The Rape of Lucrece by Shakespeare



The Rape of Lucrece (1594) is a narrative poem by William Shakespeare about the legendary Lucretia. In his previous narrative poem, Venus and Adonis (1593), Shakespeare had included a dedicatory letter to his patron, the Earl of Southampton, in which he promised to write a "graver work". Accordingly, The Rape of Lucrece lacks the humorous tone of the earlier poem.

Publication and title
The Rape of Lucrece was entered into the Stationers' Register on May 9, 1594, and published later that year, in a quarto printed by Richard Field for the bookseller John Harrison ("the Elder"); Harrison sold the book from his shop at the sign of the White Greyhound in St. Paul's Churchyard. The title given on the title page was simply Lucrece, though the running title throughout the volume, as well as the heading at the beginning of the text, is The Rape of Lucrece. (The Arden edition of Shakespeare's [The] Poems, ed F.T.Prince, London and New York, Methuen & Co. Ltd, 1960), from which this information is taken, calls the poem Lucrece.) Harrison's copyright was transferred to Roger Jackson in 1614; Jackson issued a sixth edition (O5) in 1616. Other octavo editions followed in 1624, 1632, and 1655.

Historical background
Lucrece draws on the story described in both Ovid's Fasti and Livy's history of Rome. In 509 BC, Sextus Tarquinius, son of Tarquin, the king of Rome, raped Lucretia (Lucrece), wife of Collatinus, one of the king's aristocratic retainers. As a result, Lucrece committed suicide. Her body was paraded in the Roman Forum by the king's nephew. This incited a full-scale revolt against the Tarquins led by Lucius Junius Brutus, the banishment of the royal family, and the founding of the Roman republic.

Literary use
Shakespeare retains the essence of the classic story, incorporating Livy's account that Tarquin's lust for Lucrece sprang from her husband's own praise of her. Shakespeare later used the same idea in the late romance Cymbeline (circa 1609-1610). In this play, Iachimo bets Posthumus (her husband) that he can make Imogen commit adultery with him. He does not succeed, however is able to convince Posthumus he had using information about Imogen's bedchamber and body. Iachiamo has hidden in a trunk which has been delivered to Imogen's chamber under the pretence of safekeeping some jewels, a gift for her father King Cymbeline. The scene in which he emerges from the trunk (2.2) mimics the scene in The Rape of Lucrece. Indeed, Iachimo compares himself to Tarquin in the scene: "Our Tarquin thus, / Did softly press the rushes ere he waken'd / The chastity he wounded" (2.2.12-14). Lucrece is also closely related to the early Roman tragedy Titus Andronicus (circa 1590-94). In this revenge play, when the raped and mutilated Lavinia reveals the identity of her rapists, her uncle Marcus invokes the story of Lucrece to urge an oath to revenge the crime: "And swear with me--as, with the woeful fere / And father of that chaste dishonoured dame, / Lord Junius Brutus swore for Lucrece' rape-- / That we will prosecute by good advice / Mortal revenge upon these traitorous Goths, / And see their blood, or die with this reproach" (4.1.89-94).The rapist Tarquin is also mentioned in Macbeth's soliloquy from Act 2 Scene 1 of Macbeth: "wither'd Murther . . . With Tarquin's ravishing strides, towards his design / Moves like a ghost" (2.1.52-56). Tarquin's actions and cunning are compared with Macbeth's indecision - both rape and regicide are unforgivable crimes. In Taming of the Shrew Act 2, Scene 1, Petruchio promises Baptista, the father of Katherine (the Shrew), that once he marries Katherine "for patience she will prove second Grisel, / And Roman Lucrece for her chastity" (3.2.288-89).

The raped woman


Lucrece is described as if she were a work of art, objectified in as if she were a material possession. Tarquin's rape of her is described as if she were a fortress under attack—conquering her various physical attributes. Although Lucrece is raped, the poem offers an apology to absolve her of guilt (lines 1240-46). Like Shakespeare's other raped women, Lucrece gains symbolic value: through her suicide, her body metamorphoses into a political symbol. Shakespeare turns rape into a form of wound or mutilation of Lucrece's flesh. The loss of chastity as a symbolic wound is closely associated to the self-inflicted stab wound which puts an end to Lucrece's life. Tarquin's sex is indeed recurrently compared to a dagger or sword piercing through Lucrece's flesh. When Tarquin starts contemplating the rape, his sexual impulses are equated with the spirit of a soldier marching on his foe: « By reprobate desire so madly led / The Roman lord marcheth to Lucrece' bed »(300-301). The verb 'to march', describing Tarquin's progression towards Lucrece's bedroom, evokes military movements and the violence of armed combat. The association between the phallus and the blade later becomes quite clear when Tarquin enters Lucrece's chamber and threatens the young woman with his sword.

Analysis and criticism
In an important post-structuralist analysis of the poem, Joel Fineman argues that The Rape of Lucrece, like Shakespeare's sonnets, fundamentally deconstructs the traditional poetics of praise. Fineman observes that the tragic events of the poem are set in motion precisely by Collatine’s hyperbolic praise of Lucrece; it is his “boast of Lucrece' sov’reignty” (29) that kindles Tarquin’s profane desire. It is not the fact of Lucrece’s chastity, but rather the fact that her husband’s praise gives her the “name of ‘chaste’” that inspires his crime: “Haply, that name of ‘chaste’ unhapp’ly set / This bateless edge on his keen appetite” (8-9). In Fineman’s reading, Collatine’s praise paradoxically creates the circumstances that will ruin not only the woman that he praises, but also the integrity of the very rhetoric of praise itself. Furthermore, the poem itself draws attention to its own complicity in Collatine’s fatal rhetoric of praise: “the poem itself performs or activates this same praising word of which it speaks” by citing, in the first line of the second stanza, its own use of “chaste” in the last line of the first stanza: “Collatine's fair love, Lucrece the chaste”(7). To Fineman, the poem’s initial self-citation is just one example of how the “poem’s own rhetoricity is... performatively implicated in the rape it reports”. The linguistic excess of Shakespeare’s Lucrece is indicative of a new poetics in which the materiality of language itself disrupts a rhetorical tradition oriented toward pure idealization.

Jane Newman's feminist analysis of the poem focuses on its relationship to a different part of the literary tradition: the myth of Philomel and Procne from Book VI of the Metamorphoses by Ovid. In Newman's reading, the tradition of violent female revenge for rape represented by the myth of Philomel is submerged or repressed in Shakespeare's Lucrece. Ovid's myth appears only as a ghostly intertext, not an authentic option for Lucrece. Although at first glance, Lucrece would seem to have greater agency because she maintains the ability to speak after the rape (in contrast to the mutilated Philomela who loses all speech), Newman argues that the poem actually limits the Lucrece's ability to act precisely by valorizing her self-sacrifice as a political act: "The apparent contrast of a silent Philomela, robbed of the potential for such an impact on the political moment to which she belongs, effectively casts Lucretia's suicide as the only form of political intervention available to women". Ironically, Lucrece's rhetorical eloquence forecloses the possibility that she herself could seek out a more active, violent retribution on Tarquin, her rapist, and the monarchical regime that he represents. Instead, her revenge must be carried out by male agents acting in her name, particularly Brutus, the founder of the Roman Republic, who imitates the rhetoric that accompanies her death as he leads the rebellion against Tarquin's father, the king of Rome.