There are no limitations in his first attempt at persuasion “vaster than empires and more slow”. The imagery used of adoring of her eyes and breasts, the passing of their “long loves day” and her “deserving” of this love are purely to convincingly permit her to see him as a gentleman, sincere in his affection. The author then turns into his second argument or tactic of urging that is less “genteel”(Evans) and “more graphic”(Evans), as he seems to become increasingly desperate. In the second stanza he is using fear, almost threatening her, as he portrays what would happen if they allowed time to run out. He warns “her beauty shall no more be found” and alludes to her dying a virgin.
Marvell presents a case that few women could deny, but he quickly turns the flattery into a disguised threat. The compliments he pays to his lover promptly evaporate because of his efforts to convince her to have sex. In the first stanza Marvell expresses his desire to spend all the time in the world to admire her beauty, but in the second stanza Marvell communicates his true intent. The second stanza displays the briefness of life and the brevity of beauty. Instead of using time to glorify his mistress, Marvell manipulates time against her beauty.
She fell in love with Claudio at first sight making her innocently in love. Hero and Claudio were in the stage of a relationship called the “honeymoon” phase where they didn’t know and/or realize all the good and bad quality's they both have. When Claudio was only talking with Benedick, he tells him that “In mine eye she is the sweetest lady that ever I looked on”. It would seem that this love Claudio has for Hero is purely the result of, first attraction on looks and, second the need to marry a high status and virtuous woman which what Hero was. Claudio could be faking his love and want for Hero but he see the qualities in her to make decent wife.
Flirtation is one means to incite action. Rhiannon from branch one of The Mabigoni employs the tactic in order to escape an unwanted marriage. The otherworldly Rhiannon appears to King Pywll and his retainers halfway through the story. In a single exchange, she both declares love for Pwyll: “I have never desired any man, and that because of loving you”, then announces her unavailability (“Pwyll,” 45). Rhiannon ensnares Pwyll by captivating his attention and inspiring lust through her looks and words, ensuring he will go against her current suitor, Gwawl son of Clud.
“Let’s face it, I have been momentary,” in this line the narrator is clearly stating that she knows she is nothing more than sex (Sexton 349). The narrator understands that the man she has more than lust for is in love with his wife who has been “melted carefully” for him. The narrator in this poem is just a slutty mistress who doesn’t really care whose life she messes up. She is being selfish in the sense that she doesn’t really care that a man is only using her for sex. She doesn’t care that she is only temporary and soon after this affair ends the man would’ve have found a new mistress or decided to be faithful to his wife (which I doubt).
And so the tale unfolds. Valmont eventually beds the virgin Cecile in order to humor Merteuil, however, the conquest of Madam de Tourvel is his passion and he indulges in this pursuit until he reaches the intended conclusion. Although, it would be a mistake to depict Valmont as anything but the monster that he is, there seems to be a small measure of actual ‘affection’ for Tourvel, however short-lived. Once Valmont shares this strange and unexpected interest in Madame de Tourvel, The Marquise de Merteuil is enraged, considering it an appalling sign of weakness. In order to save face, Valmont returns to his ruthless ways, thus completing the destruction of Madame de Tourvel, who had ultimately fallen madly in love with Valmont.
She (and implied other women) desire and crave attention that is believed to be sexual attention. There is a desire to obtain power over men and essentially make them fuss and flatter a woman in order for a woman to even think of quenching the needs of men. Alison utilizes her sophisticated and enduring personality to express these wishes of power and attention, keeping her relationships pragmatic in the process in that she uses her body to gain control over her husbands’ as she demands one of them to “cast up the curtain, husband! Look at me! In ecstasy he caught her in his arms…’And have I won the mastery?’ said she, ‘Since I’m to choose and rule as I think fit?’ ‘Certainly, wife,’ he answered her, ‘that’s it’ (292-293).
Penelope’s manipulation of her suitors is in reaction to her unfortunate situation. Without knowledge of her husband’s whereabouts, she faces being forced to marry another man. For this reason, Penelope both seduces her suitors and avoids them. She acts this way because she is trying to prepare for her future whether it be with or without Odysseus. She entices the suitors in case her husband never comes home and also in order to receive their gifts.
Aphra Behn creates an atmosphere where the woman is liberated, and can exhibit their sexuality very passionately. The title “The Willing Mistress” instantly suggests the action taken by the female protagonist. She has little or no sexual inhibitions, and is a full participant in the tryst. The title also alludes that the woman may be unmarried, or betrothed to another man. This poem describes how the female speaker becomes aroused by the excellent courtship of her lover; to such an extent that she is open to engage in a passion exchange.
This could be due to the request of Olivia asking Viola-Cesario to “tell me your mind.” (Shakespeare I.v.204) When Viola-Cesario woos Olivia, Olivia become smitten with Viola in her disguise of Cesario, while Viola believes that her wooing helps her master Orsino. This wooing becomes essential to the theme of love because Olivia falls for Viola-Cesario; however, the pain from this love does not come until the end when Viola’s identity is revealed. Olivia is then left puzzled and upset because she believed that Cesario was a real person, when in fact, it was Viola playing Cesario and she has married Viola’s twin brother Sebastian. All of the confusion causes the pain that Olivia feels from her love of Cesario because the Cesario that had told her all of the beautiful things was not the man she married and the one who told her all of those things turned out to be a woman. Along with this pain from the realization, she continues to feels a slight pain throughout the play because Cesario will not accept her love and pushes her away, ironically, like she pushes Orsino’s love or her away.