In the following essay, Ferguson traces the influence of Pope's classical translations on the aesthetics of mock-heroic satire he practiced in The Rape of the Lock.

In the following essay, Morris describes the nature of Pope's revision technique and identifies various applications in The Rape of the Lock, focusing on emblematic qualities of the Game of Ombre in canto III of the expanded version of the poem.

In the following excerpt, Pollak discusses an “enabling” contradiction between the satire on commercial values and the objectification of women in The Rape of the Lock, relating Pope's rhetorical, metaphysical, and paradoxical strategies in the poem to eighteenth-century sexual ideology.

In the following essay, Brückmann investigates the pastoral, platonic, and mystical contexts of the sylph machinery in The Rape of the Lock, concentrating on the poem's multiple allusions to each tradition.

In the following excerpt, Brown explores tensions and contradictions between the mercantile discourse and neoclassical aesthetics of The Rape of the Lock, highlighting the dependence of Pope's poetic diction upon the commodification of English culture.

In the following essay, Blocksidge outlines the satiric principles and general themes of The Rape of the Lock.

Rogers is a prominent literary historian specializing in eighteenth-century studies and a respected authority on Pope. In the following essay, which was originally published in 1974, the critic examines the role of the gnomes and the uses of other rustic “faery” lore traditions in The Rape of the Lock, highlighting the relevance of William Diaper's Dryades (1712) to Pope's final version of the poem.

In the following essay, Nicholson counters accepted readings of The Rape of the Lock by outlining the social, economic, and political implications of thematic changes in the revised version of the poem.

In the essay below, Meyers offers a feminist rereading of The Rape of the Lock.

Mack is a critic well known for his work on Pope. In the following excerpt from an essay originally published in his Pope and His Contemporaries (1949), Mack discusses the mockheroic metaphor in Pope's works, particularly in The Rape of the Lock and The Dunciad.