Aphra Behn's Poem "To the Fair Clarinda"
In her poem “To the fair Clarinda,” Aphra Behn writes of a companionship between the speaker and Clarinda. This paper will attempt to prove that Clarinda is a hermaphrodite instead of a woman as is popularly believed, thus completely changing the meaning of the poem.
In the first few lines, the speaker decides to call Clarinda “Lovely Charming Youth” (4) instead of “Fair lovely Maid” (1). The speaker says that the name will “lessen my constraint” (6). This could refer to the sexual feelings that are holding her back because of the womanly part of Clarinda. “And without Blushes I the Youth persue” (7) tells how the speaker is not embarrassed to desire Clarinda now that she is referred to as a Youth.
Farther into the first stanza, the speaker talks about how the love between her and Clarinda is not wrong because Clarinda is perceived by the rest of the world to be only a woman, and two women in a friendly, romantic relationship was perfectly normal at this time. The speaker says that Clarinda was born as a hermaph...
When the sixth stanza states that “She owns them, no one will admit what they cannot/ come close to must own them.” (24-25); it’s talking about the lady being an inexplicable legend. She captures the mind of the average person. She enthralls these people so much that they pursuit her every move, to understand her. She lets them come with her, on her journey. The people she brings with her are there for her body. Not her personality, or for herself. To the people who chase her, it’s just a quick
In the introduction scene as Cleo looks in her mirror, she reflects to herself, “as long as I’m beautiful I’m even more alive with others.” After observing that scene, it reveals how women look in the mirrors and do not actually see themselves. Rather, the view distorted by the cruel world’s beauty standards. Cleo should know that others may make you appear more present; it does not truly mean you exist in your in-itslef. Cleo, in her mind, maintains this immoral attitude throughout the beginning of the film that her looks must present to everyone, especially those people on the streets of Paris, her unacknowledged beauty. All this effort is made by not just Cleo, but most of society’s women to avoid the confrontation of being misperceived and or stigmatized. For instance, after watching a scene where Cleo is with her lover, instead of talking about her affliction and opening up to her partner, she still places herself as the perfect image of his perception of beauty. It is obvious that Cleo is left unsatisfied when her lover at the time leaves her. This being a cry for help for the true relationships in which she mourns for. Cleo focuses on being alluring as possible instead of speaking what really is on her mind. Cleo, in turn, fixating on how she is viewed by others. Through gazing at her reflection
The purpose of this essay is to analyze and compare and contrast the two paired poems “My Last Duchess” by Robert Browning and “My Ex-Husband” by Gabriel Spera to find the similarities presented within the pairs. Despite the monumental time difference between “My Last Duchess” and “My Ex-Husband”, throughout both poems you will see that somebody is wronged by someone they thought was a respectable person and this all comes about by viewing a painting on the wall or picture on a shelf.
The poem starts with the line, “This girlchild was born as usual,” which suggests that as soon as a girl is born, society already expects her to learn the role she will soon play in when she hits puberty (1). Thus, showing why we are given dolls as little girls to illustrate how we should act and appear according to society. After we learn all the roles we will soon take part in, “the magic of puberty,” hits and girls immediately begin applying the ideals to their own lives (5). As if this attempt to conform is not enough we have other people telling us we are not to perfect. “You have a great big nose and fat legs,” says a classmate to the girl (6). This type of pressure can slowly but surely destroy even the little confidence women do have in themselves.
Accordingly, I decided the purposes behind women 's resistance neither renamed sexual introduction parts nor overcame money related dependence. I recalled why their yearning for the trappings of progression could darken into a self-compelling consumerism. I evaluated how a conviction arrangement of feeling could end in sexual danger or a married woman 's troublesome twofold day. None of that, regardless, ought to cloud an era 's legacy. I comprehend prerequisites for a standard of female open work, another style of sexual expressiveness, the area of women into open space and political fights previously cornered by men all these pushed against ordinary restrictions even as they made new susceptibilities.
‘The woman’ of the poem has no specific identity and this helps us even further see the situation in which the woman is experiencing, the lost of one’s identity. Questions start to be raised and we wonder if Harwood uses this character to portray her views of every woman which goes into the stage of motherhood, where much sacrifice is needed one being the identity that was present in society prior to children.
The poets integrated ?metaphysical conceits? as focal parts of these poems. Along with these, they used effective language as a basis for their convincing arguments, they included subjects of periodical importance (e.g. ?courtship? and ?religion?), and use very clever structures that are manipulated in order to make the poem read in the desired way. The very clear indication of the theme in question was strongly aided by the way in which the personas portrayed the emotions they felt and the way they showed their attitudes towards the subject. Considering all these factors, the poets made critical arguments to the mistresses in order to alter their views, thus changing their minds, on denying the poets the sex that they desired so strongly.
“I’m glad it’s a girl. And I hope she’ll be a fool – that’s the best thing a girl can be in this world, a beautiful little fool.” (page 17)
In conclusion, Steinbeck’s “The Chrysanthemums” illustrates the life of Elisa Allen, who struggles with womanhood, self-recognition, and impotence. Although, she is described as a modern house wife of the 1930's, it is clear, that she is far from the average traditional spouse. Rather, she yearns to be represented in the masculine world. However, through Elisa’s tribulations and limitations, she has unfortunately lessoned her stature. Therefore, one should learn to make the best use of our present rights of equality.
In modern day society, female gender roles are defined in several of forms; ranging from the stereotypical concept of women being primary caretakers to women being the dominant sex. After analyzing two sources of past literature, two iconic women represent personas of both social standings. In the literary works “Genesis” of The Hebrew Bible; along with, “Lysistrata” by Aristophanes, impactful phenomenons take place in the era of these women.
She tells the girl to “walk like a lady” (320), “hem a dress when you see the hem coming down”, and “behave in front of boys you don’t know very well” (321), so as not to “become the slut you are so bent on becoming” (320). The repetition of the word “slut” and the multitude of rules that must be obeyed so as not to be perceived as such, indicates that the suppression of sexual desire is a particularly important aspect of being a proper woman in a patriarchal society. The young girl in this poem must deny her sexual desires, a quality intrinsic to human nature, or she will be reprimanded for being a loose woman. These restrictions do not allow her to experience the freedom that her male counterparts
Criseyde’s thoughts in this passage show her to be a self-confident woman. In lines 745-755 Criseyde, for the first time, acknowledges that she is beautiful,
The construction of gender is based on the division of humanity to man and woman. This is impossible ontologically speaking; because the humans are not divided, thus gender is merely an imaginary realm. It only exist in the language exercises, and the way that cultural products are conceived in them. This essay is a preliminary attempt to offer an analysis of ‘One Is Not Born a Woman’ by Wittig and ‘The Second Sex’ by Simone De Beauvoir holds on the language usage contribution to the creation of genders and the imagined femininity.
her writing. Due to the oppressive government, women were confined to their traditional roles and in showing the lack of freedom, both mentally and physically, that this imposes on them, Clarice Lispector justifies her existentialist viewpoints through her writings; life is pain, misery, and inevitably death. These viewpoints are imminent when discussing the overall lack of freedom in Lispector’s stories “The Chicken”, “The Smallest Woman in the World”, and “Preciousness”.
This, in fact, is an example of “dynamic decomposition” of which the speaker claims she understands nothing. The ironic contradiction of form and content underlines the contradiction between the women’s presentation of her outer self and that of her inner self. The poem concludes with the line “’Let us go home she is tired and wants to go to bed.’” which is a statement made by the man. Hence, it “appears to give the last word to the men” but, in reality, it mirrors the poem’s opening lines and emphasises the role the woman assumes on the outside as well as her inner awareness and criticism. This echoes Loy’s proclamation in her “Feminist Manifesto” in which she states that women should “[l]eave off looking to men to find out what [they] are not [but] seek within [themselves] to find out what [they] are”. Therefore, the poem presents a “new woman” confined in the traditional social order but resisting it as she is aware and critical of