The Rape of The Lock By Alexander Pope

#THE_RAPE_OF_THE_LOCK_ALEXANDER_POPE
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#1_CANTO_SUMMARY 
The Rape of the Lock begins with a passage outlining the subject of the poem and invoking the aid of the muse. Then the sun (“Sol”) appears to initiate the leisurely morning routines of a wealthy household. Lapdogs shake themselves awake, bells begin to ring, and although it is already noon, Belinda still sleeps. She has been dreaming, and we learn that the dream has been sent by “her guardian Sylph,” Ariel. The dream is of a handsome youth who tells her that she is protected by “unnumber’d Spirits”—an army of supernatural beings who once lived on earth as human women. The youth explains that they are the invisible guardians of women’s chastity, although the credit is usually mistakenly given to “Honour” rather than to their divine stewardship. Of these Spirits, one particular group—the Sylphs, who dwell in the air—serve as Belinda’s personal guardians; they are devoted, lover-like, to any woman that “rejects mankind,” and they understand and reward the vanities of an elegant and frivolous lady like Belinda. Ariel, the chief of all Belinda’s puckish protectors, warns her in this dream that “some dread event” is going to befall her that day, though he can tell her nothing more specific than that she should “beware of Man!” Then Belinda awakes, to the licking tongue of her lapdog, Shock. Upon the delivery of a billet-doux, or love-letter, she forgets all about the dream. She then proceeds to her dressing table and goes through an elaborate ritual of dressing, in which her own image in the mirror is described as a “heavenly image,” a “goddess.” The Sylphs, unseen, assist their charge as she prepares herself for the day’s activities.

#2_CANTO_SUMMARY
Belinda, rivaling the sun in her radiance, sets out by boat on the river Thames for Hampton Court Palace. She is accompanied by a party of glitzy ladies (“Nymphs”) and gentlemen, but is far and away the most striking member of the group. Pope’s description of her charms includes “the sparkling Cross she wore” on her “white breast,” her “quick” eyes and “lively looks,” and the easy grace with which she bestows her smiles and attentions evenly among all the adoring guests. Her crowning glories, though, are the two ringlets that dangle on her “iv’ry neck.” These curls are described as love’s labyrinths, specifically designed to ensnare any poor heart who might get entangled in them.
One of the young gentlemen on the boat, the Baron, particularly admires Belinda’s locks, and has determined to steal them for himself. We read that he rose early that morning to build an altar to love and pray for success in this project. He sacrificed several tokens of his former affections, including garters, gloves, and billet-doux (love-letters). He then prostrated himself before a pyre built with “all the trophies of his former loves,” fanning its flames with his “am’rous sighs.” The gods listened to his prayer but decided to grant only half of it.
As the pleasure-boat continues on its way, everyone is carefree except Ariel, who remembers that some bad event has been foretold for the day. He summons an army of sylphs, who assemble around him in their iridescent beauty. He reminds them with great ceremony that one of their duties, after regulating celestial bodies and the weather and guarding the British monarch, is “to tend the Fair”: to keep watch over ladies’ powders, perfumes, curls, and clothing, and to “assist their blushes, and inspire their airs.” Therefore, since “some dire disaster” threatens Belinda, Ariel assigns her an extensive troop of bodyguards. Brillante is to guard her earrings, Momentilla her watch, and Crispissa her locks. Ariel himself will protect Shock, the lapdog. A band of fifty Sylphs will guard the all-important petticoat. Ariel pronounces that any sylph who neglects his assigned duty will be severely punished. They disperse to their posts and wait for fate to unfold.

#3_CANTO_SUMMARY
The boat arrives at Hampton Court Palace, and the ladies and gentlemen disembark to their courtly amusements. After a pleasant round of chatting and gossip, Belinda sits down with two of the men to a game of cards. They play ombre, a three-handed game of tricks and trumps, somewhat like bridge, and it is described in terms of a heroic battle: the cards are troops combating on the “velvet plain” of the card-table. Belinda, under the watchful care of the Sylphs, begins favorably. She declares spades as trumps and leads with her highest cards, sure of success. Soon, however, the hand takes a turn for the worse when “to the Baron fate inclines the field”: he catches her king of clubs with his queen and then leads back with his high diamonds. Belinda is in danger of being beaten, but recovers in the last trick so as to just barely win back the amount she bid.
The next ritual amusement is the serving of coffee. The curling vapors of the steaming coffee remind the Baron of his intention to attempt Belinda’s lock. Clarissa draws out her scissors for his use, as a lady would arm a knight in a romance. Taking up the scissors, he tries three times to clip the lock from behind without Belinda seeing. The Sylphs endeavor furiously to intervene, blowing the hair out of harm’s way and tweaking her diamond earring to make her turn around. Ariel, in a last-minute effort, gains access to her brain, where he is surprised to find “an earthly lover lurking at her heart.” He gives up protecting her then; the implication is that she secretly wants to be violated. Finally, the shears close on the curl. A daring sylph jumps in between the blades and is cut in two; but being a supernatural creature, he is quickly restored. The deed is done, and the Baron exults while Belinda’s screams fill the air.

#4_CANTO_SUMMARY
Belinda’s “anxious cares” and “secret passions” after the loss of her lock are equal to the emotions of all who have ever known “rage, resentment and despair.” After the disappointed Sylphs withdraw, an earthy gnome called Umbriel flies down to the “Cave of Spleen.” (The spleen, an organ that removes disease-causing agents from the bloodstream, was traditionally associated with the passions, particularly malaise; “spleen” is a synonym for “ill-temper.”) In his descent he passes through Belinda’s bedroom, where she lies prostrate with discomfiture and the headache. She is attended by “two handmaidens,” Ill-Nature and Affectation. Umbriel passes safely through this melancholy chamber, holding a sprig of “spleenwort” before him as a charm. He addresses the “Goddess of Spleen,” and returns with a bag of “sighs, sobs, and passions” and a vial of sorrow, grief, and tears. He unleashes the first bag on Belinda, fueling her ire and despair.
There to commiserate with Belinda is her friend Thalestris. (In Greek mythology, Thalestris is the name of one of the Amazons, a race of warrior women who excluded men from their society.) Thalestris delivers a speech calculated to further foment Belinda’s indignation and urge her to avenge herself. She then goes to Sir Plume, “her beau,” to ask him to demand that the Baron return the hair. Sir Plume makes a weak and slang-filled speech, to which the Baron disdainfully refuses to acquiesce. At this, Umbriel releases the contents of the remaining vial, throwing Belinda into a fit of sorrow and self-pity. With “beauteous grief” she bemoans her fate, regrets not having heeded the dream-warning, and laments the lonely, pitiful state of her sole remaining curl.

#5_CANTO_SUMMARY
The Baron remains impassive against all the ladies’ tears and reproaches. Clarissa delivers a speech in which she questions why a society that so adores beauty in women does not also place a value on “good sense” and “good humour.” Women are frequently called angels, she argues, but without reference to the moral qualities of these creatures. Especially since beauty is necessarily so short-lived, we must have something more substantial and permanent to fall back on. This sensible, moralizing speech falls on deaf ears, however, and Belinda, Thalestris and the rest ignore her and proceed to launch an all-out attack on the offending Baron. A chaotic tussle ensues, with the gnome Umbriel presiding in a posture of self- congratulation. The gentlemen are slain or revived according to the smiles and frowns of the fair ladies. Belinda and the Baron meet in combat and she emerges victorious by peppering him with snuff and drawing her bodkin. Having achieved a position of advantage, she again demands that he return the lock. But the ringlet has been lost in the chaos, and cannot be found. The poet avers that the lock has risen to the heavenly spheres to become a star; stargazers may admire it now for all eternity. In this way, the poet reasons, it will attract more envy than it ever could on earth.

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