The objectification of women in ben jonsons poem on my first daughter and the anti patriarchal portr
As we see in the Legend of Good Womenthe figure of the male poet in Chaucer dreams of impotence, of being treated like a woman—marginalized, for instance, in the court, or misread by future audiences—and yet he is obliged to write about women in order to compete with other men and enter into a privileged discourse.
Thus, because he is an author, a "man of letters" is simultaneously, like his divine counterpart, a father, a master or ruler, and an owner: the spiritual type of a patriarch, as we understand that term in Western society.
As a longstanding focus of Chaucer criticism makes clear, by the late fourteenth century, at least, the keystone is showing signs of the stresses it holds in balance, and marriage is represented as a prominent site of discussion and anxiety for dominant elements of society.
Ben jonson poems about death
Perhaps I should add that I do not use the term "feminization" in the way that has been used by some modern feminist writers, either, to suggest that the feminine is a subversive position in culture, a positively transgressive site from which phallocentrism can be attacked and deconstructed. In response to this position, he employs a striking and, in certain obvious ways, effective strategy: he underscores and imitates the charge, exploits the negative, subversive powers of nonrepresentability assigned to the female, the feminine, and the poetic—and then shows, or works to show, that there is still a masculine position to be taken within writing. Nam capillos a uertice in frontem discriminabant, longos crines ueluti mulieres nutriebant, et summopere comebant, prolixisque niniumque stictis camisiis indui tunicisque gaudebant. Theseus passes on his good looks and his false ways with women to his son, Demophon, while Jason and Lyno are both objects of schemes by jealous uncles. Or worse, what if the male generative power is not just the only legitimate power but the only power there is? The story begins in midwinter, with a Queen sitting and sewing, framed by a window. Similarly, exploring analogous tensions between flesh and spirit in yet another version of the angel-woman, Dante Gabriel Rossetti places his "Blessed Damozel" behind "golden barriers" in heaven, but then observes that she is still humanly embodied. Janet Halley and Sheila Fisher Knoxville: University of Tennessee Press, ; the rest of the first section of this chapter is taken directly from that article.
As I listen, what often sounds like a woman's voice, what is spoken in the name of women inflected by different and highly realistic, sometimes subversive dialects, always enters and leaves Chaucerian story not as the enunciation of an autonomous speaker, but as an urgent problem for the gendered identity of male characters, male narrators, and?
Obviously, he will not do this.
Poor Phoebe Clinket, for instance, is both a caricature of Finch herself and a prototype of the female dunce who proves that literary creativity in women is merely the result of sexual frustration. The ideal of "contemplative purity" evokes, finally, both heaven and the grave.
Socially, the poet is put in a position more like that of women and yet forced to compete with men; to write poetry is to violate the  "Medieval Misogyny," Representations 20pp.
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