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THE RAPE OF THE LOCK.pdf

THE RAPE OF THE LOCK- ALEXANDER POPE

2º Literatura Inglesa Ii

Grado en Estudios Ingleses

Facultad de Filología
US - Universidad de Sevilla

Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su
totalidad.
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THE RAPE OF THE LOCK- ALEXANDER POPE

SUMMARY
• OPENS WITH A BRIEF LETTER FROM POPE TO ARABELLA (BELLE)
FERMOR. IN THE LETTER HE EXPLAINS WHY HE WROTE THE POEM:
THE CIRCUMSTANCES THAT LED HIM TO PUBLISH IT AND WHY HE
DEDICATES IT TO ARABELLA.
• CANTO I: WE MEET BELINDA, POEM’S BEAUTIFUL, RICH, YOUNG

Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
SOCIETY HEROINE. SHE’S BEEN HAVING A SEXY DREAM IN WHICH A
HANDSOME MAN WHISPERS SWEET NOTHINGS INTO HER EAR. THE
DREAM HAS COME FROM THE SYLPH, ARIEL, THE SPIRIT WHO
WATCHES OVER HER. IN THE DREAM, ARIEL EXPLAINS THE ENTIRE
SPIRIT-WORLD OF THE POEM, AND INTRODUCES THE SYLPHS AND
GNOMES.
• CANTO II: BELINDA IS IN A BARGE, SAILING DOWN THE RIVER THAMES
ON HER WAY TO A FANCY PARTY AT HAMPTON COURT. ARIEL MAKES
A SPEECH TO ALL OF THE OTHER SYLPHS, TELLING THEM HE’S HAD A
PREMONITION THAT SOMETHING BAD IS ABOUT TO HAPPEN.

CANTO I
• L.1-12: INVOCATION (ASK INSPIRATIONAL HELP FROM THE MUSES, THE
GREEK GODS, OR GOD HIMSELF, INSTEAD OF DIVINITY, HE DEDICATES
THE POEM TO HIS AND ARABELLA’S FRIEND, JOHN CARYLL AND TO
BELINDA)
• SET THE STAGE OF THE ACTION AND GIVES US A BIT OF MYSTERY.
• THEME OF THE POEM: MOCK EPIC- A POEM THAT TAKES AS ITS MODEL
FAR MORE SERIOUS EPICS LIKE THE ILIAD OR THE ODYSSEY, USING HIGH
POETIC LANGUAGE AND METAPHORS. BUT MOCK EPICS ARE ABOUT
SOMETHING TRIVIAL AND SMALL.
• FOLLOWING THE MOCK EPIC THEME, THE FIRST 12 LINES GO ABOUT
JUXTAPOSING THE GRAND AND THE TRIVIAL > NOTICE “DIRE OFFENCE”
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(HORRIFIC CRIME) AND “AM’ROUS CAUSES” (CONNECTED TO LOVE AND

ROMANCE). SECOND LINE > “MIGHTY CONTESTS” AND “TRIVIAL
THINGS”. L11 > “TASKS SO BOLD” – “LITTLE MEN”. L12 > “SOFT
BOSOMS”- “MIGHTY RAGE”.
• THE TECHNIQUE IS USED AS A TOOL OF SATIRE.
• L.11-12: CHIASMUS. THE FIRST HALF OF THE FIRST LINE GOES WELL WITH
THE FIRST HALF OF THE SECOND > POETIC TRICK.
• IAMBIC PENTAMETER AND RHYMED COUPLETS > HEROIC COUPLETS
• L.13-26: WE MEET BELINDA, JUST WAKING UP. SHE CALLS HER MAID.
ALSO WE MEET ARIEL, HER GUARDIAN SYLPH, WHO GIVES HER AN EXTRA

Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
DREAM > A VERY HANDSOME MAN IS WHISPERING IN HER EAR.
• L13: PERSONIFICATION
• L14: METAPHOR: COMPARE BELINDA’S EYES TO THE SUN, IN FACT HER
EYES ARE MORE BEAUTIFUL.
• WE DON’T KNOW WHO THE DREAM MAN IS, BUT WE KNOW THAT
EVERY YEAR, MEMBERS OF THE BRITISH ROYAL FAMILY WOULD THROW
A BRITISH-NIGHT PARTY TO CELEBRATE THEIR BIRTHDAYS, AND THE
NOBILITY WOULD GO.
• L.27-114: THE DREAM: OUR HANDSOME MAN IS TELLING BELINDA ALL
ABOU THE SPIRITS WHO CONTROL AND PROTECT THE YOUNG UPPER-
CLASS WOMEN OF ALL PERSONALITIES, WITHOUT THEIR KNOWLEDGE.
• “HEAR AND BELIEVE! THY OWN IMPORTANCE KNOW” (L.35) HE
WHISPERS TELLING HER SHE HAS AN ENTIRE INVISIBLE ENTOURAGE OF
FAIRYLIKE CREATURES WHO KEEP AN EYE ON HER (GUIDE AND PROTECT)
• L.47-54: THE DREAM VISITOR TELLS HER THAT THEY WERE ALL ONCE
BEAUTIFUL YOUNG WOMEN LIKE HERSELF, WHOSE SPIRITS NOW TAKE
JOY IN OVERSEEING THE SOCIAL DRAMA.
• 4 TYPES OF THESE SPIRITS: SALAMANDERS (59-60) > FIRE. NYMPHS (61-
62) > WATER. GNOMES (63-64) > EARTH. SYLPHS (65-66) > AIR.
• L.67-68: SYLPHS THE BEST OF ALL FOUR.

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• L.79-90: THE GNOMES TURN GIRLS INTO SNOBS WHO ONLY CARE ABOUT
STATUS.
• L.99-104: THE SYLPHS REMINDING BELINDA THAT EVEN WHEN THE
BEHAVIOUR OF GIRLS SEEMS ABSOLUTLEY INEXPLICABLE, IT’S REALLY
THE SYLPHS WHO CARE MASTERMINDING THE WHOLE DEAL.
• L.105-114: ARIEL IS THE DREAM VISITOR. ARIEL WARNS BELINDA THAT
HE HAS A PREMONITION OF AN EVENT APPROACHING (ANOTHER MOCK
EPIC MOMENT: BELINDA IS PROTECTED AND GUIDED BY THE SPIRITS)
SHE NEEDS TO WATCHOUT HERSELF.
• JUXTAPOSITION: BELINDA’S SUPERFICIAL SOCIAL LIFE MIGHT SEEM
TRIVIAL

Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
• SOCIETY OPINIONS 18 CENTURY HELD OF WOMEN’S INTELLECTS AND
CAPACITIES
• POPE PAYS BELINDA AND HER KIND MASSIVE COMPLIMENTS ON THEIR
BEAUTY AND CLOTHING AND THROUGHOUT THIS POEM, BUT HE’S ALSO
AT THE SAME TIME REINFORCING THE STEREOTYPE OF WOMEN LIKE
HER.
• L.115-148: BELINDA’S DREAM ENDS ABRUPTLY BY WAKING HER UP WITH
PUPPY KISSES. THE FIRST THING SHE SEES WHEN SHE OPENS HER EYES IS
A LOVE LETTER, WE DON’T KNOW WHO IS IT BUT WHEN SHE READS IT,
ITS CONTENTS WAKER HER COMPLETELY FORGET ABOUT THE DREAM.
• LAST 24 LINES. DESCRIPTION OF A GIRL PUTTING ON HER MAKE UP,
DOING HER HAIR, GETTING DRESSED…
• L.148> “BETTY”: BELINDA’S MAID, WHO GETS ALL THE CREDIT FOR THE
WORK THAT THE SYLPHS DO.
• POPE USES 3 METAPHORS TO NAIL THE JUXTAPOSITION. L.121-128:
RELIGIOUS. BELINDA’S TOILET IN LINKENED TO AN ALTAR (THEIR GOD IS
BELINDA OWN IMAGE)
• VANITY. BELINDA’S LOVE OF HER APPEARANCE AND THE BAD EFFECTS IT
CAN HAVE ON SOCIETY.

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CANTO II
• BELINDA IS TRAVELLING DOWN THE RIVER THAMES. PEOPLE IN 18TH
CENTURY USED TO LIKE BOATS. BELINDA’S ON HER WAY TO A PARTY
AT HAMPTON COURT.
• CONTINUES THE PERSONIFICATION OF “SOL” INTO A METAPHOR >
RELATE BELINDA TO THE SUN

Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.
• L.7-8: RELIGIOUS PREJUDICES. BELINDA’S BEAUTY COULD MAKE A
JEWISH OR AN ISLAM TO KISS CHRISTIAN CROSS.
• SIMILE. L 13-14: COMPARING BELINDA TO THE SUN, HER SMILE SHINE
ON EVERYONE. THE SUN IS SUPERFICIAL, NOT DEEP.
• L.19-46: INTRODUCTION TO THE LOCKS, DOWN THE BACK OF
BELINDA’S NECK
• MEET THE BARON, THE MALE PROTAGONIST, HE PLANNED TO STEAL
THE LOCKS.
• L35-44: THE BARON SPENT THE EARLY MORNING OF THIS DAY
PRAYING FOR THE OPPORTUNITY
• L.45-46: PRAYERS GRANTED > BELINDA’S DOOM IS SEALED
• IF LOVE WAS A BATTLEFIELD IN THE FIRST CANTO, HERE IS A HUNTING
TRIP
• L47-72: ARIEL AND THE SYLPHS COME ALONG TO KEEP AN EYE ON
BELINDA AND MAKE SURE THE PARTY GOES WELL FOR HER. STRATEGY
MEETING AND PREPARE FOR THE WORST.
• POPE USES A LOT OF COLOUR, LIGHT TO UNDERSCORE THE FRAGILE
BEAUTY OF THESE CREATURES.
• THE SYLPHS ARE BEAUTIFUL, COLOURFUL AND DELICATE.
• L.73-147: ARIEL GIVES A STUNNING SPEECH TO HIS ARMY THAT
WARNS THEM OF BELINDA’S POSSIBLE DANGER.
• L.74-90: GIVES AN OVERVIEW OF THE ENTIRE SPIRIT WORDS STARTING
TO THE VERY TOP OF THE PECKING ORDER WITH THOSE SPIRITS WHO
GUIDED THE COSMOS.

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• JUXTAPOSITION: ARIEL’S ENTIRE SPEECH PUTIS THE SUBLIME AND

RIDICOLOUS SIDE BY SIDE THAT THE CHIEF SYLPH COULD GURT HIS
DAY JOB.
• L.105-106: ARIEL IS WONDERING IF BELINDA MIGHT LOSE HER
VIRGINITY TODAY.
SETTING
DRESSING ROOMS OF EARLY 18TH CENTURY LONDON, HAMPTON
COURT.
ALLUSION CLASSICAL EPICS

Reservados todos los derechos. No se permite la explotación económica ni la transformación de esta obra. Queda permitida la impresión en su totalidad.

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