The late nineteenth century play, Salomé written by Oscar Wilde depicts the Biblical story of Salomé, the stepdaughter of Herod, Tetrarch of Judaea. Herod feared Jokanaan, the prophet knowing that he was just and holy and imprisoned him in a deep cistern as he had condemned his marriage to Herodias, wife of his brother Philip. Driven by her desire to touch and kiss Jokanaan who shuns her because she is Herodias’s daughter, Salomé yields to her stepfather’s wishes and dances the dance of the seven veils in return for Jokanaan’s head on a silver platter. Seeing Salomé kiss Jokanaan’s lips, Herod orders his soldiers to kill her. Nineteenth century Victorian concepts of sexuality and virginity of the play are examined through a Biblical context. …show more content…
Women of the nineteenth century were forced to conform to the Victorian ideal of the “angel in the house,” a phrase eponymous with Coventry Patmore’s poem “Angel in the House.” The myth of the angelic woman reverberated throughout the nineteenth century and women, expected to be chaste, silent and submissive, were trained not to have opinions of their own. However, Auerbach argues that these angelic specimens had the power to become demons and wreak havoc on society. Salomé’s metamorphic power is intrinsic to her sexuality and she transcends the position of being a mere object of male desire. She deliberately transgresses the Victorian ideal of femininity when she exploits her sexual power over Narraboth, The Young Syrian forcing him to disobey Herod’s orders and allow Jokanaan the prophet out of the cistern so that she could gaze at …show more content…
In exchange for this deed, Salomé promises to look at Narraboth through her muslin veils when she passes in her litter by the bridge of the idol buyers. Powerless and succumbing helplessly to Salomé’s beauty and sensuality, Narraboth allows the prophet to come forth. When Jokanaan emerges from the cistern, Salomé who is deeply fascinated and desirous of his body subverts the norm of being the objectified female. Positioned as Salomé’s chaste other, Jokanaan is also symbolically associated with the moon. Salomé remarks that she is “sure he is chaste as the moon is. He is like a moonbeam, like a shaft of silver.” (1. 271-272) In the book Totem and Taboo, Freud states that men are afraid of being weakened by female sexuality and this fear of being subjected to women established various constraints on a woman’s behaviour. Salomé uses her golden eyes to exert a certain power over Jokanaan’s body but unlike The Young Syrian and Herod, Jokanaan represses his sexual desire for Salomé by refusing to look at her and acknowledge her sexual power over him. Looking askance at Salomé, Jokanaan vehemently repudiates her gaze when he
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).
Since the advent of ordered civilization, patriarchal rule has held dominion over the kingdoms of men. Women have had equally as many influential, inspirational and imperative tales to be told as men, however their voices have been marginalized, neglected, iniquitously subjugated, and bound by the ineffable chains of bondage for centuries. One need only possess a cursory knowledge of biblical history to recognize immediately the lowly status of women in the ancient Hebrew world. There is nary a better sourcebook of patriarchy and the proscriptive treatment of women in all of literature than that of the Old Testament. One cannot possibly, however, ignore the stories of Delilah, of Sarah, of Jezebel, and, perhaps most interestingly, of Dinah. Anita Diamant, a contemporary chronicler of Jewish lore and a seminal figure in modern-day historical fiction, expressed the woes and voicelessness experienced by the women of the Old Testament in her novelistic midrash entitled The Red Tent. Narrated from Dinah's perspective, Diamant's novel presents a feministic interpretation and retelling of the story of Dinah, her mothers, and her sisters. Dinah's life in the Book of Genesis is relegated to just a few ambiguous sentences, since she was a woman and the principle authors of the Bible were men with their own bigoted agendas. Had Dinah been given the opportunity to share her story, trials and tribulations, and actual experiences, her account would have doubtlessly been different from that which is commonly accepted. As evidenced by the stories of Dinah, Mary Magdalene, and any number of marginalized genders, religions, and ethnic groups, those who maintain power write history, eclipsing the perspectives of the powerless and the weak and crushi...
Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. New York: Vintage Books, Inc., 1990. Proser, Matthew N. The Heroic Image in Five Shakespearean Tragedies. Princeton, NJ: Princeton University Press, 1965.
Jokanaan, the man who scorns her love. But what to say of Jokanaan himself? The
Unlike sex, the history of sexuality is dependant upon society and limited by its language in order to be defined and understood.
The focus of this essay is to explore sexuality presented by Philoclea in the New Arcadia. Philoclea cultivates a relationship towards another women in the book. Yet readers understand that Zelmane is in fact Pyrocles. Sidney allows the reader to be given the impression that until Pyrocles admits to be Zelmane, Philoclea would be shown to have a homosexual tendencies. Philoclea herself is certain that a same-sex friendship is giving way to sexual desire.
Over the centuries, writers have used literature to show the societal status and the mind sets of the people in their era. ‘Antigone’, a Greek tragedy, and ‘A Doll’s House’, a highly controversial drama, inhibit the same thematic approach, depicting the oppression and submissiveness of women in male-dominated society and how they overcome their obstacles with firm will, inspiring millions of audiences from then till now. By Antigone’s character, Sophocles portrays a figure through whom he can express his faith in feminism in the 4th century. Likewise, Ibsen’s concerns about the position of women during the 19th century are beautifully breathed to life in ‘A Doll’s House’ through Nora’s transformation from a doll-like puppet to a human. Both of the writ...
Welter, Barbara. “The Cult of True Womanhood: 1820-1860.” Nineteenth Century Literature March 1966: 102-106. Jstor. On-line. 10 Nov. 2002.
In the book History of Sexuality: An introduction, Volume 1 by Michel Foucault, he discusses the “repressive hypothesis” which he had developed. Sexual repression was due to the rise of the bourgeois. He suggests that the repressive hypothesis is important for discourse on the revolution of sexuality. Foucault has recognized the repressive hypothesis as a form of discourse. The repressive hypothesis has power to repress the debate of sexuality. Foucault mentions that society has created control over how people talk about sex over time. In the 17th century with the rise of the bourgeoisie, there had been control on the discourse of sex. In the 18th century, sex was studied for the means of regulating the demographic of the population. Sex lives
Sex is described as “the primitive task for women” (Epic of Gilgamesh 63). The definition of sex in the Epic of Gilgamesh is a way to show that a main role of women in ancient Mesopotamia times was to provide pleasure for men, but to also provide children (Grandfield). The temple prostitute, Shamat, was not in the story to portray mankind’s sin of lust, but to demonstrate the need for women so a society can survive.
Aphrodite is depicted in her persona as a perfect, breathtaking woman, characterized by her potent sexual attractiveness. While Artemis is similar in her gender and her eternal youth, her appearance is not characterized with sexual attraction as much as it is fruitfulness and purity, as she is the goddess of chastity and natural environments. Aphrodite’s main symbol is a girdle that has magical powers to compel love, while Artemis contains a bow that is used for hunting flesh, and is very physically strong. And of course, because Artemis is a virgin god, she lacks a husband or any children for herself, while Aphrodite is in the complete opposite realm: she not only has a husband (Hephaestus), but an illicit lover too (Ares, the god of...
The short story, Girl, by Jamaica Kincaid, can very easily be related directly to the author’s own life. Kincaid had a close relationship with her mother until her three younger brothers were born. After the birth of her brothers, three major values of her mother became apparent to Kincaid. In turn, Kincaid used the three values of her mother to write the short story, Girl. Specifically, these values led to three themes being formed throughout the story. It appears in the short story that the mother was simply looking out for her daughter; however, in all reality, the mother is worried about so much more. Kincaid uses the themes of negativity towards female sexuality, social norms and stereotypes, and the significant
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.
In terms of sex and sexuality, Europeans has been going through a process from public to privacy, from openness to shame, from community control to social control, but later sex was gradually liberated and back to public sphere. The Industrial Revolution in eighteenth Century and the Sexual Revolution in 1960s and 1970s act as watershed in this transformation. People living in pre-industrial era were open to the talk of sex. Living an agrarian life in rural areas, they were familiar to sex presented by human nudity and sex behaviors performed by animals in the farms. Besides, the mention of prostitutions was accepted for that time, thus, there was no necessity to operate educations on sex.
We have difficulties as a modern audience appreciating the social anxieties reflected in Pamela, especially those surrounding morality and valuation of individuals within the social framework. The radical stance of even using phrases such as virtue and 'fortune' to denote Pamela's virginity are themselves loaded with a questioning of the social stratification in which she resides. The term 'Fortune' is perhaps the most playful but problematic. In it the issue of the commodification of Pamela's virginity is implicated, while at the same time gaining its authority within the framework of the novel through a Protestant ethic of internal individual worth apart from social stratification. Complicating this issue of commodification is the range of Marxist or Weberian readings of the novel that place it within a conflict between the working and aristocratic classes. Pamela is explicitly placing value in her 'protestant ethic' rather than her social standing, it being "more pride to [her] that [she] come of such honest parents, than if [she] had been born a lady" (Pamela 48) and in the same letter looking disparagingly on her fellow 'servants.'