The Negative 

Images of Wome in Pope's "The Rape of the

Lock"
By: Cassandra Westfall
Knox College Common Room: Volume 2, Number 2
April 14, 1998
URL: 

Alexander Pope’s The Rape of the Lock is a satirical and often demeaning look at the
roles of women in 17th century English society. While Pope pokes fun at the superficial
character of aristocratic society, he seems to particularly focus on the rituals of womanhood
and is highly condescending towards women. His humor is often offensive and points to a
more widespread view and interpretation of the value of women in society. By focusing on a
particular negative incident, not very serious by many standards, Pope dismisses the anger
that the young woman should rightfully feel and turns the entire episode into a laughable
charade. Pope manages to marginalize women, in particular Belinda, by turning this incident-
the de-locking-into a mock epic, mocking Belinda and discounting her worth.

The traditional interpretation has noted that Pope wrote this story "in the hope that a
little laughter might serve to soothe ruffled tempers" after a real-life incident involving a
stolen lock of hair had taken place (2233). The editors of the Norton Anthology of English
Literature suggest that because of ant through Pope’s mock-heroic epic style, the reader is
forced to "compare small things with great" (2233). It is said that although Pope "laughs at
this world and its creatures-and remembers that a grimmer, darker world surrounds it (3.19-
24, 5.145-48)-he makes us very much aware of its beauty and charm" (2234). Unfortunately,
I can not buy this argument because it does not seem that Pope at all takes this incident
seriously. Instead, he uses it as an opportunity to criticize women and poke fun at traditional
female thought and practices. I truly saw few moments when the superiority of malehood was
in any way threatened or ridiculed.

Pope writes an epigraph, directed to the lady involved, Ms. Arabella Fermor, which
suggests that the poem was published at her request, although in actuality the writing of this
poem was suggested to Pope by one of his male friends (2234). By implying otherwise, Pope
is making it seem as though Ms. Fermor enjoyed and even asked to be mocked. If Pope’s
intent was to unite the two feuding families (Lord Petre and the Fermors) by providing a story
over which the two could laugh together (Pope 2233), he is seriously disappointing. It is
unclear whether or not Ms. Fermor enjoyed this story and ended her anger, but from a late
twentieth-century perspective, it is highly unlikely that insulting someone so forcefully could
have any positive impact.

From the story, one may gather that the aristocracy at this time lived a rather frivolous
life. Women spent much of their day preparing themselves for social functions (5.19). Beauty
becomes very important, as do appearances- both physical and social. The virtue of beauty in
this poem can not be overstated. Pope writes, "If to her share some female errors fall,/ Look
on her face, and you’ll forget ‘em all" (2.17-8). The beautiful woman Belinda is seen as more
virtuous than others simply because of her physical features. Showing social grace and charm
is more important for women than anything intellectual they could say. Despite our readiness
to dismiss this life as useless and worthless, it is possible to see that these women took their
roles and duties very seriously. It is also quite obvious that these types of behavior were
expected of women and that a woman who did not conform would be an unwelcomed
outcast. For example, the Sylphs are ready to go to war for Belinda to preserve her beauty
and chastity, and great punishment is threatened for any fairy that does not protect these
virtues (2.91-136).

A female’s self-worth and means of social freedom are to be found through the
fulfillment of a culturally desirable social life, fraught with rituals and mores for behavior
between the sexes. When describing Belinda’s beauty routine, Pope writes, "The inferior
priestess, at her altar’s side,/ Trembling begins the sacred rites of Pride" (1.127-8). For
women, pride is to be attained through the rituals of beauty. When Belinda is forced to deal
with her sudden hair loss, she experiences a great deal of shame and public humiliation. She
exclaims, "Oh, had I rather unadmired remained/ In some love isle, or distant northern
land. . . There kept my charms concealed from mortal eye,/ Like roses that in deserts bloom
and die" (4.153-158). She wishes she had been concealed from society and wants to hide her
face in shame.

Belinda’s priorities might be out of whack with today’s society; however, the fact
remains that this was the type of lifestyle afforded to her by her status. As a woman, the
courtly lifestyle was the best opportunity for a happy life. Of course Belinda would and
should be upset by such a "trivial" matter. Her sole means of livelihood and success has been
shattered by the "rape of the lock." Like many rape victims and women socialized into
society today, Belinda tries to rationalize this incident by blaming herself. She remembers
how she was forewarned about her fate, but she chose to ignore reason. She says she should
have known better (4.165-166). Here, the woman is not only blaming herself, but professing
her own internalized stupidity and implying her inferior status. She cries out from the pain
she is experiencing and shouts, "Oh hadst thou, cruel! Been content to seize/ Hairs less in
sight, or any hairs but these!" (4.175-6). The sexual undertones here are not very difficult to
see. It appears that Belinda would have preferred to be raped sexually, where she would have
suffered only private humiliation, than to have a precious lock of her hair cut off publicly. By
this incident, Belinda is defaced not only privately but also publicly. Everyone can plainly see
that Belinda has this major defect. It is as though the Scarlet "A" has been branded on her
chest. Her "flaw" has become obvious to everyone; hence, the victim is victimized again by
society.

For these reasons, it is especially unfair of Pope to paint this sickening, one-sided
picture of Belinda and this incident. From Pope, we see no female character development
whatsoever, and all mentions of Belinda’s personality are negative. We see a picture of a
male blinded by the unrequited love a supposedly coquettish woman. The male in this story is
portrayed not as a rapist, as the title of the poem would suggest, but as a victim bitten by the
love bug and stung by Belinda’s piercing eyes.

Like the tendency today to blame the rape victim, we blame Belinda for her coyness
and cruel wit. It is her fault that men can not control themselves around her. She is just too
beautiful and full of her sly seductiveness. Women are expected to remain chaste and pure in
order to remain honorable, yet women who refuse men are seen as prudes and deserving of ill
will.

The madonna/whore issue is played out throughout this story. Many mentions of
Belinda’s virginity are made, just as her refusals are given full attention. Pope writes, "And
she who scorns a man must die a maid;/ What then remains but well our power to use,/ And
keep good humor still whate’er we lose? (5.28-30). The woman who remains true to her
virtue should expect to be unhappy and without a mate. Likewise, according to Pope, a
woman should learn to laugh at her own victimization and secondary status because it is
natural and there is little she can do to prevent it. Because Belinda shows pride in winning the
card game and beating out males in a male domain, morality dictates that she must be
punished and set straight about her "rightful" place. The didactic lesson is clear. A woman
should never expect to be equal to a man.

The male involved here, the Peer, shows no remorse for his actions. He tells Belinda,
"’This hand, which won it shall forever wear’. He spoke and speaking in proud triumph
spread the long-contended honors of her head" (4.138-140). He is mocking Belinda and
belittles and victimizes her even more by his flagrant disrespect for her body as personal
property. He values the lock of hair as a prize-a prisoner of war or war booty. This hair
symbolizes that Belinda (all women) is (are) clearly a victim and a loser in this war between
the sexes. Like rapists today, the Peer does not allow Belinda the right to possess her own
body. By mocking this fact, Pope is excusing this man from his responsibility and showing
that this type of violation is acceptable. When Pope invokes the fairies in the beginning of the
poem, he has the sprite Ariel say, "Warned by the Sylph, O pious maid, beware!/ This to
disclose is all thy guardian can: Beware of all, but most beware of Man!" (1.112-114). Man is
to be regarded by woman with at least some bit of trepidation. Through this, men’s violent or
irrational behavior may be naturalized and women’s role as victim and secondary Other may
become expected, naturalized and internalized.

More generally, Pope turns this story around to show how the woman is at fault and
loses in the battle of the sexes because of her strongly implied inferiority. Pope focuses on the
flaws and weaknesses of woman and uses this as an explanation and justification for
women’s secondary status in society. In Canto 5, as Pope details the battles of war, he judges
the worth of men and women. He writes, "Now love suspends his golden scales I air,/ Weighs
the men’s wits against lady’s hair;/ The doubtful beam long nods from side to side;/ At length
the wits mount up, the hairs subside" (5.71-74). Pope bases his value equations on the
intellect of men versus the beauty of women. Women are to be judged not for their brains but
for their physical features- a fact which makes Pope’s mocking style even more disturbing.
He mocks Belinda and other women for their rituals of beauty, despite the fact that this is
how they are to be judged. Would Pope mock a man for reading a book or practicing his
elocution skills? Surely not!

Pope’s attitude towards women is obvious before one even begins the poem. In his
letter to Arabella Fermor, he writes, "I know how disagreeable it is to make use of hard words
before a lady. . ." (2234). He also states that it is in the nature of "modern ladies’ to "let an
action be never so trivial in itself, they always make it appear of the utmost importance"
(2234). This act is not so trivial when one considers the broader social implications of
allowing this type of behavior. To give males free reign in society to abuse and assault the
personhood of women is a gross injustice. Ms. Fermor is justified in being angry and
defending herself against the predatory will of a self-centered man.

Unfortunately, Pope does not feel the same way. In describing Belinda’s anger, the
author goes to great lengths to paint her as a witch with almost supernatural characteristics.
Pope uses the Cave of Spleen, a sort of virtual reality hell, to explain the ensuing argument
between Belinda and the Peer. He speaks in some detail of Thaletris-an Amazonian type
woman who enjoys fighting. It is interesting that even Thaletris experiences some doubts
about whether or not she should help Belinda who "burns with more than mortal ire" (4.93).
Thaletris exclaims that she can already see that Belinda’s honor is lost and that she has
become instantly defamed and deflowered by this act (4.105-116). To preserve their own
social appearances, her friends must desert her or face this same type of degradation.
Thaletris must examine whether helping Belinda is worth her while.

Thaletris tends to hold male characteristics and subscribe to some male-dictated norms,
while rejecting males and other male-determined mores; therefore, she is the form of woman
that is to be most feared and scorned by men. Thaletris, while not presented as such,
represents the truly free female and is an early feminist character. Thatletris’ personality is
divided among the other female characters and is used simply to portray the supposed
vengeful, spiteful, and wholly illogical character of women. Her feminist standards may be
rejected today, as she seems to reject femininity and scorns "feminine" females; however she
represents the sole strong female role in the story. Thaletris’ militaristic notions about life and
her unbridled sexuality lead her to consider Belinda a "prude" (5.36). She can not accept
Belinda as a fellow sister, free to make her own personal choices, but must still reject her on
certain grounds.

All in all, Pope’s characterization of women and his satirical telling of this incident
paint a very negative picture of women. Women are shown as conniving, untrustful, illogical,
and most importantly, inferior to men. Pope ridicules Belinda’s (Ms. Fermor’s) anger and
does not seem to understand why women could get so angry over such a "trivial" matter. He
does not respect female autonomy and buys in to the madonna/whore perception of
women. The Rape of the Lock does a great injustice to women and only serves to perpetuate
negative stereotypes and generalizations about female character.