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Erotica in Song of Solomon
The use of erotica can be seen very clearly in the "Song of Solomon". First of all, one must keep in mind that it comes from the bible so one will not here vulgar things or even words that you know are directly talking about sex. However, if you read closely, you can here the implicit remarks that these young lovers seems to be making, not only about each others body, but also about what each would like to do with the other.
The first time that the male of the genre talks about his lover he describes her physical attributes. The most obvious is the description of her breast in which he says, "Thy two breasts are like two young roes that are twins"(7:3). When you here this statement one can only think that he is referring to her large perky (since she says young) perfectly round breast. When he talks about his lovers thighs, he not only praises them, he describes what the very most upper part of his lovers thighs look like: "the joints of thy thighs are like jewels"(7:1). One can only ask the question of how would this person know about someone's most upper part of their thigh, the part that is right next to the genitalia? This leaves much to the imagination. He also talks about her navel saying, "thy navel is like a round goblet, which wanteth not liquor"(7:2). When trying to interpret this quote, one must first keep in mind the fact that this is taking place during biblical times. During these times it was not proper for people to see, what was then looked at as X-rated parts of one another. Of course the exception to this rule would be if two people were married (or having an affair). So one can ask the question of how would this person know about the size and shape of another person's navel, which is hidden underneath everyday clothes? It seems not only does he know about its size and shape but also how it tastes. Again, the imagination of the reader is allowed to search the options.
Not only is there sexual talk about physical appearances, but there is also talk about what will happen when the two of them are together alone. She is at one point looking for him and when she finds him she says that she held him and had him follow her and would not let go, ".
In Shakespeare’s play, A Midsummer Night’s Dream, love appears to be the common theme of several storylines being played out simultaneously. Although these stories intersect on occasion, their storylines are relatively independent of one another; however, they all revolve around the marriage of Theseus, the Duke of Athens, and Hippolyta, the Queen of the Amazons. If love is a common theme among these stories, then it is apparent that love makes people act irrationally.
A pornographic world [What is normal] by Robert Jensen takes an inside look at the culture of masculinity and what role pornography takes in shaping that culture. Jensen describes how he was forced to play a “macho” role as a child out of fear of being bullied and ridiculed for not being manly enough. Pornography use started for him and his friends in grade school – they would steal magazines and hide them to share in a group later. He talks of how he learned of a social concept, called the “ideal of prostitution” (the notion of men “buying” women in various forms of undress, solely for their pleasure), at a young age. While there has always been a stigma around pornography, whether stemming from moral or religious reasons, Jenson continued to use porn until his 30s.
In The Odyssey and Hymn to Demeter, both Penelope and Demeter love and miss their family members. When Demeter hears her daughter Persephone’s cry, “a sharp grief took hold of Demeter in
The depiction of the Greek and roman myths are given unique insights from different authors. The Hymn to Demeter and Ovid's Metamorphosis provide and insight to Demeter's love for her daughter, Persephone, and explores its affect on the surrounding environments. The theme of separation and isolation is present in both of these myths, however, in Ovid's Metamorphosis, he symbolizes the environment in important events, has characters playing different roles, and empowers female deities.
For the author, the fact that Perpetua is a woman strengthens her sacrifice for her faith. This is due to the societal norms and customs she disobeys and overcomes to become a martyr. In ancient Rome, they lived in a patriarchal society. This will make her disobedience of her father more noteworthy as it violates the cultural custom. In her writing, Perpetua talks of her father coming to her in the prison. She says “He came up to me to cast down my faith saying: Have pity, daughter, on my grey hairs; have pity on your father, if I am worthy to be called father by you” (The Passion of Perpetua and Felicitas 5). Multiple times, her father comes to her in prison, begging that she say she is not a Christian so she may live. Through this interaction with her father, we can see his fatherly love as he tries to prevent her death. We also see a sort of disgrace that comes from a daughter’s disobedience, she writes that her father says “give me not over to the reproach of men” (The Passion of Perpetua and Felicitas 5). This show of direct disobedience of her father portrays Perpetua as a stronger martyr. She is not only giving her life for her faith, but going against society and customs, saying her beliefs are more important than both. This is a strong example to encourage conversion to Christianity. When Perpetua is in prison, her father tells her to “look upon your son, who will not endure to live after you” (The Passion of Perpetua and Felicitas 5). This leads to another point concerning Perpetua as a woman. If she dies for her faith, she will abandon her child and give up being a mother. In ancient times, much of a women’s identity was in her ability to be a good mother. With her martyrdom, Perpetua will choose faith over this key part of her life and legacy. This, yet again, shows why, by being a woman, Perpetua is a strong example in the author’s purpose to convert
Many powers that women possessed in the past, and that they posses today, are located in the most secure vault in the body, the brain. These powers are not consciously locked up, and at times many women do not even now that they exist, and this is mainly due to the “male world” (53) in which women live in. Audre Lorde presents this ideal that one of these powers that are being oppressed by society is that of the erotic. Lorde presents the argument that allowing the desires and feelings of the erotic to play a conscious role in the lives of women will allow women to live a different life, one filled with empowerment from both past and present endeavors.
This relationship is demonstrated by Perpetua’s assertion, “we were still with the persecutors, and my father, for the sake of his affection for me, was persisting in seeking to turn me away,” (Martydon of Perpetua and Felicitas 49). Personally, Perpetua may have considered this relationship a most important one, considering how significant it is in the roman society where it is expected that daughters should care for their parents, honor them, and improve their family reputation by getting married. However, having believed that her body is the temple of Christ, Perpetua opted not to conform to the expectations of the society. Together with felicity, they defer their duties as mothers to remain devoted to Christ, and leave behind young children during their death (Martydon of Perpetua and Felicitas
women were also treated as some what of sex symbols. In The Odyssey, Calypso, the sea nymph Odysseus (whom is the protagonist) lives with on her island for seven year, provides a near perfect example of this. Aside from being referred to as the “lusterous goddess” through out the work, Calypso and Odysseus have a few suggestive moments. For example, after Odysseus is told he will return (to his wife, I might add) him and Calypso almost immediately make love. “And now, withdrawing into the cavern’s deep recesses, long in each other’s arms they lost themselves in love. When young Dawn with her rose-red fingers shone once more Odysseus quickly dressed himself in a cloak and shirt while the nymph slipped on a loose, glistening, rope, filmy, a joy to the eye…” (159).
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.
In Sophocles' most famous Theban play consisting of two parts, "Oedipus the King" and "Antigone", both parts are necessary in understanding some of the things that happened around them, and what type of man had raised Antigone. She is the main character in the play of “Antigone”.
Showing that the slave, Ariel, is willing to do what ever is asked of him in the hope that in due time he will be set free, and to serve no one any longer. However, this expectation is one sided; since, the expectation of freedom I dependent on how prospero perceives the tasks that have been completed and those that are to be done. Thus, Ariel may never be set free if prospero never feels satisfied. On the other hand, if there is no expectation by a slave of future rewards then the future expectation of rewards is removed and the slave feels only oppression from the master, nothing more. For Caliban is a prime example. Caliban is not expecting to be set free or have his land restored to him. So Caliban has an extreme hatred for his master, Prospero, which all he can do is curse the man that made him this way, and hope for his demise. “All the infections that the sun sucks up from bogs, fens, flats, on Prosper fall, and make him by inchmeal a disease…His spirits hear me, and yet I needs must curse”(Act...
Clytemnestra’s peripeteia begins the moment Agamemnon sacrifices their daughter, Iphigenia. Heartbroken and grieving, Clytemnestra schemes, plotting vengeance for her daughter’s death. She obsessively plans her husband’s murder for so many years that it becomes a fait accompli. Clytemnestra greets his return with fa...
Love in Desire's Baby by Kate Chopin, The Passionate Shepherd to His Love by Christopher Marlowe, and The Nymph's Reply to the Shepherd by Sir Walter Raleigh
In Milton's Paradise Lost, the two images of sex in Books IV and IX sharply contrast one another in order to show the dichotomy of love and lust. The first act of sex is seen in Book IV and represents holy love. Before going into their bower, Adam and Eve make sure to praise God. This awe for their maker is seen when Adam and Eve "both stood,/Both turned, and under open sky adored/The God that made both sky, air, earth and Heav'n" (IV. 720-2). Even the heavens are in unison with Adam and Eve's love. While Eve decorates their "nuptial bed," there are "heaven'ly choirs" singing the "hymnenean sung" (IV. 709, -10). This love of Adam and Eve's is not "loveless, joyless, unendeared" but instead is "loyal, just, and pure" (IV. 766, 755). After their sacred act of sex, Adam and Eve are enraptured with joy and peace. They are "lulled by nightingales" and fall asleep naked, embracing one another (IV. 771). All is perfect in Paradise, but not for long.
The sexual awakening in the short story "The Wind Blows " and in the novella "The Virgin and the Gipsy" is very similar in a number of ways. In both works, young women on the brink of womanhood endeavor to attain full maturity in a number of ways. Both stories portray the mental confusion and general chaos the women struggle against in their quest for awakening, although the depth and structure of these works are markedly different. The reasons for this are obvious; one of the stories is a novella, and the other, a short story. The author of the novella, "The Virgin and the Gipsy" is able to describe the journey of the female protagonist in much greater detail and over a longer period of time, as opposed to the short story. The writer of the short story "The Wind Blows", because of its shorter nature, is able to experiment in repetitive words and a short, gasping sentence structure which allows the reader to "feel" what Matilda feels, "The wind, the wind. It's frightening to be here in her room by herself. The bed, the mirror, the white jug and basin gleam like the sky outside. It's the bed that is frightening." (56). Aside from structural differences, the essences of both stories are the same. The young women are changing and have to cope with a new role in life.