Analysis Of The Poem ' A Ramble On St. James 's Park '

While on the way to venerate Saint Thomas Becket’s remains, the entertainment of Chaucer’s Canterbury pilgrims falls upon the requiting of stories between the different estates. However, this requiting quickly turns malicious, the Host’s simple proposition evolving into an aggressive show of social dominance that includes the boasting of both literal and metaphorical rape. The normalization (or, borderline reverence) of aggressive manliness contributes to the creation of both rape culture and compulsory heterosexuality. Consequently, when a man does not dominate a woman—or, does not use his masculinity to humiliate another man—he is seen as weak or effeminate, subsequently placing his sexuality under scrutiny. Such is the motive behind John and Aleyn’s rape of the miller’s wife and daughter—to make Symkin seem weak, and to gain a reputation of superior masculinity. Thus,

The poem’s structure as a sonnet allows the speaker’s feelings of distrust and heartache to gradually manifest themselves as the poem’s plot progresses. Each quatrain develops and intensifies the speaker’s misery, giving the reader a deeper insight into his convoluted emotions. In the first quatrain, the speaker advises his former partner to not be surprised when she “see[s] him holding [his] louring head so low” (2). His refusal to look at her not only highlights his unhappiness but also establishes the gloomy tone of the poem. The speaker then uses the second and third quatrains to justify his remoteness; he explains how he feels betrayed by her and reveals how his distrust has led him

In Andrew Marvell’s love poem “To His Coy Mistress”, arguments for sexual freedom are evident as sexual conquest is illustrated by the clever use of thinly veiled sexual innuendo, a pinch of erotic metaphor, and mocking humor.

Although the poem contains many sexual overtones, n this case, Rochester's obscenity does not seem to be directed at or motivated by any particular events going on around him, as he is basing the style of his poem on the style of Ovid's erotic poems. It does not in fact appear to be particularly obscene at first glance, in that everything he writes is cloaked in metaphor, so it is how the reader interprets the poem rather than straightforward ribaldry like some of his other poems - Signior Dildo for instance. Another poem that is similar to this song in that the rudeness doesn't seem to be motivated by his agitation with the rest of the world is The Fall. This is an important poem for

Alex Kershaw and the Bedford boys is a story from a little town of only 3000 in Bedford Virginia. It 's a small town that never recovered from the Great Depression. Effect of this is most of the young men in Bedford joined the towns armory National Guard unit. Alpha company was one of many company 's threw out Virginia numbering around 7500 guardsmen. In the days to come, it would be decided that the 29th infantry division the "Blue and grey" would land on the Normandy beaches to start the invasion. Alpha company and the boys from Bedford would soon be breaking threw the defenses at "Dog one “Omaha beach.

Castration, crime, evil, heretics, all those terms used to be linked with sexuality in the past centuries. Humans achieved their sexual liberty only in the 70’s with a sexual revolution based on the progression of medias and the regression of a restricting presence known as religion. Before that, especially in the first half of the 20th century, there were differences in the expression of sexuality between genders. The Stone Diaries, by Carol Shields, illustrates the life of Daisy Goodwill, daughter of Cuyler and Mercy Goodwill, from her creation to her death. In the first chapter “Birth 1905”, Shields portrays the differences between men and women in society by looking at differences between Cuyler’s raging sexuality and Mercy’s repressed sexuality. There is certainly a contrast in their sexual needs and the author uses imagery to show how Mercy is seen as an object in Cuyler intense sexuality.

Many poets and authors of the seventeenth and eighteenth centuries used their respective mediums to broach what were then considered to be taboo or radical subjects. The Oxford English Dictionary defines the word ‘radical’ as “supporting complete political or social reform. Departing from tradition; new” (Soanes 740). When using this definition, both Aphra Behn’s work, “The Disappointment” and John Wilmot, Earl of Rochester’s work, “The Imperfect Enjoyment” are easily interpreted as such. Both poems discuss sexuality and gender in new, sometimes shocking ways. Behn’s poem offers astoundingly liberal views on female sexuality, considering the time period. Despite the radical notions and expletives present, Rochester’s pushes the envelope further by exploring the extremely private issue of impotence and male sexual failure, using highly offensive language. In the year “The Disappointment” was written, traditional gender roles were still very important to society and generally adhered to. This means that men were expected not only to be ‘manly’, but to maintain a certain air of dignity and composure at all times, especially in front of women. For this reason, Rochester’s blatant disregard for social conventions in his brutally honest depiction of erectile dysfunction is simultaneously revolutionary and scandalous. To portray a male in a less-than-flattering light undermines the stereotypes society tried so hard to uphold and represents a

Representations of sexuality in Early Modern literature reveal a variety of attitudes, but they can be characterised by the ambivalence which they display towards the subject of desire and its consequences for the self. The destructive potential of desire is revealed in John Ford’s Tis Pity She’s A Whore, widely considered to be one of the most radical works of Jacobean theatre, not only for its frank and nuanced portrayal of incest, but for its reworking of the theme of ill-fated love from Romeo and Juliet into a dark rumination on the fundamental incommunicability of desire and the impossibility of mutual understanding.

This Chronicler also shared a poem with the final coming from Lady Sinvy. Her poem however was not on the same topic as the others, standing she graced those there with two poems by an unknown writer. The gathered attendees had a mixed reaction as Her Ladyship read two poems, the first being an intimate racy poem that left the gentile seras and Mistresses blushing and then a second that left them in awe of the romantic

The graphic word "Cunt" not only serves as a symbol of sex and the female genitalia but is also used to bring about the disgust of any moralist or any rational individual. A reasonable man would like to think that men do not view sex and women in such a derogatory manner. According to Rochester, this is not so. Men are crude creatures that do think of sex and women in such a manner.

Wrapping up, Lamia shows how male idealization imposes on and limits women’s sexual identity. Against general readings of Lamia’s sexual character as the root of evil, what the analysis denotes is that Lamia places the spotlight on Keats’s sympathetic but ambiguous representation of Lamia. Though the ambiguity is recognized, the nub of the argument is that Keats does not portray female sexuality as demonic—women as the Other which may be allegorically extended to all those common people who had been Othered in England during the Romantic

This linguistic connection between the sexual appetite of old men and an image like a melody epitomizes Stevens’s ironic dealing with the feelings of the subjects of the poem, one which, by means of a contrast, heightens the perceived vulgarity of the old men in the story. The following stanza explores this vulgarity in the old men, as the “basses of their beings throb / in witching chords,” an image brimming with musical and other connotations. Physical and emotional traits collide in the phrase “basses of their beings,” which describes the old men’s heartbeats and the spiritual stirring in their “beings,” which “throb.” As the bass often acts as the most basic, underlying element of a piece of music, so also do the elderly men’s desires act as the most basic element of the scene, the catalyst for the action in the story. The irony of the description emerges in the word “witching,” a word that connotes both positive meaning — such as charming — and negative meaning — such as evil or cursing. When used to describe “chords,” “witching” depicts the twin characteristics of the old men’s emotional music, which stands not only as ignoble, as a traditional reading of the story of Susanna might suggest, but also as charming or alluring. (The second part of the poem explains to whom the music might be

The homosexual themes displayed in Walt Whitman’s works, especially in his most famous collection of poems Leaves of Grass, raise the question of his own sexuality. Many of his poems depicted affection and sexuality in a simple, personal manner, causing nineteenth century Americans to view them as pornographic and obscene. Based on this poetry, Whitman is usually assumed to be homosexual, or at least bisexual. However, this assumption does not account for major influences of his writing such as the shift from transcendentalism to realism and the American Civil War. After considering these factors, it can be concluded that Whitman’s poems were not intended to set apart a few homosexual men, but to bring all men and women together.

“To His Coy Mistress” is a masterpiece to show the courtship of the man on a mistress. In the first stanza, hyperbole with a multitude of allusion shows its admiration of the woman. For example, If the time is not a limit, he will love her forever, from time of “the Flood” to “the conversion of Jews.” The allusions, which refer to objects outside the poem itself, dramaticize his frivolous determination to love her forever. In the second stanza, understatement is extensively used to show the ironically desperation to pursue her for sex.

Leaves of Grass is Walt Whitman’s life legacy and at the same time the most praised and condemned book of poetry. Although fearful of social scorn, there are several poems in Leaves of Grass that are more explicit in showing the homoerotic imagery, whereas there are several subtle – should I say “implicit” – images woven into the fabric of the book. It is not strange, then, that he created many different identities in order to remain safe. What Whitman faced in writing his poetry was the difficulty in describing and resonating manly and homosexual love. He was to find another voice of his, a rhetoric device, and his effort took two forms: simplified, and subverted word play.