Christopher Marlowe is a late sixteenth-century writer sometimes placed “close to Shakespeare in his achievement” (Ribner 212); Marlowe's pastoral poem “The Passionate Shepherd to His Love” (1599) was even initially “ascribed to Shakespeare” (Brooke 393). With a different tone than most of his dramatic work, Marlowe's poetry often includes a male and a female character in a real or imagined romantic relationship. “The Passionate Shepherd to His Love” portrays a somewhat powerful male character who performs all of the action, while the female character is portrayed as passive and superficial. Like many of the metaphysical poets of the next century, Marlowe's sixteenth century male character uses rhetoric to seduce the female character (which is paradoxical since the men tend to praise and ideal chaste women), and in the case of Marlowe's Shepherd, the rhetoric he uses tends to focus on superficial promises of idealistic love and pleasure. He enforces the common theme of carpe diem suggesting that there will be immediate gratification of their sexual passions, escaping societal rules and returning to a pristine condition of happiness. Furthermore, the Shepherd is often so preoccupied with convincing his lover “to come live with” him and be his “love” (Marlowe 20), that at times he becomes forceful, sexual and aggressive by using double entendres and hidden sexual images. Thus, in “The Passionate Shepherd to His Love” not only does Marlowe's poetry reinforce gender stereotypes of the male as active and the female as acted upon, Marlowe's male character goes one step further and use aggression to get what he wants from his female lover: her body.
Marlowe’s contemporary, Sir Walter Ralegh’s response titled “The Nymph’s Reply to t...
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There are times in Marlowe's poetry when it seems as if true love is desired by the male characters, but the men seem to have a false belief about what love actually is. The men in Marlowe's poetry seem to be ignorant of what women actually desire and believe that women are like animals and need to be manipulated, so when the men try to state their love for a woman, they spend all of their time describing superficial things thinking that it is what women want to hear. Thus, Marlowe's poetry portrays both women and men in a stereotypical fashion which is unrealistic, and the misogynistic representation of gender relations goes beyond merely showing males as active and females as inactive. There is an implicit belief in Marlowe's poetry is that there is nothing fundamentally wrong about males using excessive manipulation and physical force to have sex with women.
William Shakespeare (1564-1616) was a Renaissance poet and playwright who wrote and published the original versions of 38 plays, 154 sonnets, two long narrative poems, and several other poems. He is widely regarded as the greatest writer in the English language, and often called England’s national poet. Several of his works became extremely well known, thoroughly studied, and enjoyed all over the world. One of Shakespeare’s most prominent plays is titled The Tragedy of Romeo and Juliet. In this tragedy, the concept that is discussed and portrayed through the characters is love, as they are recognized as being “in love”. The general umbrella of love encompasses various kinds of love such as romantic love, the love of a parent for a child, love of one’s country, and several others. What is common to all love is this: Your own well-being is tied up with that of someone (or something) you love… When love is not present, changes in other people’s well being do not, in general, change your own… Being ‘in love’ infatuation is an intense state that displays similar features: … and finding everyone charming and nice, and thinking they all must sense one’s happiness. At first glance it seems as though Shakespeare advocates the hasty, hormone-driven passion portrayed by the protagonists, Romeo and Juliet; however, when viewed from a more modern, North-American perspective, it seems as though Shakespeare was not in fact endorsing it, but mocking the public’s superficial perception of love. Shakespeare’s criticism of the teens’ young and hasty love is portrayed in various instances of the play, including Romeo’s shallow, flip-flop love for Rosaline then Juliet, and his fights with Juliet’s family. Also, the conseque...
to be taken literally just really to prove that what he says really does mean something and to emphasize the subject and the romanticism of the poem I intend to discuss the concept of the love poem first. Marlowe paints a picture of the romantic dream of love.... ... middle of paper ... ...effect depending on the way it is presented. It is also an image of time.
Medieval and Renaissance literature develops the concepts of love and marriage and records the evolution of the relation between them. In Chaucer's Canterbury Tales, Christian love clashes with courtly love, as men and women grapple with such issues as which partner should rule in marriage, the proper, acceptable role of sex in marriage, and the importance of love as a basis for a successful marriage. Works by earlier writers portray the medieval literary notion of courtly love, the sexual attraction between a chivalric knight and his lady, often the knight's lord's wife. The woman, who generally held mastery in these relationships based on physical desire and consummation, dictated the terms of the knight's duties and obligations, much like a feudal lord over a vassal. This microcosm of romance between man and woman was anchored by the macrocosm of the bonds among men and their fealty to their lord. The dominance of women and fealty to the leader in courtly love contrasts with the dominance ...
The juxtaposition of language when describing males and females compares the females’ resentment to the males’ privilege. In both poems, the men are unapologetically self-confident; Adam has “turned himself into God”, his actions and decisions are faultless and are often described as justified by strong and un-ambiguous phrases such as “he had to”, “he must” and “he refuses to.” This language harshly contrasts Eve’s uncertain phrases such as “I would suggest,” “I observed” and “Perhaps”. Similar is the contrast between language used by the female persona and her husband in ‘BS’. The speaker’s rampant and vivid fantasies are hidden “inside her smile”, “invisible inside their placid hostess” and “in her warm thighs”. Her thoughts and desires are hidden from society, behind facades and niceties. Juxtaposing this repression and silence is her husband who ‘calls [her]’ to satisfy his sexual desires without any qualms as to what she may want, and who is described as ‘rich in peace’. The two poets’ utilization of submissive language in describing the female gender mirrors the powerful, assertive words in describing their male counterparts. By placing the male gender on a higher grounding, this represents the way in which the patriarchal society has favoured this gender over the disempowered female,
In all, the misogyny presented in these two poems is not restricted to the time period they were written. Just as in medieval literature, it is still common for today's woman to be recognized only for her physical attributes. I believe that in order to have equality of the sexes and to help overcome the objectifying of women, it is necessary for women not to use the misogynistic views placed against them to their advantage.
What does it mean to live in a well lived life? Some may define it as where one’s living necessities are met. Others may put value on relationships between other sentient beings. How does such a multitude of social injustices and poor living conditions exist within a country that claims to promote equality for all people? A common expression is that America is a melting pot. In truth, America is a melting pot of discrimination and injustice. For example, African Americans, who are 13% of the population and 14% of drug users, are not only 37% of the people arrested for drugs but 56% of the people in state prisons for drug offenses. Institutional racism is a vital factor that permeates numerous injustices throughout our society. Institutional racism refers to specific policies and/or institutions which consistently result in unequal treatment for particular groups. I argue that institutional racism constitutes an injustice and through using Rawls theory, the veil of ignorance, institutional racism can be rectified.
...l love, like Marvell in “His Coy Mistress,” is still used to get women in bed. It makes them feel secure in a relationship, which in turn makes them more likely to have sex with their partner. Building up the relationship, like Donne in “A Valediction: forbidden Mourning,” will also make a woman feel secure in a relationship in modern times by establishing dependability; it also romanticizes the relationship. If a woman feels she is being swept off her feet by Prince Charming, she will be more likely to get in bed. Allaying a woman’s fears will also convince her to consent to sex, much like in Donne’s first stanza of “The Flea.” He reassures his woman that sex is not a big deal. These days sex really has become quite inconsequential and men do not have difficulty pointing that out to a woman they are trying to sleep with. Generally, many of the basic ideas expressed in 17th century poetry are similar to those presented today in relationships. Making excuses, finding arguments, allaying fears, and professing true love are all still utilized to speed along the occurrence of sexual relations.
Essential yet underplayed, seduction is a means to establishing a physical union. Throughout literature the basic arts of seduction, chasing the opposite sex, have changed, but a reader of such literature can see that the motive of seduction has mostly remained the same. The metaphysical literary motive of seduction in the context of this paper is a delicate technique of intentionally tempting a person to participate in a physical union or exploitation, or to inspire or persuade a person to partake in sexual behaviors. Although the outcome of these seduction techniques are sexual, literary authors have their own ways of writing these complex ideas in a colloquial language. As time progressed, debates over the literary means of seduction has
Traditional female characteristics and female unrest are underscored in literary works of the Middle Ages. Although patriarchal views were firmly established back then, traces of female contempt for such beliefs could be found in several popular literary works. Female characters’ opposition to societal norms serves to create humor and wish- fulfillment for female and male audiences to enjoy. “Lanval” by Marie De France and “The Wife of Bath’s Tale” by Geoffrey Chaucer both show subversion of patriarchal attitudes by displaying the women in the text as superior or equal to the men. However, “The Wife of Bath’s Tale” also incorporates conventional societal ideas by including degradation of women and mistreatment of a wife by her husband.
Authors use poetry to creatively present attitudes and opinions. “A Man’s Requirements,” by Elizabeth Barrett Browning, and “A Letter to Her Husband, Absent upon Public Employment” are two poems with distinct attitudes about love that contain different literary approaches. In both of the poems, love is addressed from a different perspective, producing the difference in expectation and presentation, but both suggest the women are subservient in the relationships.
“The Wife of Bath’s Tale” is written in an entertaining and adventurous spirit, but serves a higher purpose by illustrating the century’s view of courtly love. Hundreds, if not thousands, of other pieces of literature written in the same century prevail to commemorate the coupling of breathtaking princesses with lionhearted knights after going through unimaginable adventures, but only a slight few examine the viability of such courtly love and the related dilemmas that always succeed. “The Wife of Bath’s Tale” shows that women desire most their husband’s love, Overall, “The Wife of Bath’s Tale” shows that the meaning of true love does not stay consistent, whether between singular or separate communities and remains timeless as the depictions of love from this 14th century tale still hold true today.
Much has been made (by those who have chosen to notice) of the fact that in Shakespeare's sonnets, the beloved is a young man. It is remarkable, from a historical point of view, and raises intriguing, though unanswerable, questions about the nature of Shakespeare's relationship to the young man who inspired these sonnets. Given 16th-Century England's censorious attitudes towards homosexuality, it might seem surprising that Will's beloved is male. However, in terms of the conventions of the poetry of idealized, courtly love, it makes surprisingly little difference whether Will's beloved is male or female; to put the matter more strongly, in some ways it makes more sense for the beloved to be male.
During the course of Edmund Spencer’s Amoretti, the “Petrarchan beloved certainly underwent a transformation” (Lever 98); the speaker depicts the beloved as merciless and is not content with being an “unrequited lover” (Roche 1) as present in a Petrarchan sonnet. Throughout Sonnet 37 and Sonnet 54, the speaker provides insight into the beloved not seen within the Petrarchan sonnets; though the speaker does present his uncontrollable love for the beloved, he does so through his dissatisfaction with his position and lack of control. In Sonnet 37, the speaker describes the beloved as an enchantress who artfully captures the lover in her “golden snare” (Spencer, 6) and attempts to warn men of the beloved’s nature. Sonnet 54, the speaker is anguished by the beloved’s ignorance towards his pain and finally denies her humanity. Spencer allows the speaker to display the adversarial nature of his relationship with the beloved through the speaker’s negative description of the beloved, the presentation of hope of escaping from this love, and his discontent with his powerlessness. Spencer presents a power struggle and inverted gender roles between the lover and the beloved causing ultimate frustration for the speaker during his fight for control.
Despite the generalized view of women of his time, Marlow's narrative indicates a more specified view of the value of women which suggest that they are all naïve but with culturally dependent personas. In presenting female characters, Marlow may have intended to add more essence to his narrative. Nonetheless, each of their appearances and his descriptions of them served to be metaphoric, yet powerful contributions to the story line.
Snow, Edward A. "Marlowe's Doctor Faustus and the Ends of Desire." Two Renaissance Mythmakers: Christopher Marlowe and Ben Jonson. Ed. Alvin Kernan. Baltimore, MD: The Johns Hopkins University Press, 1997. Print.