The repetition of the word ‘lust’, combined with the sexual associations of Desdemona’s bed, reflects and draws attention to Othello’s preoccupation with sensual matters. Othello even refers to his precious wife as ‘whore’ (III.iii.356), a ‘subtle whore’ (III.ii.20) and a ‘cunning whore’ (IV.ii.88), in a way to appreciate him. Shakespeare actually has indirectly revealed Othello’s fear of Desdemona’s sexuality. Even though Othello seems to be very confident in him and his control over Desdemona, he is actually tentative and afraid that Desdemona will cheat on him, proving his
The discordance between two separate depictions of marriage in The Ramayana force the reader to look at the text more closely to discern the true nature of the ideal marriage. The romance of Rama and Sita emphasizes passion and respect, while the textually earlier story of Sage Gautama and Ahalya silences the wife’s voice and allows for unwarranted punishment. Before Rama and Sita even share their first transformative meeting of eyes, the epic tells the tale of Ahalya. Created “out of the ingredients of absolute beauty,” Indra lusted after her (19). Brahma, bothered
All this marching up and down and cheering and waving flags is simply sex gone sour.’” (Orwell 2.3.25). In this quote, Julia introduces the idea that the purpose of the anti-sex league is so that pent up sexual energy can be transferred into loving Big Brother. This is important because she brings a new idea to Winston and further pushes the reader to believe that Big Brother is bad. The reader can see how Julia’s ideas affect Winston when Orwell writes, “There was a direct intimate connection between chastity and political orthodoxy. For how could the fear, the hatred, and the lunatic credulity which the Party needed in its members be kept at the right pitch, except by bottling down some powerful instinct and
However, men aren't the only ones that have a negative approach to marriage, Beatrice is one of the few that actually see marriage in a negative way. One of the first examples of deception occurs at the ball when all the men are wearing masks. Shakespeare uses physical deception to bring Benedick and Beatrice closer together and Beatrice starts to show what she really thinks of Benedick. Much Ado About Nothing is bursting with contrived situations an example of this is when Don Pedro, Claudio and Hero arrange a plan to make Beatrice and Benedick fall in love. Don Pedro states “I will in the interim undertake one of Hercules’ labors.
Both tales feature an elaborate plan for sexual gratification and have components of irony. He also utilized fabliaux to fill his stories with multiple sexual accounts that poke fun at the rules of courtly love. Chaucer’s humor had three main components – mockery, irony, and sadism. John, an older carpenter, with a young wife, is at the center of “The Miller’s Tale.” Chaucer mocks John for marrying a younger woman and the fact that their relationship does not follow the rules of courtly love. Courtly love suggests that jealousy strengthens relationships and equates to love.
Another point to consider is the consummation of love cited in the original writing; Even though the love between the two was passionate, the couple only consummates their love after they are married, something that prevents them from losing the sympathy of the public. It is possible that Romeo and Juliet function as an equation of love and sex, with death. Throughout the tragedy, he and she fantasize about this "fulminating equality", usually attributed to a lover. For example, Mr. Capulet is the one who first realizes Julieta 's "death", comparing this factor with the deflowering of his daughter, and, a little later, Julieta compares, erotically, Romeo with death. Just before committing suicide, he decides to use
In this Middle Ages chivalry romance, women are the ones who are manipulating the minds of men. For example, the main woman, Lady Bertalik, is able to seduce her way into Sir Gawain’s mind, manipulating him to kiss her whenever she pleases and to accept her gifts. When the two meet, she initiates the idea of a kiss, “…so long with a lady could hardly have lingered without craving a kiss, as a courteous knight, by some tactful turn that their talk led to,” in order to ‘prove’ his courtesy (Tolkien Page 73). Sir Gawain easily accepts, “Very well, as you wish it to be done. I will kiss at your command,” without any idea that she is his host’s wife (Page 73).
Furthermore, as funny as a comedy film can attain, Orlando follows the fake wedding procedures and deeply stares into Ganymede's eyes, almost as if he would try to kiss him as well. When Orlando says: "I take some joy to say you are [Rosalind], because I would be talking of her," in the film he grabs and holds him tightly with the arms around his waist and shows an impulse as if he desires to kiss Ganymede. Notice how in the picture below Orlando seems to be holding a female rather than Ganymede. Technically speaking, Ganymede is Rosalind disguised, but going back to the previously stated conflict, the viewer could easily forget that in this scene, Ganymede and Orlando act out Orlando's love for Rosalind. Nonetheless, Orlando does not know that Ganymede is Rosalind, and yet seems to feel physically attracted to Ganymede as if he liked him more than Rosalind as he claims.
The embellishment of the daughter’s love by taking advantage of their father through flattery is the basis for the final quote of the play as Edgar remarks about the consequences of lies and manipulation rather than speaking from the heart. Though Regan and Goneril replied to a dramatic degree of which they love their father, Lear interrogated her by exclaiming, “What can you say to draw a third more opulent than your sisters? Speak” (Lear 1.1.87-88). Filled with power, Lear spoke to his daughters in an arrogant tone as he hinted that his inheritance is related to how much love they profess towards him. In response, Cordelia answers of nothing, beginning a string of repetition of the word “nothing” each with various syntax and punctuation to show the tension building between the father and daughter relationship.
Stoker uses a character like Lucy in his novel to portray that sexually assertive women who try and use their beauty to win over men will not make it in the Victorian culture. On the other hand, when Dracula intimidates Jonathan during his effort to attack Mina, she reacts in the correct matter of what the Victorian culture would want her to. In this very situation, she puts Jonathan’s safety and life before her own. Therefore, Mina is rewarded by having her life spared in the novel due to her truthful behavior and how she helps the men track down