the rape of the lock opera
the rape of the lock opera
Prefatory Essay for The Rape of the Lock
In The Rape of the Lock, Alexander Pope has given us one of the most beautiful poems
in all of English literature—and one of the strangest. The great critic Samuel Johnson
summed up its reputation in 1781: “To the praises which have been accumulated on The
Rape of the Lock by readers of every class, from the critick to the waiting-maid, it is
difficult to make any addition.” In 1818 Lord Byron wrote to a friend, “Your whole
generation are not worth a canto of The Rape of the Lock.” In 1930, Edith Sitwell called
The Rape of the Lock “a poem so airy that it might have been woven by the long fingers
of the sylphs in their dark and glittering Indian gauzes.”
Not all readers, though, have been so complimentary: many have accused the poem of being trivial. The critic John Dennis, for instance, Pope’s contemporary, wrote of The Rape of the Lock that “Nothing could be more ridiculous than the writing . . . upon so empty a Business as this trifling Poem.” And the critics were not content to savage the
poetry, but turned their sights on the poet as well. Dennis took aim at Pope this way:
“As there is no Creature in Nature so venomous, there is nothing so stupid and so
impotent as a hunch-back’d Toad.” His one-time friend Mary Wortley Montagu was
nastier still: after attacking his translation of Homer and his imitations of Horace, she
declared Pope the enemy of mankind:
When God created Thee, one would believe,
He said the same as to the Snake of Eve;
To human Race Antipathy declare,
'Twixt them and thee be everlasting War.
How can we reconcile the praise with the attacks, the fame with the infamy?
Pope’s whole career—in fact, his whole life—is about this paradox, about balancing
the high with the low. The Rape of the Lock in particular is all about incongruity: it is a
combination of high style and low matter, beautiful poetry and scurrilous behavior, the
most delicate imaginative fantasies and the coarsest dirty jokes. It’s the most famous
English example of “mock epic”—it takes a trivial tale of squabbling lovers and treats it
in the most serious and elevated poetic style, the sort usually reserved for subjects like
the foundation of empires and the downfall of civilizations. As Pope himself puts it in
his opening lines, The Rape of the Lock is about “What mighty Contests rise from trivial
Things.”
Pope & Satire
The incongruity begins with the poet himself, for Pope was a strange creature. Pott’s
Disease, a tubercular infection of the bones, “crippled him,” as one biographer writes,
“and fixed his stature permanently at about that of a twelve-year-old boy”—only about
four feet six inches tall. The condition caused both physical and mental pain throughout
what he called “this long Disease, my Life.” It left him a hunchback, prompting Lady
Mary Wortley Montagu’s insults about his “wretched little Carcass.” He was also a Roman
Catholic at a time when Catholics were prohibited from attending the universities,
serving in the government, or even living in London. He was no more fortunate in
politics: he and his friends backed the Tory party just at the time the Tories fell from
grace, and they spent decades excluded from political influence.
Perhaps these misfortunes contributed to Pope’s waspishness and his often wicked
sense of humor. Late in his career his public persona was that of a beleaguered man of
letters, endlessly pestered by inferior poets who clamored for his attention. He was not
one to suffer fools gladly. His greatest strengths were satirical: no poet has been better at putting fools in their place. With a few well-chosen lines he could leave his enemies
twitching on the ground. A master of the stinging irony, no one was better at
eviscerating rivals with his wit.
His enemies saw only this side of him—the anger, the spite, the peevishness—but,
paradoxically, Pope was also able to write some of the most beautiful lines ever penned
by an English poet. Consider the scene in The Rape of the Lock where the chief sylph,
Ariel, summons up the “lucid Squadrons” of the “Denizens of Air”:
Some to the Sun their Insect-Wings unfold,
Waft on the Breeze, or sink in Clouds of Gold.
Transparent Forms, too fine for mortal Sight,
Their fluid Bodies half dissolv’d in Light.
Loose to the Wind their airy Garments flew,
Thin glitt’ring Textures of the filmy Dew.
Dipt in the richest Tincture of the Skies,
Where Light disports in ever-mingling Dies,
While ev’ry Beam new transient Colours flings,
Colours that change whene’er they wave their Wings.
Few poets could hope to equal the delicacy and refinement of these lines, which capture so brilliantly the shifting colors on the sylphs’ diaphanous wings.
And nowhere do the two sides of Pope’s life—the bitterness and the beauty, the
imagination and the malice—come together in more perfect equipoise than in The Rape
of the Lock.
The Background
The story behind the poem is well documented. Two Catholic families found themselves
feuding in the wake of an attempt at late-adolescent flirting went wrong. Some time in
1711, Arabella Fermor, a society beauty, was passing the day with several friends—
among whom was Robert, 7th Lord Petre. Both were around twenty-one years old, and
both were famously fashionable and attractive—as Pope calls them, “a well-bred Lord”
and “a gentle Belle.” As fashionable and attractive people have always been wont to do,
they spent much of the day flirting with one another. But eventually Lord Petre took this
“little piece of gallantry” (as Joseph Warton called it) too far, and cut off a lock of
Arabella’s hair—the “dire Offence” that sprang from “am’rous causes” which Pope
mentions in the opening lines.
The Fermor and the Petre families had once been on good terms but, when the
children had their falling-out, the families followed. The feud continued for several
months until, working through a shared friend, John Caryll, the families called on Pope
to reconcile the two sides. As Pope told his biographer Joseph Spence,
The stealing of Miss Belle Fermor’s hair, was taken too seriously, and
caused an estrangement between the two families, though they had lived
long in great friendship before. A common acquaintance and well-wisher
to both, desired me to write a poem to make a jest of it, and laugh them
together again.
The result was The Rape of the Lock, in which Arabella Fermor is metamorphosed into Belinda, Lord Petre becomes the Baron, and the snipping of a lock of hair is transformed into the occasion of a battle on an epic scale. It is perhaps Pope’s most enduring poem, and certainly his most immediately successful: as he told Spence, it “was well received and had its effect in the two families.”
Sales were slow for the first version of The Rape of the Locke, published in 1712 in
two cantos, but a revised and expanded version of 1714—now without the extra e—sold
more than three thousand copies in its first four days. The new five-canto version
introduced what Pope called the “machinery”—the supernatural paraphernalia of sylphs
and gnomes. In expanding the poem Pope also expanded his sense of scale: his
imaginative conception of Belinda’s world now ranged from the combs and pins on
Belinda’s dressing table to the grotesquerie of the Cave of Spleen, from card games to
the lock’s transformation into a star.
Incongruities & Tensions
The Rape of the Lock is all about the distance between these two worlds—the minutiae
of everyday life on the one hand, the grandeur of poetic imagination on the other. This
is Pope’s notion of the human condition of itself: as he puts it in An Essay on Man, the
human race is
Plac’d on this isthmus of a middle state,
A being darkly wise, and rudely great. . . .
Created half to rise, and half to fall;
Great lord of all things, and yet a prey to all;
Sole judge of Truth, in endless Error hurl’d:
The glory, jest, and riddle of the world!
Puzzling out this riddle is our mission on earth; making it more entertaining is Pope’s
mission as a poet. And in The Rape of the Lock, his favorite technique is to transform
the everyday into poetry.
In his Life of Pope, Samuel Johnson called The Rape of the Lock the world’s “most
exquisite example of ludicrous poetry.” Johnson recognized that Pope’s greatest
distinction was his ability to bring the exquisite together with the ludicrous—and not
merely to bring them together, but to metamorphose the one into the other. In this way
the minutiae of everyday life become a subject of real fascination, even beauty.“In this
work,” wrote Johnson, “are exhibited, in a very high degree, the two most engaging
powers of an author. New things are made familiar, and familiar things are made new.”
It’s easy to see this in Pope’s descriptions of all the quotidian items in an eighteenth-
century dressing room: fans, screens, watches, romance novels, love letters, all of which
are metamorphosed into the stuff of legend. Consider the items scattered across
Belinda’s dressing table:
This Casket India’s glowing Gems unlocks,
And all Arabia breathes from yonder Box.
The Tortoise here and Elephant unite,
Transform’d to Combs, the speckled and the white.
A jewelry box, a container of perfume, and two combs (one of tortoise-shell, the other of
ivory)—nothing special here. And yet in Pope’s poem they open imaginative pathways to
the exotic Orient, part of England’s expanding empire.
Another recent imperial import was coffee, first offered for sale in England around
1650. The fashion caught on quickly, and within fifty years there were two thousand
coffee houses in London alone. We can watch Pope turning the most drab details of life
into poetry, as when the coffee beans are ground, brewed on a lacquered (“japanned”)
table, and then poured into china cups:
For lo! the Board with Cups and Spoons is crown’d,
The Berries crackle, and the Mill turns round.
On shining Altars of Japan they raise
The silver Lamp; the fiery Spirits blaze.
From silver Spouts the grateful Liquors glide,
And China’s Earth receives the smoking Tyde.
To describe coffee as “grateful Liquors” poured into “China’s Earth” is absurdly
inappropriate—but that’s the comic point of the passage.
Poetic Techniques
The coffee scene is typical of the technique of The Rape of the Lock, for Pope gets many
of his effects from describing trivia in inappropriately elevated language. Consider, for
instance, what happens when the lock is cut:
Then flash’d the living Lightning from her Eyes,
And Screams of Horror rend th’ affrighted Skies.
Not louder Shrieks to pitying Heav’n are cast,
When Husbands or when Lap-dogs breathe their last.
Pope had developed the serious style in his translation of Homer’s Iliad; here he uses that
serious style to comic ends. A pair of scissors is promoted to a “two-edg’d Weapon”; a petticoat
becomes a suit of armor; a huffish fit of bad humor becomes a descent into the
underworld; a card game becomes mortal combat between rival armies. The serious and
the trivial are always being juggled.
One way Pope manages this juggling is by writing lists that mix the high with the
low. On Belinda’s toilette, for example, we find “Puffs, Powders, Patches, Bibles, Billet-
doux”—a catalogue that almost loses the Holy Scripture amidst the bric-a-brac of a
dressing table. One humorless editor suggested “Bibles” was a misprint in the early
editions for “Baubles”; a more perceptive commentator argued, correctly, that the
“disorder on Belinda’s dressing table is fundamentally a moral disorder.” In Belinda’s
world, the word of God is no more than a fashion accessory. Or notice how much sense
hangs on the little word or in this passage:
Whether the Nymph shall break Diana’s Law,
Or some frail China Jar receive a Flaw,
Or stain her Honour, or her new Brocade,
Forget her Pray’rs, or miss a Masquerade,
Or lose her Heart, or Necklace, at a Ball;
Or whether Heav’n has doom’d that Shock must fall.
The effect is to suggest that, in the topsy-turvy moral world of the Fermors and the
Petres, losing a necklace is every bit as important as losing a heart—or, conversely, that
staining honor is just as trivial as staining a new piece of cloth. This is a famous example
of a rhetorical figure called zeugma, the Greek word for “yoking”—two nouns are
“yoked” together by one verb, but the verb takes on different meanings for the two
objects. You can lose your heart and you can lose a necklace, but “lose” has very
different meanings in these two cases; you can lose stain honor and you can stain cloth,
but “stain” likewise has to shift its meaning. Throughout his works Pope is a master of
tying together the high and the low, and it makes good sense that he should be drawn to
this kind of wordplay.
Not all of Pope’s jests are so high-minded. He satirizes empty-headed noblemen in
Sir Plume, a vapid boob who, when angry, can summon up nothing more than
inarticulate sputtering:
My Lord, why, what the Devil?
Zounds! damn the Lock! ’fore Gad, you must be civil!
Plague on’t! ’tis past a Jest—nay prithee, Pox!
And there’s a persistent undercurrent of dirty jokes throughout, as when Belinda
laments that she might not have minded other sorts of violation quite so much:
Oh hadst thou, Cruel! been content to seize
Hairs less in sight, or any Hairs but these!
Always, though, the effect is to keep the two worlds, the dignified and the debased, next to each other. The satire emerges from our ability to compare the two.
Classic vs. Modern
Pope ranged widely to bring together all these incongruous materials. On one side he
worked with the trivial knick-knacks of fashionable life, as catalogued by his sharp eye
for detail and his keen sense for ephemera: the cosmetics, the playing cards, the
snuffboxes. On the other he had all the enduring resources the Western literary
tradition had to offer: Homer’s epic poetry (Pope even parodied his own wildly
successful translation of the Iliad), Ovid’s Fasti (Pope’s title recalls the rape of the
Sabine women), Shakespeare (Ariel’s name comes from The Tempest), and Milton (the
battle scenes are inspired by Paradise Lost). He also turned to various systems of
mythology—not only Greek and Roman myths but traditional English fairy lore and
even Rosicrucian cosmology.
Most important in this list, though, are the Greek and Roman classics. For many of
his contemporaries the classics marked the pinnacle of human achievement, and they
provided the model of artistic perfection. Pope knew his classics well: he published a
translation of Homer’s epics and imitations of Horace’s poems; the works of Ovid and
Virgil were also strong influences on his poetry. From them he learned the lessons of
balance, of decorum, of meticulous craftsmanship. He therefore offered this advice to
would-be critics and poets in his Essay on Criticism:
You then whose Judgment the right Course wou’d steer,
Know well each ANCIENT’s proper Character. . . .
Be Homer’s Works your Study, and Delight,
Read them by Day, and meditate by Night.
If your knowledge of this classical world falls short, then “Cavil you may, but never
Criticize.” Of course every poet should aspire to copy Nature itself—but for Pope, Nature
and Homer were the same.
The modern world, though, too often failed to live up to lofty classical ideals. One of Pope’s recurring concerns, therefore, is pointing out just how far modernity falls short
of antiquity—by setting his own debased world next to the dignified world of his ancient
heroes he reminded his readers of what they had lost. This is what it means to be a
satirist, for a satirist is always a moralist. But the moralist needn’t always be stern: the
magic of Pope’s poetry is that it lets us live in both of those worlds. At the same time we
get to laugh at the triviality of the modern world, we get a glimpse, through his works, of
the more dignified world that had been.
This is the key to understanding The Rape of the Lock—the way Pope blends our
most distinguished cultural legacy with the trivialities of everyday eighteenth-century
life. And although he is a moralist, lecturing us on the inadequacies of our debased
world, he lets us enjoy both at once. After all, as his beloved Horace taught him, the best
literature instructs only by pleasing, and he knew that we could draw pleasure from
both worlds. This is, after all, only fitting for human beings in the “middle state”
between beast and angel, between modern and ancient, between low and high—the
glory, jest, and riddle of the world.
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