The
occasion
which gave rise to 'The Rape of the Lock' has been so often
related that it requires only a brief restatement.
related that it requires only a brief restatement.
Alexander Pope
thy dread Empire, CHAOS!
is restor'd;
Light dies before thy uncreating word;
Thy hand, great Anarch! lets the curtain fall,
And universal Darkness buries All. 30
* * * * *
ON MR. GAY
IN WESTMINSTER ABBEY, 1732
Of Manners gentle, of Affections mild;
In Wit, a Man; Simplicity, a Child:
With native Humour temp'ring virtuous Rage,
Form'd to delight at once and lash the age:
Above Temptation, in a low Estate, 5
And uncorrupted, ev'n among the Great:
A safe Companion, and an easy Friend,
Unblam'd thro' Life, lamented in thy End.
These are Thy Honours! not that here thy Bust
Is mix'd with Heroes, or with Kings thy dust; 10
But that the Worthy and the Good shall say,
Striking their pensive bosoms--_Here_ lies GAY.
* * * * *
NOTES
THE RAPE OF THE LOCK
INTRODUCTION
In 1711 Pope, who had just published his 'Essay on Criticism', was
looking about for new worlds to conquer. A fortunate chance threw in his
way a subject exactly suited to his tastes and powers. He seized upon
it, dashed off his first sketch in less than a fortnight, and published
it anonymously in a 'Miscellany' issued by Lintot in 1712. But the theme
had taken firm root in his mind. Dissatisfied with his first treatment
of it, he determined, against the advice of the best critic of the day,
to recast the work, and lift it from a mere society 'jeu d'esprit' into
an elaborate mock-heroic poem. He did so and won a complete success.
Even yet, however, he was not completely satisfied and from time to time
he added a touch to his work until he finally produced the finished
picture which we know as 'The Rape of the Lock'. As it stands, it is an
almost flawless masterpiece, a brilliant picture and light-hearted
mockery of the gay society of Queen Anne's day, on the whole the most
satisfactory creation of Pope's genius, and, perhaps, the best example
of the mock-heroic in any literature.
The occasion which gave rise to 'The Rape of the Lock' has been so often
related that it requires only a brief restatement. Among the Catholic
families of Queen Anne's day, who formed a little society of their own,
Miss Arabella Fermor was a reigning belle. In a youthful frolic which
overstepped the bounds of propriety Lord Petre, a young nobleman of her
acquaintance, cut off a lock of her hair. The lady was offended, the two
families took up the quarrel, a lasting estrangement, possibly even a
duel, was threatened. At this juncture a common friend of the two
families, a Mr. Caryll, nephew of a well-known Jacobite exile for whom
he is sometimes mistaken, suggested to Pope "to write a poem to make a
jest of it," and so kill the quarrel with laughter. Pope consented,
wrote his first draft of 'The Rape of the Lock', and passed it about in
manuscript. Pope says himself that it had its effect in the two
families; certainly nothing more is heard of the feud. How Miss Fermor
received the poem is a little uncertain. Pope complains in a letter
written some months after the poem had appeared in print that "the
celebrated lady is offended. " According to Johnson she liked the verses
well enough to show them to her friends, and a niece of hers said years
afterward that Mr. Pope's praise had made her aunt "very troublesome and
conceited. " It is not improbable that Belinda was both flattered and
offended. Delighted with the praise of her beauty she may none the less
have felt called upon to play the part of the offended lady when the
poem got about and the ribald wits of the day began to read into it
double meanings which reflected upon her reputation. To soothe her
ruffled feelings Pope dedicated the second edition of the poem to her in
a delightful letter in which he thanked her for having permitted the
publication of the first edition to forestall an imperfect copy offered
to a bookseller, declared that the character of Belinda resembled her in
nothing but in beauty, and affirmed that he could never hope that his
poem should pass through the world half so uncensured as she had done.
It would seem that the modern critics who have undertaken to champion
Miss Fermor against what they are pleased to term the revolting behavior
of the poet are fighting a needless battle.
Light dies before thy uncreating word;
Thy hand, great Anarch! lets the curtain fall,
And universal Darkness buries All. 30
* * * * *
ON MR. GAY
IN WESTMINSTER ABBEY, 1732
Of Manners gentle, of Affections mild;
In Wit, a Man; Simplicity, a Child:
With native Humour temp'ring virtuous Rage,
Form'd to delight at once and lash the age:
Above Temptation, in a low Estate, 5
And uncorrupted, ev'n among the Great:
A safe Companion, and an easy Friend,
Unblam'd thro' Life, lamented in thy End.
These are Thy Honours! not that here thy Bust
Is mix'd with Heroes, or with Kings thy dust; 10
But that the Worthy and the Good shall say,
Striking their pensive bosoms--_Here_ lies GAY.
* * * * *
NOTES
THE RAPE OF THE LOCK
INTRODUCTION
In 1711 Pope, who had just published his 'Essay on Criticism', was
looking about for new worlds to conquer. A fortunate chance threw in his
way a subject exactly suited to his tastes and powers. He seized upon
it, dashed off his first sketch in less than a fortnight, and published
it anonymously in a 'Miscellany' issued by Lintot in 1712. But the theme
had taken firm root in his mind. Dissatisfied with his first treatment
of it, he determined, against the advice of the best critic of the day,
to recast the work, and lift it from a mere society 'jeu d'esprit' into
an elaborate mock-heroic poem. He did so and won a complete success.
Even yet, however, he was not completely satisfied and from time to time
he added a touch to his work until he finally produced the finished
picture which we know as 'The Rape of the Lock'. As it stands, it is an
almost flawless masterpiece, a brilliant picture and light-hearted
mockery of the gay society of Queen Anne's day, on the whole the most
satisfactory creation of Pope's genius, and, perhaps, the best example
of the mock-heroic in any literature.
The occasion which gave rise to 'The Rape of the Lock' has been so often
related that it requires only a brief restatement. Among the Catholic
families of Queen Anne's day, who formed a little society of their own,
Miss Arabella Fermor was a reigning belle. In a youthful frolic which
overstepped the bounds of propriety Lord Petre, a young nobleman of her
acquaintance, cut off a lock of her hair. The lady was offended, the two
families took up the quarrel, a lasting estrangement, possibly even a
duel, was threatened. At this juncture a common friend of the two
families, a Mr. Caryll, nephew of a well-known Jacobite exile for whom
he is sometimes mistaken, suggested to Pope "to write a poem to make a
jest of it," and so kill the quarrel with laughter. Pope consented,
wrote his first draft of 'The Rape of the Lock', and passed it about in
manuscript. Pope says himself that it had its effect in the two
families; certainly nothing more is heard of the feud. How Miss Fermor
received the poem is a little uncertain. Pope complains in a letter
written some months after the poem had appeared in print that "the
celebrated lady is offended. " According to Johnson she liked the verses
well enough to show them to her friends, and a niece of hers said years
afterward that Mr. Pope's praise had made her aunt "very troublesome and
conceited. " It is not improbable that Belinda was both flattered and
offended. Delighted with the praise of her beauty she may none the less
have felt called upon to play the part of the offended lady when the
poem got about and the ribald wits of the day began to read into it
double meanings which reflected upon her reputation. To soothe her
ruffled feelings Pope dedicated the second edition of the poem to her in
a delightful letter in which he thanked her for having permitted the
publication of the first edition to forestall an imperfect copy offered
to a bookseller, declared that the character of Belinda resembled her in
nothing but in beauty, and affirmed that he could never hope that his
poem should pass through the world half so uncensured as she had done.
It would seem that the modern critics who have undertaken to champion
Miss Fermor against what they are pleased to term the revolting behavior
of the poet are fighting a needless battle.
