Shakespeare’s The Rape of Lucrece (1594) has provided a political battleground for feminist critics and their adversaries over the question of who or what is the agent of rape. This chapter looks at an important and influential antifeminist “logic” of rape (epitomized in an article by Joel Fineman) which posits an antithetical language that turns every resistance to rape into a permission, even an incitement for the man to violate the woman. In opposition to this, the ekphrastic tapestry that depicts the fall of Troy in the second half of the epyllion provides warnings against deceptive speech and suggests models for heroic resistance that, although ambiguous and even paradoxical, are legible and do not collapse into antithetical aporias. The narrative woven into the tapestry serves Lucrece as a spur for action, ultimately for her heroic suicide which turns the rape inside out and reverses its polluting consequences. Lucrece’s Stoicism resists the collapse of resistance (and of difference) that antifeminism argues is inseparable from the primal sense of antithetical words. That the heroine’s version of feminism and of a woman’s honor necessitates suicide runs counter to Tarquin’s antinomianism, to Christianity, and to what most readers today take to be feminism.