Clarissa

Clarissa’s character seems too good to be convincing as one of the two protagonists of the story. This is why it becomes necessary to take a careful look at the subversion in the text, with regard to her complex personality. On the surface, Clarissa is a model of feminine virtue. Adding to this her intellectual achievement, her portrayal can be seen with no less than the highest approval of Richardson’s contemporaries. But there seems to be a struggle of difference within herself. Outwardly, we see her excellence and perfection, but in undermining her personality we see unconscious feelings of sexuality and love for Lovelace. Some might think that Clarissa was being dishonest about the way she portrayed her feelings with regard to Lovelace, while other will interpret this as an unawareness of her female sexuality, which will play an important role in the meaning of the story. While seemingly perfect and happy on the outside, Clarissa hides a morbid side underneath. It can be said that Clarissa is confused and flip flops back and forth, not knowing her own feelings. While Clarissa questions herself when she originally states that she could reform Lovelace, at some level she realizes that this is simply a mask for deeper ulterior motives. Clarissa is so attached to the preconception of her idealistic virtue and perfection that she cannot change and allow her unconscious sexuality to surface. In the 18th century, the word “virtue” retained the meaning of a power of innate goodness inherent in a divine being. Clarissa, being known for her virtue, can certainly be allowed to struggle with the persona that shows itself versus her inward attraction for a villain. For her, attraction and repulsion do not seem to be at opposite ends, and because of this we are able to sympathize with her dilemma. Ultimately, there is nothing left but death for Clarissa, not just because of her shame, but because her purity cannot survive the wickedness of London. The only way to return to the country is to her burial place, since she can no longer return home.--Pat Phillips