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