The Rape of the Lock

Fiction | Poem | Adult | Published in 1712

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Related Poems

“Impromptu” by Alexander Pope (1714)

This poem, written by Pope in response to rumors of Anne Finch’s dislike of “The Rape of the Lock,” establishes a poetic correspondence between the two poets. In 1709, Anne Finch published an ode titled “The Spleen,” which explores her struggles with depression. In “The Rape of the Lock,” Pope creates a character named the Queen of Spleen, a goddess who rules over women’s emotions. Finch, assuming that Pope was making a mockery of her own work, spoke to her disapproval of the poem in social circles known by Pope. She found fault with his representations of women in general, citing Umbriel’s speech to the queen as evidence. “Impromptu” is his response to her claims.

“The Answer” by Countess of Winchilsea Anne Finch (1714)

After reading “Impromptu,” Finch decided to write a poetic response to Pope. She compares Pope to Orpheus, who, in Ovid’s Metamorphosis, was killed by female fauns. She continues the comparison throughout the poem, in an attempt to undermine Pope by shifting power dynamics. Ultimately, she advises Pope to “mind his manners” and argues for the respect of her own sex. She claims that wit is hardly a precursor to wisdom—implying the wise must practice tact concerning the use of wit. After this correspondence, the two poets remained friends—with a bond of mutual witticism and poetic sparring. “The Answer” is published alongside Pope’s “Impromptu,” though abridged: the scene of Orpheus’s decapitation being removed.

“Epistle II: To a Lady on the Characters of Women” by Alexander Pope (1735)

In this poem, the second in a series of epistles collectively titled Moral Essays, Pope attempts to provide mythical, literary, and historical examples of female fickleness. Pope essentially argues that all women are prone to inconsistencies of character and that men are more capable of exhibiting strong character. When read alongside “The Rape of the Lock,” the poem further calls into question Pope’s representations of women. Many critics argue that the poem is overtly misogynistic, though revelatory of the gender politics of the time. The “ideal” woman of the poem, Martha Blount, remains private, domestic, and submissive, but Pope’s descriptions still suggest negative criticism.

Further Literary Resources

"Pope and the War Against Coquettes; or, Feminism and The Rape of the Lock Reconsidered—Yet Again" by Deborah C. Payne (1991)

In her article, Payne explores “The Rape of the Lock” through a feminist perspective. She discusses the differences between the characterizations of Belinda and Clarissa—the coquette versus the prude—in context of the popular magazine periodicals of the time. She argues that male writers prescribed distinct roles for women in society to play and presented themselves as “father figures” providing advice to their “daughters.” Pope assumes this role and voices his patriarchal opinions through the character of Clarissa. Payne also further explores the social class differences apparent in the three main female characters: Belinda, Clarissa, and Thalestris. She argues that each class representation modeled specific behaviors for the poem’s female readership.

"Virgin Idols and Verbal Devices: Pope’s Belinda and the Virgin Mary" by Corrinne Harol (2004)

This article analyzes “The Rape of the Lock” through a historically religious perspective. During Pope’s lifetime, there was rampant anti-Catholic sentiment throughout England. Harol posits that Pope uses the characters of Belinda and the baron to examine idolatry (a major argument of the protestants) and provide evidence to question the sanctity of virginity itself. She relates this back to the Church of England’s critique of Catholic worship and their belief in saints and the Virgin Mary—suggesting that Catholics worship Mary and objects rather than worshipping God. She explores the sign versus referent argument when considering significance of “the lock” itself and ultimately suggests that Pope was critiquing these religious constructs.

"The Rape of the Lock and the Economy of Trivial Things" by Stewart Crehan (1997)

This article provides a Marxist reading to Pope’s “Rape of the Lock.” Crehan argues that many of the poem’s metaphors have economic implications that distinctly link it to its period in history. He begins his argument by exploring the Marxist concept of “commodity fetishism” and how poetic metaphor becomes an economic exchange. He emphasizes that the poem is rooted in “trivial things” and how the characters of the poem become the things they commodify—thus commodifying themselves. Crehan also develops his theories into an exploration of class and gender.

Listen to Poem

Rhonda Federman reads “The Rape of the Lock” by Alexander Pope

In this audiobook by LibriVox, Rhonda Federman reads Alexander Pope’s “The Rape of the Lock” in its entirety. Federman begins the recording by reciting Pope’s epistle dedicatory, where Pope, after the poem’s final publication in 1717, directly addresses the poem’s real-life muse, Arabella Fermor. In the epistle, Pope attempts to assuage Arabella of any intended malice on his part and suggests that the character of Belinda is nonrepresentational and purely fictitious. The recording offers time stamped canto section breaks to provide flexibility in listening.