One narrative in particular, that of the Wife of Bath, serves both purposes: to teach and to amuse. She renounces the submissive roles of a woman and reveals the moral to her story while portraying women as sex seeking, powerful creatures, an amusing thought indeed. Through her didactic discourse and witty tale, the other travelers, as well as the reader, discover more about women than they have from any other person’s account. The women in Chaucer’s time were contradictory to that of the image of an ideal woman according to the Wife of Bath. In her prologue and tale, she presents the reader with a radical woman; one who takes pleasure and power in her marriage.
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).
The narrator is transparent in what he wants. He only wants his mistress for sex and pleasure. The poem starts with the pronoun “we” but as the poem progresses, it starts to separate into individuals: “I” and “thou”. At the end, it turns back to “us”. The first stanza of the poem makes the reader think that it is a love poem, when really it is a lust poem.
This shows how Donne uses imagery to illustrate the mans love for the woman and how he feels about her. This shows how both writers feel that imagery is a good way to get feelings across within a progressing argument. These two poems have similarities in structure, poetic voice, use of imagery, tone and in the use of themes. Yet both poems also have difference in these same areas. In "The Sunne Rising" he already has his woman and in "To his Coy Mistress" he is trying to seduce the woman.
According to de Beauvoir, some adulterous women only find pleasure in the early stages of an extramarital affair. De Beauvoir specifically affirms that “there are women who savor this feeling of plenitude and joyful excitement only in the first moments of a liaison; if a lover does not give them instant pleasure – they feel resentment and disgust” (594). This statement reflects the nature of Emma and Rodolphe’s relationship. Despite the scandalous nature of their relationship, they will
The feminine ideals of modesty and shame when expressing sexuality are upheld in the positive depiction of the woman in poem 568 as well as the negative depiction of the harlot in poem 630. Furthermore, poem 568 has an added religious context in which the woman feels sexually liberated to enjoy erotic pleasure due to the god of love, but this is only possible because her sexual relationship with her partner was under the auspices of love. In poem 630, this was certainly not the case with the many sexual relations the woman described had with the men who loved her. By juxtaposing these two poems, we are able to thereby obtain a greater understanding of the Indian perception love, pleasure, and religion and how they all fit together in determining
Kate Chopin had a unique style of writing for her time. In Calixta’s time, showing of the neck and chest was inappropriate and forbidden. So when “she unfastened her white sacque at the throat” she is expressing that she is a sexual being and is defying against restraints on feminine sexuality. Kate Chopin was a daring writer. In the time of the composition of the storm women were considered property and expected to accept their housewife duties.
She is semi- independent because she is dependent upon her husbands for material goods. The institution of marriage is revealed to have little to do with love, but a lot to do with getting what you want or sexual gratification. She showed us a rare glimpse of a woman with a position of authority in medieval society. She used sex to get what she wanted from her husbands, making her well practiced in the art of sexual manipulation. She presents herself as someone who craves sex and sees marriage as a way to experience the finer things in life.
Cavalier poets such as Robert Herrick, John Donne, and Andrew Marvell embrace this method of seduction, carefully constructing verse with the intent to satisfy their carnal desires. Each of these men rely upon several literary tools to manipulate women to fornicate with them. Among the more prominent techniques is the use of logical rhetoric to reason that engagement in sex is the best choice of action. Another device that appears frequently in early seduction poetry is the imperative statement, which simultaneously prompts the woman to take action and endows her with a sense of control over the situation. Functioning in a similar manner, interrogative statements suggest the obvious truth of what the poet speaks while forcing the woman to consider his request.