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Virginity in the 17th century
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Virginity in 17th and 18th Century Poetry
Benjamin Franklin once said that there were only two inevitable things in life: death and taxes. He got it half right. They did, in fact, die with pretty regular certainty. However, what was inevitable was sex. Without it, there wouldn't be any new people to die and poor Ben Franklin would have been completely wrong. The only hindrance to this certainty was (and remains) virgins. The realm of the chaste has been explored in poetry throughout time, but never was the subject as thoroughly probed as in the 17th and 18th century. To judge by the poets of the time, one would conclude that--next to dying--the citizens of this era spent most of their time either praising the virtuous, trying to change the state of said virgins, or making fun of them.
Ironically, the first and smallest of the categories of poetry was that of praising sexual virtue. In fact, entire poems written solely to extol the virtues of virtue were few and far between. While one might be surprised by this fact, considering the somewhat puritanical mind set of the time, one must keep in mind that most poets in this day were men. Most poems, like Ben Johnson's "Queen and Huntress" (1413) simply allude to the glory of chaste women. In fact, other than the use of the phrase "chaste and fair" in the first line, the reference is mostly contextual. The poem is taken from the play Cynthia's Revels(1614). Cynthia is the goddess of chastity or the moon, so in fact, this poem is more in praise of a woman that happens to be a virgin, than of the state itself.
We find another poem casting virginity in a positive light in Robert Herrick's "His Farewell to Sack"(1646). This is another roundabout reference, as Herri...
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In four lines, Prior gives the reader a glimpse into the reality of the age and dispels the notion that women of the era were as virtuous as they would have you believe. The poem lends a sense of modernity and humanity to a period now thought of as pristine and sexually pure.
Throughout time, the chastity of women has been a subject of great interest to all. Daphne became a tree to preserve it, Mary got pregnant in spite of it, Chloris just wanted to get rid of it and Sandra Dee was lousy with it. However, in an era when virtue was still publicly honored, poets were on the cusp of making writing about discarding it acceptable. In the proud tradition of art constantly pushing the envelope, they did just that--a lot.
Work Cited
Abrams, M.H., et al. The Norton Anthology of English Literature. New York: W.W. Norton & Company, 2000.
Ulrich shows a progression of change in the way that women’s sexuality was viewed in New England. First, she starts with a society that depended on “external rather internal controls” and where many New Englanders responded more to shame than guilt (Ulrich 96). The courts were used to punish sexual misconducts such as adultery with fines, whippings, or sometimes even death. There were certain behaviors that “respectable” women were expected to follow and “sexual misbehavior” resulted in a serious decline of a woman’s reputation from even just one neighbor calling her names such as whore or bawd (Ulrich 97-98). Because the love between a man and his wife was compared to the bond between Christ and the Church, female modesty was an important ideal. “Within marriage, sexual attraction promoted consort; outside marriage, it led to heinous sins” (Ulrich 108). This modesty was expected to be upheld even as death approached and is seen with the example of Mary Mansfield in 1681. Ulrich describes Mary to have five neck cloths tucked into her bosom and eleven caps covering her hair. “A good wife was to be physically attractive…but she was not to expose her beauty to every eye”. Hence, even as she died, Mary was required to conceal her sexuality and beauty. However, at the end of the seventeenth century and throughout the
Both Visions of the Daughters of Albion by William Blake and The History of Mary Prince by Thomas Pringle makes a powerful statement about the current social conditions for women in their days. The value of women maintaining their virginity became highly important. The words of Prince and Oothoon exemplifies the significance of the woman’s voice. Both these characters show that women can not be seen as objects nor can they be downgraded in society.
Unsatisfied with conventional romantic poetry that overly idolized women, renowned satirist Jonathan Swift exaggerates the vanity of women in his poem “The Lady’s Dressing Room.” Swift consequently insults all women by portraying the female character of his poem as a vain and superficial figure who attempts to hide her more crude activities (such as defecating). Offended by the misogynistic tone of Swift’s poem, Lady Mary Montegu responds with her own poem “The Reasons that Induced Dr. Swift to Write a Poem Called the Lady’s Dressing Room,” which attacks Swift personally; she alleges that Swift’s attempt to embarrass Celia by exposing her messy room stems from his own embarrassment about failing to perform sexually during an engagement with a prostitute. Montegu’s structure parodies Swift’s, and she strategically inverts his form in places to reveal the sexist undertone of Swift’s poem. She thereby discredits his misconstrued perception of women. Through an analysis of these two poets contrasting portrayals of women, one can draw conclusions about the implications of gender in 18th century culture: women were not complacent in their constricted role in society, but instead were acutely aware of the power they possessed.
Lady Chudleighs’s “To the Ladies” exhibits a remorseful stance on the concept of joining holy matrimony. Chudleigh’s usage of metaphoric context and condescending tone discloses her negative attitude towards the roles of a wife once she is married. It is evident that Mary Chudleigh represents the speaker of the poem and her writing serves a purpose to warn single women not go get married and a regretful choice to women who are.
As soon as the poem begins, the reader detects a feeling of melancholy. The opening line "The Muses are turned gossips" immediately creates a negative tone. Muses (inspirations) are usually thought of as being good and uplifting, here they are being turned into something that is generally thought of as being bad. As the poem continues, a sense of sarcasm can be detected at the end of the author's reference to this day. She details the way the women ("domestic Muse") come from where they live in a most woeful way "prattling on" and going by mud where there are drowning flies and an old shoe. Then she ends this section by saying, "Come, Muse; and sing the dreaded Washing-Day." If something is dreaded, a person is not going to be singing about it, even though the men would probably like to see that. The description of marriage in the next line is interestingly negative. " Beneath the yoke of wedlock bend,..." a yoke is put on an ox which is a beast of burden! I suppose the women feel exactly this way because they seem to have no choice in the matter.
Abrams, M.H., et al. ed. The Norton Anthology of English Literature. 6th ed. 2 Vols. New York: Norton, 1993.
Fahs, Breanne. "Daddy's Little Girls: On the Perils of Chastity Clubs, Purity Balls, and Ritualized Abstinence." Frontiers: A Journal of Women Studies 31.3 (2010): 116-142. Project MUSE. Web. 10 Nov. 2013. .
Despite the fact that Lady Mary disputes Swift’s view of women, she inadvertently supports the societal expectation that women be physically striking. In response to Swift’s accusation about women’s filth, Lady Mary presents the woman as bold and beautiful by proclaiming, “The nymph grown Furious roared by God / ‘The blame lies all in Sixty odd’” (74-75). Both of these lines emphasize the expectation for women to be beautiful in different ways. Lady Mary’s use of the word “nymph” raises an image of women as inherently and divinely beautiful. In addition, by placing the blame totally on the man for the disappointing intercourse, she denies what he had previously claimed about her disgusting state. Lady Mary shows the woman as a perfectly beautiful
An Essay in Defence of the Female Sex, In Which are Inserted the Characters of a Pendant, a
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