Although at first it may seem that this essay will discuss borders and oppositions, it on the contrary combines them symbiotically since, as Catherine Ingrassia rightly notices, the eighteenth century “is characterized not by boundaries but by transgressions, by the seepage of categories.”10

Therefore, Pope’s life and writing, the image he creates and the reality he fears, overlap. He intermingles opposite poles coalescing the above-mentioned opposites into a single perspective. Thus, instead of silencing the women's literary proliferation, Pope becomes an active participant in the feminization of literature.