nicely in these first two lines. The poet's
desire to answer these questions provides the inspiration for
"If to her share some Female
this poem.
Errors fall, / Look on her Face, and
you'll forget 'em all."
"Say what strange Motive,
Goddess! cou'd compel / A well- — Narrator

bred Lord t'assault a gentle Belle?"

The narrator goes on and on about Belinda's perfection. She's
not merely beautiful but flawless. If anyone dares to think she
— Narrator
has flaws, all they have to do is look at her to forgive them.

The narrator poses another question: Why would a nobleman

assault a nice lady? Continuing on with the theme of the
"In equal Curls, and well conspir'd
poem's first two lines, these questions would make someone
want to know more about the story the poet is about to tell. to deck / With shining Ringlets her
smooth Iv'ry Neck."
"Of these am I, who thy Protection
— Narrator
claim / A watchful Sprite, and Ariel
is my Name." This is the first description of the lock that is the subject of the
poem. It is one of two ringlets hanging down Belinda's neck.

— Ariel

"This Day, black Omens threat the

After describing the duties sylphs, or fairies, carry out in
protecting innocent young women, Ariel introduces himself as brightest Fair / That e'er deserv'd
the particular sylph assigned to protect Belinda.
a watchful Spirit's Care."

— Ariel
"First, rob'd in White, the Nymph

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The Rape of the Lock Study Guide Quotes 17

The sylph Ariel claims to have seen portents telling him

last."
something bad is going to happen to Belinda.

— Narrator

"At ev'ry Word a Reputation dies."

The narrator describes traumatic events that may cause a lady
to shriek with sorrow or rage. The death of a husband is such
— Narrator
an event, but with a touch of black humor, the narrator asserts
the death of a dog is equally traumatic.
This describes the gossip of the partygoers who have taken
the boat to the castle. They are destroyers of reputations.

"Hail wayward Queen! / Who rule

"The hungry Judges soon the the Sex to Fifty from Fifteen, /
Sentence sign, / And Wretches Parent of Vapors and of Female
hang that Jury-men may Dine." Wit."

— Narrator — Umbriel

In a bit of social commentary, the narrator says judges are These words are used to describe the Queen of Spleen, a deity
unconcerned about human rights. In fact, they would allow a dedicated to female fits of temper. She is in charge of women
man to hang simply to get a quick verdict so they can go home aged 15 to 50. Notably, these are approximately the ages at
for lunch. which women begin and end menstruating. During these
periods, she inflicts upon them many horrors, including vapors
(a disease of ill temper) and female wit. Thus, Alexander Pope
(1688–1744) was saying female cleverness is some sort of fit
"Sudden he view'd, in spite of all
of pique.
her Art, / An Earthly Lover lurking
at her Heart."
"Oh hadst thou, Cruel! been
— Narrator content to seize / Hairs less in
sight, or any Hairs but these!"
The sprite Ariel can see inside Belinda's thoughts. He
perceives she is in love with someone. This makes it impossible — Belinda
for him to protect her, as sylphs can only protect those whose
hearts aren't given away. The poem does not elaborate on who
owns Belinda's heart. Perhaps it is the Baron, or perhaps it is Pope is making sort of a dirty joke here. Belinda wishes the
someone else. Baron had stolen hair that was less visible—any hair.

"Not louder Shrieks to pitying "How vain are all these Glories, all
Heav'n are cast, / When Husbands our Pains, / Unless good Sense
or when Lap-dogs breath their preserve what Beauty gains."

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The Rape of the Lock Study Guide Symbols 18

— Clarissa
Cards
Clarissa, who earlier helped the Baron to steal Belinda's hair,
now tells her to calm down and be nice. A woman needs a
good personality to make up for fading looks, she says. In Canto 3, Belinda plays a game of Ombre against the Baron,
at which she is apparently very good. Alexander Pope
(1688–1744) uses the strategic game of Ombre as a symbol of
war, spelling out each move. In Ombre, the top three trump
"This Lock, the Muse shall
cards are called Matadores. Each of these trump cards has a
consecrate to Fame, / And mid'st different name. One is spadille, one is basto, and one is manille.
In the poem, these are the names of the warriors in the battle
the Stars inscribe Belinda's being fought. For example, Spadillio is the "first, unconquerable
Name!" Lord." Pope describes the troops in the battle as being
"particolour'd," meaning the different suits of cards. He also
describes the appearance of the face cards as if they are the
— Narrator
features of real soldiers, noting how one king "puts forth one
manly leg," for example. Here a queen is taken, but there an
As the poem ends, the lock is nowhere to be found. The muse ace makes its appearance. In the end a king saves the day.
told a poet (Pope) about the lock. He then wrote a poem about Since the actual order of the day is not just cards but romance,
it, making it famous so it will be remembered forever. one can assume the cards are symbolic not just of war, but of
love.

l Symbols
The Bodkin

The Lock
Near the end of the final battle, Belinda draws "a deadly Bodkin
from her side" and threatens the Baron with it. A bodkin is a pin
for putting up hair. Like in the epics of the Greek poet Homer
The lock of Belinda's hair referred to in the title is also a
(9th or 8th century BCE), this weapon has a history. Belinda's
powerful symbol both of vanity and of the power of female
great-great-grandfather wore rings that were melted down
beauty over men. According to the poem, Belinda has
after his death to make "a vast Buckle for his Widow's Gown." It
nourished her locks, meaning she has trained them to be at
was reformed again into Belinda's "infant Grandame's Whistle."
their most fabulous, hanging temptingly down her neck. As
Then it became the bodkin it is now, which was first worn by
such, they are portrayed as "Chains" or even "Sprindges," or
Belinda's mother. Therefore, the bodkin symbolizes the storied
snares, to entrap an unsuspecting young beau. When Pope
swords and spears used by heroes in epic poems. For
initially introduces the locks, he says they have been nourished
example, the Scandinavian mythical hero Beowulf, in the old
"to the destruction of mankind," meaning they have great
English poem of the same name, has a sword, Hrunting, which
power and have been groomed in such a way as to have even
is given to him and with which he attempts to kill the monster
more power. They are doing their job—in fact, they do it too
Grendel's mother. Although it was a very storied sword, it didn't
well, causing the Baron to fall so completely in love (as it turns
work. He tried another weapon, which worked, although it
out later) with Belinda that he simply has to have her locks, or
melted upon contact with Grendel's mother's blood. Similarly,
one of them, as a souvenir. This results in the entire battle and,
the great warrior Achilles in Homer's Iliad has a weapon that
indeed, the resentment between the two that comes as a
only he has the strength to wield. The sword had been passed
result of it.
down through generations.

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The Rape of the Lock Study Guide Themes 19

manille. Pope refers to these as if they are the names of

m Themes warriors in battle. Thus, Spadillio is the "first, unconquerable
Lord" and he leads off "two captive Trumps." Manillio is next,
and he forces other cards to yield, then marches like "a victor"

Love is a Battlefield from the field. Finally, Basto follows, but he doesn't do as well.
Pope also describes the appearance of the face cards as if
they were the features of real soldiers. For example, the king
of spades carries a "broad Sabre," a type of sword. All the
Since "The Rape of the Lock" is a parody of an epic poem, it cards yield to Belinda's superior army. Although there is a brief
must have an epic battle. Alexander Pope (1688–1744) keeps point where her victory is in doubt, she rallies and is victorious.
this metaphor going throughout the poem. In Pope's time, the Celebration ensues.
making of a proper romantic match was critical for a young
lady. Perhaps it would feel like a matter of life and death to her, Her opponent, however, is not so easily discouraged. He takes
and just as important as war to a soldier. For this reason, in up another weapon, this one "two-edged," and moves in for the
Canto 1, Belinda prepares her hair and face as if going into kill. Just then, Belinda's sylphs realize they cannot protect her
battle. All the sylphs, or spirits of the air, help her, recognizing because she is in love with someone. She is on her own.
the importance of what they are doing. When "awful Beauty Abandoned by her troops, she falls in battle. Or, at least, she
puts on all its Arms," Pope doesn't specify what she is arming loses a lock of her hair.
herself against. Perhaps it is the wrong suitors, or perhaps
Another battle takes place later in the poem, in which fans and
girls, like Clarissa, who wish her ill and would gossip about her
hairpins are employed as weapons, along with frowns and
and spoil her chances. It is unlikely she imagines what may lurk
stares. This battle ends with the Baron declaring his love for
ahead: a young man so presumptuous as to steal her hair for a
Belinda.
souvenir. Nonetheless, she prays to the gods of beauty, the
"cosmetic Pow'rs," as fervently as a soldier on the eve of battle.

The first battle comes in the form of an extended metaphor in

Canto 3, in which Pope analogizes flirting over cards to war.
Beauty Is Fleeting and Must Be
Belinda's sylphs have prepared for battle, unbeknownst to her.
The young man, her opponent, is also ready. He thinks about
Protected
how to attain his desired object, by force or by fraud:

The theme of the fleeting nature of beauty and its need to be

Resolv'd to win, he meditates the
protected makes its appearance several times in the poem.
way, First, in Canto 1, the reader meets Ariel and the other sylphs
who watch over Belinda and make sure she comes to no harm.
By Force to ravish, or by Fraud The reader learns the sylphs watch over all the fashionable
betray. ladies. Ariel supervises Belinda's dressing, hairstyling, and
application of perfume and jewels because such things are
important. In Canto 3, Ariel and the other sylphs fight valiantly
He decides on force.
to save Belinda's lovely lock, while in Canto 4, Thalestris
During the game of Ombre, the card game played in Canto 3, reminds Belinda of all she has gone through for her beautiful
Belinda strategizes like a general. She reviews her force with hair. As electric curling irons had not yet been invented,
care, taking stock of her armies. Her "Particolor'd Troops," the Belinda curled her hair on papers and rags or with metal
various suits of cards, go forth into "Combat on the Velvet curling irons heated over a fire.
Plain," the green tablecloth upon which the game was played.
Also in Canto 4, the poet describes the most miserable people
In Ombre, the top three trump cards are called Matadores, and in the world, comparing them to Belinda at this moment. Two
they are given different names in the game: spadille, basto, and categories of people included are "scornful Virgins who their

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The Rape of the Lock Study Guide Narrative Voice 20

Charms survive" and "ancient Ladies when refus'd a Kiss." The In the poem, when Belinda's lock of hair is stolen, she shrieks
message here is that if a lady is still a virgin, and presumably like a woman whose husband or pet dog has died. Pope utilizes
unmarried, after her beauty has faded, she will be miserable. this bit of hyperbole to show how Belinda is overreacting. For
This is also true of older ladies whom no one wants to kiss. one thing, husbands and lapdogs aren't—or shouldn't
be—equally important. But, while the husband, or even the
In Canto 5, Clarissa makes a speech about the fleeting nature lapdog, will be lost forever, hair will eventually grow back. While
of beauty. She makes a plea for good sense to "preserve what Pope recognizes the importance of beauty to a young woman,
beauty gains." Virtue is more important than beauty, she says, he still thinks she is overdoing it, egged on, perhaps, by the
as is learning useful skills. Clarissa reminds Belinda and the Queen of Spleen.
assembled group that beauty, even painted beauty, will one
day fade: Later on, Belinda completely loses it. After her friend Thalestris
gets her even more upset, telling her the theft of her hair will
ruin her reputation and make it hard for her to have friends,
But since, alas! frail Beauty must
Belinda demands her lock back. In another bit of hyperbole,
decay, Pope compares Belinda's demand to a husband's jealous
raging over his wife's handkerchief in William Shakespeare's
Curl'd or uncurl'd, since Locks will (1564–1616) play Othello (1604). This ramps up even further
turn to gray. what an unimportant matter the lock is.

Indeed, the entire poem is hyperbolic. Ultimately Pope

Thus, Clarissa says, women should be nice to men so they can describes people hitting one another with fans as if it is an epic
get husbands. They must have good humor and merit so their battle comparable to those of the Trojan War (12th or 13th
husbands will love them even when they are no longer pretty. century BCE) and the subject of Homer's Iliad, a major conflict
This is a rather trite little speech, and no one pays attention to between ancient kings that lasted ten years. The epic poem is
her. However, the poem ends with the thought that Belinda's 12,000 lines long, arranged into 24 books. By using the style of
lock, unlike most other beautiful hair, will live on forever, adding the Iliad, Pope compares the spectacular war between ancient
"new Glory to the shining Sphere." In the end, the poet kingdoms to a spat between ruling-class families, showing the
preserves Belinda's beauty, ensuring it will be remembered insignificance of the family spat.
long after it should have faded.

Don't Fret over Trivial Things b Narrative Voice

The style of "The Rape of the Lock" can be thought of as
Homeric epic poetry meets celebrity gossip magazine. In some
A real-life fight between two families inspires the poem "The places, Alexander Pope's (1688–1744) poem is a pretentious,
Rape of the Lock." The son of one family steals a lock of hair over-the-top parody of the style of Homer, the Greek epic poet
from a daughter of the other. Clearly Pope thought this was an from the 9th or 8th century BCE. Everything is larger than life.
incident not worthy of a fight. He calls it trivial in the opening Belinda isn't just beautiful; she isn't just the most beautiful
lines of the poem: young lady in the world. No, she is without flaw and groomed
by fairies. In other places, he fills readers in on the doings of
the rich and famous, by way of Belinda and her associates and
What dire Offense from am'rous
even the English monarch, Queen Anne (1665–1714).
Causes springs,
At the poem's beginning, Pope uses the elevated vocabulary of
What mighty Contests rise from Homer, speaking of "dire Offense" and "mighty Contests"

trivial Things. inciting "Rage in softest Bosoms." The presence of the

mythological sylphs also shows this story is delivered in the

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The Rape of the Lock Study Guide Narrative Voice 21

style of Homer. The offense in question is played up to epic

proportions, as the narrator asks:

Say what strange Motive,

Goddess! cou'd compel
A well-bred Lord t'assault a gentle
Belle?

But later the tone becomes more gossipy, as he outlines the

various entertainments at which the sylphs may witness
Belinda, the theater outings and the travel in coaches. He
grows still more catty when he talks about the sylphs' work on
Belinda's appearance in religious language: "the sacred Rites
of Pride." When he describes her on board the boat on the
Thames in Canto 2, she is the most fabulous creature to be
seen, even in fabulous company:

Fair Nymphs, and well-drest

Youths around her shone,
But ev'ry Eye was fix'd on her
alone.

One can almost hear Pope as a red-carpet announcer saying,

"Here she is, ladies and gentlemen, the beautiful Belinda! She's
greeting her adoring fans. Who dressed you tonight, Belinda?
Was it sylphs?"

At the end of Canto 2, Pope describes the various spirits of the

air in Homeric detail, but at the beginning of Canto 3 he is back
to gossiping. Though he does so in grandiose terms, he isn't
very respectful to his subjects, describing them as "singing,
laughing, ogling, and all that."

In Cantos 3 and 5, Pope's style becomes even more like an

epic poem when he describes two glorious battles: a game of
cards, and ladies and gentlemen glaring and hitting each other
with fans. He references the poets Homer, John Milton
(1608–74), and William Shakespeare (1564–1616) to give these
trivial battles an elevated feel. This reaches full-on grandeur at
the end when Pope describes the lock going up to heaven,
where it inspires a muse and makes Belinda live forever.
Phrases such as "consecrate to Fame" and "shining Sphere"
give the poem an epic ending.

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