Comparing Pollak's Approach To Develop And Belinda

One of the similarities between Pollak’s approach and Brooks’ approach is how they both considered the duality of Pope’s writing. Instead of reading into the “either-or” of the text, both allow a “both/and” accommodation; particularly regarding the contradictory characters of Belinda (coquette) and Clarissa (prude). While the dominant tension in the poem, according to Pollak, is between Clarissa and Belinda, we must recognize that neither character falls rigidly into the category assigned by Pope. Just as Brooks argues, Pope experimented through the vehicle of satire and exposes both the ridiculousness of the upper class and the significance of their superficial issues. Pollak believes that Pope is using this “both” approach regarding Belinda’s coquette label. Belinda is both “heroic and ridiculous” just as
Clarissa, for example, in her attempt at using her tongue as a weapon against Belinda; as opposed to her superficial attributes, is viewed with suspicion because she is a female who is preaching about morality. Pollak also frames her argument around the perception that the women of the poem are objects of the patriarchy’s desire. Even when Clarissa speaks out, she is not doing so of her own accord, but under the influence of pleasing the Baron. The Baron, by removing Belinda’s symbolic power, removes any agency in which she had for herself. However, it could be argued that even the agency of having power was defined by her gender role as viewed by men. A female, according to man, is either a whore or a virgin and Belinda has found herself metaphorically stuck between these identities. The Baron also controls the power of Belinda’s sexuality, so that the power of his sexuality cannot be threatened. This undermining proves that the women of this poem are viewed as inferior to men, and as Pollak argues, no matter which position they have in the poem are all vulnerable to