Edmund Spenser‘s Dazzling Quest for Virtue in The Faerie Queene

“Voyeurism: characterized by a pattern of sexual behaviour in which one’s preferred means of sexual arousal is the clandestine observing of others when they are disrobing, nude or actually engaged in sexual activity. Arousal is dependent upon the observed person(s) not being aware of their being observed. (Arthur S. Reber, 1985, p.825)”.

During the Renaissance period, sexuality impacted how people, both men and women, were treated and how they behaved. The lives of women were completely defined by the ideals of sexuality that were enforced during that time. Every area of a woman’s life from birth was influenced by outside influences rather than by they themselves. It took a particular type of woman to break past the clearly defined description of what a “Renaissance woman” should be.

In Nabokov’s 1955 novel, ‘Lolita’, the fictitious foreword, presented by the equally fictitious John Ray Jr., Ph.D., describes Humbert Humbert as a ‘shining example of moral leprosy’ (Nabokov 1955). However, throughout the novel, Humbert appears to manipulate numerous characters, most of all Dolores Haze and her infatuated mother through his alluring good looks and his sophisticated British manner. Similarly, in Wilde’s 1890 novel, ‘The Picture of Dorian Gray’, Dorian, also a hideously immoral main character, successfully disguises the true horror of his sins and uses his youthful charm to continue with his upper-class life of excess and perversion. Thus, both characters possess a comparable ‘dark side’, a side which is concealed to

Envy is a sin that poisons the sinner and is self-destructive in nature. The common perception of envy is that it is an emotion that, much like jealousy, that comes from a desire to possess something that someone else has. However, envy goes a step further and causes an individual to not only desire what someone else has, but to also wish that the other person did not have it at all. Spenser uses the conventional view of envy stated above in conjunction with some unconventional imagery in order to elaborate on the nature and implications of being an envious person. In doing this Spenser is able to teach to reader an aspect of envy that they may not already know or understand. In his portrayal of envy in book one of The Faerie Queene, Spenser is trying to convey to his readers that people who are envious are trapped in and endless cycle of envy that leads to nothing but unhappiness and misery. Spenser’s interpretation of envy, like the other deadly sins in the house of pride, can be broken down into 4 images: the animal that he rides, his appearance, how he behaves, and the ailment he has. This paper will use the first three of these images to show how Spenser’s depiction of Envy is meant to teach the reader that the sin of envy can only lead to perpetual unhappiness and misery.

These differences aren’t biological as some researchers lead us to believe, claiming that men are more sexually stimulated by images, making it natural for women to be gazed at. Bordo argues that our culture determines what if acceptable for “women learn to anticipate, even play to the sexualizing gaze…in the process we learn how sexy being gazed at can feel-perhaps precisely because it walks the fine edge of shame” (135). Yet, with the use of erotic male images and her clearly sexually reaction to them, Bordo pushes readers to question why there are differences in how men and women are viewed and view each other. Who decides what is acceptable?

Sexual transgression and sexual exploration is one of the most highly talked about topics in today’s society. The path to sexual liberation within society begins with experimentation and exploration, followed by personal acceptance, and finally, although not always, societal acceptance. Although we have come a long way on the path of acceptance of different sexual transgressions, the stories of Kate Chopin’s The Awakening, Tennessee Williams’ “Vieux Carre,” and Lyle Saxon’s “The Centaur Plays Croquet” show that this type of acceptance has not always been the case. Each story plays an integral role when looking at the steps on the path to societal acceptance. Chopin 's story dives deep into the area of experimentation and exploration, whereas Saxon 's story looks more at the areas of personal acceptance, and Williams ' story lies more along the area of societal acceptance, and whether or not acceptance is always the end result.

have looked at the history of sexuality since the 18th century in what Foucault calls

"Voyeurism: characterized by a pattern of sexual behaviour in which one's preferred means of sexual arousal is the clandestine observing of others when they are disrobing, nude or actually engaged in sexual activity. Arousal is dependent upon the observed person(s) not being aware of their being observed. (Arthur S. Reber, 1985, p.825)".

Sexuality has an inherent connection to human nature. Yet, even in regards to something so natural, societies throughout times have imposed expectations and gender roles upon it. Ultimately, these come to oppress women, and confine them within the limits that the world has set for them. However, society is constantly evolving, and within the past 200 years, the role of women has changed. These changes in society can be seen within the intricacies of literature in each era. Specifically, through analyzing The Scarlet Letter by Nathaniel Hawthorne and The Bell Jar by Sylvia Plath, one can observe the dynamics of society in regards to the role of women through the lens of the theme of sexuality. In both novels, the confinement and oppression of women can be visibly seen as a result of these gender roles. Yet, from the time The Scarlet Letter was published to the time The Bell Jar was written, the place of women in society ultimately changed as well. Hence when evaluating the gender roles that are derived from sexuality, the difference between the portrayals of women’s oppression in each novel becomes apparent, and shows how the subjugation of women has evolved. The guiding question of this investigation is to what extent does the theme of sexuality reflect the expectations for women in society at the time each novel was written. The essay will explore how the literary elements that form each novel demonstrate each author’s independent vision which questions the

Presenting literature to the public that is meant to be a commentary on social or political issues, masked under the guise of entertaining and fictional, is a tool implemented by authors and activists for centuries. While not all satire is as overt as Jonathan Swift’s suggestion that we eat the babies, it does not diminish the eyebrow raising suggestions that are conveyed once the meaning has been discovered. In Aphra Behn’s The History of the Nun and Eliza Haywood’s Fantomina, the established expectations of the female role within society are brought into question then directly rejected. These expectations establish that women should be deferential to men, morally unblemished, and virtuous at all times. Men, however, are not held to these expectations in the same way. The masculine roles assumed by Isabella and Fantomina demonstrate a private rebellion against the established patriarchal society as it warns against the under-estimation of women and proves that women exist independently.

This binary relationship manifests itself in Levy’s work in another way, as well. Toward the very end of the book Levy claims she has no complaint against women who do gain genuine sexual pleasure from “their vaginas waxed, their breasts enlarged” (Levy, 198). On one hand, Levy recognizes that sexuality is personal and that everyone’s own experiences and preferences are unique. Yet at the same time, by drawing the line between “authentic” and “fake”, she must impersonally interpret these experiences in order to classify them as “problematic”. This desire to judge yet not judge women’s sexual nature represents an underlying tension within the book that threatens to unravel her arguments.

In the debate, a number of different options have emerged. Some, like medieval author Paul Ruggiers, argue that it is impossible to determine the Prioress?s attitude and that, ?we must be satisfied with ambiguity.? Others like writer Victoria Wickham argue the most popular belief, that the Prioress?s bigotry is without question and readers should be more concerned about the degree rather than the fact itself. But there is another possibility. Edwards and Spector, two prominent medieval scholars, put aside the issue of racism temporarily and instead offer an alternative interpretation on the very nature of Chaucer?s love-hate contradiction in the Prioress?s tale. They argue that the love vs. hate contradiction is not dependent on outside forces, but is actually an internal conflict within the Prioress herself. Consequently, the individuals and subsequent groups in her tale are not specific characters but culturally influenced manifestations representing separate issues. In this way her personality becomes the allegory of her tale, making specific references within her story irrelevant to her true attitude.

In the short story, The Old Chevalier by Isak Dinsen, the male protagonist, Baron von Brackel reflects on his past sexual encounters with two women whose personalities are extremely different from one another. In many novels, short stories and comics authors would create two women as “polar opposites” for a man’s sexual and/or possessive gaze, which is evident in the text. In order to understand, why a man may be attracted to different character traits in women, I will examine The Baron’s attraction to Nathalie and The Mistress by looking at how literary works men portray women, what they find attractive and the fulfilment that men seek from a woman.

Ever caught yourself watching someone or people watching at the mall? Of course you have. We are all a little voyeuristic, in the sense that we like to watch people’s private lives and revealing moments, all the things that we can’t normally see when the curtains are left open. When we think of a voyeur, we dance around the image of a Peeping Tom, a pervert lurking at a window watching a female undress. Voyeurism is originally derived as a psychiatric term meaning, “The practice of obtaining sexual gratification by looking at sexual objects or acts, especially

The Faerie Queene is an important romantic epic that more than being just poetry, represents the protestant imagery in terms of kinds of individual virtue , the forces of temptation and human weaknesses to which the greatest of persons can succumb and, of course, the humanist ideals of its time. His author, Edmund Spenser, makes use of biblical and classic allegories to tell his story, that more than have been a religious writing, the poem’s purpose was to educate, to turn young men into gentlemen and to make a declaration of faith in England. However, the more important purpose of the Faerie Queene is its allegory, the meaning behind its characters and events. The story's setting is a fanciful "faerie land," that