The Rape of the Lock
by Alexander Pope

The Baron Character Analysis

The antagonist of the poem. Based on the historical Lord Petre, the Baron snips of Belinda’s lock on account of his infatuation with her remarkable beauty and refuses to give it back. Readers learn that, earlier that day, he created a bonfire to the god of Love made out of, among other things, books containing romantic stories, love letters, and tokens from past romantic attachments, in order to pray for success in winning Belinda in some way, and settled on “raping” her lock. And while his cutting of the lock is not equated with rape in the modern sense—in the context of the poem, it means “theft” or “pillaging”—Pope is still using the word to connote injustice, and to unequivocally state that he has taken what he had no right to take. The fact that the Baron is only referred to by his title, revealing his masculinity and his station but nothing else, or else is satirically figured as a “knight,” the height of courtly masculinity, allows Pope to metonymically cast a kind of witty judgement over all noblemen, and to question the contemporary assumption that they were the intellectual and moral leaders of their day.

The Baron Quotes in The Rape of the Lock

The The Rape of the Lock quotes below are all either spoken by The Baron or refer to The Baron. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
The Triviality of Court Life Theme Icon
).

Canto I Quotes

What dire offense from amorous causes springs,
What mighty contests arise from trivial things,
I sing—This verse to Caryl, Muse! is due;
[…] Say what strange motive, Goddess! could compel
A well-bred Lord to assault a gentle Belle?

Related Characters: Belinda, The Baron, Caryl
Page Number and Citation: I.1-8
Explanation and Analysis:
In the opening lines of Canto I, Pope foretells what the poem is going to be about: how people often react dramatically to seemingly insignificant events, particularly those created by love, or “amorous causes.” Here Pope introduces the idea that the events the poem is about to recount are quite trivial, and he emphasizes this sense of triviality by including the opening hallmark of an epic poem: the invocation of the “Muse.” In classical mythology, the muses were nine goddesses of the arts, and it was customary to begin an epic poem by asking for help from one of these Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accus

Canto II Quotes

Love in these labyrinths his slaves detains,
And mighty hearts are held in slender chains.

Related Characters: Belinda, The Baron
Related Symbols: The Lock
Page Number and Citation: II.23-4
Explanation and Analysis:
This description of Belinda’s locks of hair occurs on her journey to Hampton Court, during which she is spotted by the Baron. Here Pope describes the locks as able to ensnare men with their remarkable beauty. In doing so, Pope is able to emphasize a number of key ideas in the poem about beauty and gender. For instance, the idea that Belinda’s hair is able to metaphorically overpower men’s “mighty hearts” and hold them captive subverts the more traditional idea that men are meant to be dominant and women are meant to be submissive. Characters like the Baron certainly buy Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asper

For this, ere Phoebus rose, he had implored
Propitious heaven, and every power adored,
But chiefly Love—to Love an altar built,
Of twelve vast French romances, neatly gilt.
There lay three garters, half a pair of gloves;
And all the trophies of his former loves.
With tender billets-doux he lights the pyre,
And breathes three amorous sighs to raise the fire

Related Characters: The Baron
Related Symbols: The Lock
Page Number and Citation: II.35-44
Explanation and Analysis:
As the Baron watches Belinda sail down the Thames towards Hampton Court in Canto II, the narrative jumps back to before dawn (“Phoebus” is another name for Apollo, the sun god), when the Baron had prayed to “heaven” and specifically to “Love” to be able to win Belinda’s lock. Earlier on, Pope poked fun at Belinda for metaphorically building a pagan-seeming altar out of her dressing table as she prepared for her day at court. But here, the Baron, a man who is supposedly without the “female errors” (such as vanity) to which Belinda is supposedly extra susceptible, makes his Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto vol

Whether the nymph shall break Diana’s law,
Or some frail China jar receive a flaw,
Or stain her honor, or her new brocade,
Forget her prayers, or miss a masquerade,
Or lose her heart, or necklace, at a ball;
Or whether Heaven has doomed that Shock must fall.

Related Characters: Ariel (speaker), Belinda, Shock, The Baron
Page Number and Citation: II.105-110
Explanation and Analysis:
This passage forms part of the speech Ariel makes to the other sylphs, in which he explains that he has foreseen some disaster which will strike Belinda. At this point, he is enumerating various ideas of disasters which might occur, and in doing so he reveals much about the values of the world of the poem. The first disaster he envisages is that Belinda will lose her virginity in violation of “Diana’s law” (Diana was the name of a classical goddess who was famously chaste), which demonstrates that this is a world in which female sexuality is greatly restricted. But Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum.

Canto III Quotes

Behold, four Kings in majesty revered,
With hoary whiskers and a forky beard;
And four fair Queens whose hands sustain a flower,
The expressive emblem of their softer power;
Four Knaves in garbs succinct, a trusty band,
Caps on their heads, and halberts in their hand;
And particolored troops, a shining train,
Draw forth to combat on the velvet plain.

Related Characters: The Baron, Belinda
Related Symbols: Playing Cards
Page Number and Citation: III.37-44
Explanation and Analysis:
This description of Belinda’s cards occurs at the beginning of Canto III, when she sits down to play a game of ombre with the Baron and one other gentleman. Pope chooses to narrate the game as if the cards were real noble figures and the game itself were a real battle. This allows him to once again humorously illustrate the silliness of life at court. The narrative voice treating the cards as if they were real kings and queens when they clearly are not suggests that Belinda and her companions take the game rather too seriously. In addition, it is Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque p

Just in that instant, anxious Ariel sought
The close recesses of the virgin’s thought;
As, on the nosegay in her breast reclined,
He watched the ideas rising in her mind,
Sudden he viewed, in spite of all her art,
An earthly lover lurking at her heart.
Amazed, confused, he found his power expired,
Resigned to fate, and with a sigh retired.

Related Characters: Ariel, The Baron, Belinda
Page Number and Citation: III.139-46
Explanation and Analysis:
At this point in the canto, Ariel gains access to Belinda’s thoughts as the Baron makes to chop off her lock. He and the other sylphs try to alert her to the imminent danger before it is too late, but when Ariel does gain access to her mind, he is shocked by what he sees: “An earthly lover lurking at her heart.” Ariel has previously explained to the sleeping Belinda and the reader that it is his role as a sylph to protect her because she is “fair and chaste.” But here, he learns that she is not as chaste Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laborio

The peer now spreads the glittering forfex wide,
To enclose the lock; now joins it, to divide.
Even then, before the fatal engine closed,
A wretched Sylph too fondly interposed;
Fate urged the shears, and cut the Sylph in twain
(But airy substance soon unites again),
The meeting points the sacred hair dissever
From the fair head, for ever and for ever!

Related Characters: Ariel, The Baron, Belinda
Page Number and Citation: III.147-54
Explanation and Analysis:
This passage towards the end of Canto III describes the moment in which the baron actually snips off Belinda’s lock, and the way Pope goes about describing the action once again suggests the ultimate silliness of the whole affair. Referring to the scissors as a “fatal engine” immediately strikes the reader as ridiculous, as they are not being used to threaten Belinda’s life, emphasizing the absurd degree of solemnity the characters are attaching to what amounts to a bad haircut. Additionally, though, in this passage Pope echoes Milton’s Paradise Lost, once again drawing attention to the shadiness of the supposedly Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaqu

Canto V Quotes

But fate and Jove had stopped the Baron’s ears.
In vain Thalestris with reproach assails,
For who can move when fair Belinda fails?
Not half so fixed the Trojan could remain,
While Anna begged and Dido raged in vain.

Related Characters: The Baron, Thalestris, Belinda
Related Symbols: The Lock
Page Number and Citation: V.2-6
Explanation and Analysis:
This description of Belinda’s pleading with the Baron to return her stolen lock at the beginning of Canto V is another instance of Pope playing off the classical epic tradition for comic effect. Here he is referencing Virgil’s Latin epic The Aeneid, in which the Trojan hero Aeneas is called on by Jupiter (also known as “Jove” in English) to leave his lover Dido and sail away to found Rome. The devastated Dido and her sister Anna beg Aeneas to stay, but having failed to persuade him, Dido ultimately kills herself. In this passage, the adamant Baron takes on the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt rerum est. Aperiam doloremque eum. Animi soluta perspiciatis. Ut minima autem. Modi omnis i

All side in parties, and begin the attack;
Fans clap, silks rustle, and tough whalebones crack;
Heroes’ and heroines’ shouts confusedly rise,
And bass and treble voices strike the skies.
No common weapons in their hands are found,
Like gods they fight, nor dread a mortal wound.
So when bold Homer makes the gods engage,
And heavenly breasts with human passions rage;
’Gainst Pallas, Mars; Latona, Hermes arms;
And all Olympus rings with loud alarms.

Related Characters: Clarissa, Belinda, The Baron, Thalestris
Related Symbols: The Lock
Page Number and Citation: V.39-48
Explanation and Analysis:
This is a description of the courtly battle that ensues in Canto V after the Baron refuses to return Belinda’s lock. Belinda and Thalestris, having scoffed at Clarissa’s speech on the unimportance of beauty, lead the charge against the Baron and his crew of aristocratic cronies. Here Pope once again draws out the silliness of the world of the court and its values by evoking a comparison with the battles of classical epics. While the struggles depicted in epic involve huge clashes between gods (like “Pallas, Mars; Latona, Hermes”) and are incredibly high stakes, Pope makes it clear that this Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas de
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The Baron Character Timeline in The Rape of the Lock

The timeline below shows where the character The Baron appears in The Rape of the Lock. The colored dots and icons indicate which themes are associated with that appearance.
Canto II
Gender Theme Icon
...are “labyrinths” in which Love “detains” his “slaves,” binding men’s hearts in “slender chains.” The Baron is one such man, and he resolves to take one lock, either through trickery or... (full context)
The Triviality of Court Life Theme Icon
Gender Theme Icon
Religion and Morality Theme Icon
Earlier that day, before the sun rose, the Baron prayed to Love for success in gaining his “prize” by building a pyre out of... (full context)
Canto III
The Triviality of Court Life Theme Icon
Then the Baron begins to dominate the game. His Queen of Spades beats her King of Clubs, and... (full context)
The Triviality of Court Life Theme Icon
...of Japan” and on “China’s earth.” The coffee sends up steam which heads to the Baron’s brain and reminds him of his plan to steal Belinda’s lock, even though the narrative... (full context)
Gender Theme Icon
...at that moment, Clarissa pulls out a pair of scissors, and offers them to the Baron like a lady in a courtly romance arming a knight with his weapon. The Baron... (full context)
Gender Theme Icon
Religion and Morality Theme Icon
...“An earthly lover lurking there.” This resigns him to the loss of the lock. The Baron snips it off. (full context)
The Triviality of Court Life Theme Icon
Religion and Morality Theme Icon
...quickly recovers as “airy substance soon unites again.” Belinda cries out in horror while the Baron shouts out his victory. The narrative voice muses on how little chance the lock had... (full context)
Canto IV
Beauty vs. Poetry Theme Icon
...from using “torturing irons” to straining her “tender head” with “fillets.” She worries that the Baron will put the lock on display for everyone to see and that Belinda’s reputation will... (full context)
Beauty vs. Poetry Theme Icon
Gender Theme Icon
...is apparently particularly proud of his expensive snuff box and fashionable cane. He confronts the Baron and demands that he return the lock to Belinda, but the Baron refuses. He says... (full context)
The Triviality of Court Life Theme Icon
Religion and Morality Theme Icon
...She wishes to tear off the remaining lock, feeling that it “tempts once more” the Baron’s “sacrilegious hands.” (full context)
Canto V
The Triviality of Court Life Theme Icon
Religion and Morality Theme Icon
Although everyone else is moved by Belinda’s speech, the Baron is not, as “fate and Jove” have prevented him from truly listening to her. Thalestris... (full context)
The Triviality of Court Life Theme Icon
Belinda approaches the Baron, ready to attack him. She pinches his nose and then releases, but only after throwing... (full context)
The Triviality of Court Life Theme Icon
As Belinda prepares to stab the Baron with her bodkin, he shouts out that one day she, too, will be brought this... (full context)