The Rape of Lucrece

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Published on 12 Oct 2011
School
UTSG
Department
English
Course
ENG220H1
language around the representation of T is one of hiding
whose perspective are we hearing things from?
for T is what’s not visible to the eye
plaits = his clothes, but also the composition of character. it would be made up of
different humors and complexions
the more you have, the more you want and when you have it, it never satisfies
“which, having all, all could not satisfy” so much all! a rhetorical figure = epizeuxis, a
repetition of two words with no other in between, for emphasis
Silva Rhetoricae
T’s yearning for something, but no sooner he has it, it does not satisfy like prolexis
(foreshadowing)
face to face confrontation. L does not see his evil
she’s never coped with evil eyes, does not understand his “looks that speak”
she’s the incarnation of innocence
T hoping to infiltrate his way into Ls heart, brags about her husband, Collantine’s
exploits, references to way L might see C & the idea of chivalry (associated with
heraldry, patriarchy, families, legitimacy of offspring, etc)
after dinner they each go to bed. Ts tossing and turning in bed, he knows it won’t be
good for him and his reputation
(120-133) ends of each line, sustained example of feminine rhyming, the rhyme falls on
the final unstressed syllable of a word. unresolved desires, not going away
in the renaissance there was a idea that masculinity and femininity had certain
behaviors associated with them. men= marshall valor. fight, be brave, go to war
emotional and soft, consumed with desire, passive, not decisive = feminine
characteristics
in the pom, T is consumed with lust, feeling, desire, sexuality. men who spent too much
time thinking about sex, became effeminate, weak, were enslaved by their desires. T
becomes a figuration of weakness and femininity.
(155-68) T’s worrying about whether he can do the right thing, how he’ll be thought of
“slanderous tongues.” dead of night, silly lambs, like , my be subject to the lust and
murder that has the capacity to wake and stir. animal imagery that runs throughout the
poem.
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(190-210) lust as a fire, the flames, Ls waist
T speaking directly to his sword, phallic. word for vagina is sheath. he’ll sheath his
sword, so he’ll also rape L
Apostrophe: rhetorical figure, means a direct address to something that is inanimate,
absent, abstract, the effect’s to make it come alive. pattern of animation throughout the
poem. to the torch, effect, enlists assistance of inanimate objects around him in his dark
deed
Anaphora
O: same shape as 0
cipher, an alphabet, number system, symbolic figuration, also a code. L looks at T and
can’t read him, can’t decipher his code. also a nothing, a 0, a not, was a sign for the
female genitalia in the period. pre-Freud, little boy and men have penises, girls and
women have nothing, void, castrated. Freud idea of penis envy and castration, not new.
O’s also the cry of emotion, linguistic and non-linguistic, hover between language and
not language
(300-315) T’s not marching to Ls bed, but is lead to it by desire
she’s like a doorway, as he forces the doors, it becomes the prolepsis of him forcing her
body. it’s almost as if the rape itself had been transposed into an architectural register.
there’s a long tradition of imaging the human body as a house and the house becomes
the body analogically and metaphorically. House refers to the architectural home and
the genealogy and linage, directly dependent on the female body. “The House of the
Capulets” etc. Houses become symbols of lineage.
(351-71) to back his will with resolution, still imaged as weak and needed to be propped
up. knee’s insertant between her legs, sign of violation that’s about to occur (from
painting), hold door open with his knee. the gaze, gazing upon the still innocent L,
rolling his greedy eyeballs in his head
(386-406) sleep is like death, it looks like death, sometimes we can’t tell the difference
blazonry - description of features, colors. back then it was believed the soul left the body
at night, so it was dangerous to do things to sleeping people. Ls image of chastity
Anadiplosis: one thing that turns into another. “the repetition of the last work (or phrase)”
from the previous line, clause, or sentence at the beginning of the next
polyptoton: repeating a work, but in a different form, using a cognate of a given word in
close proximity. will, willful, noted, note. as if we’re getting a glimpse of L before she’s
translated into the form she’ll become - looks forward to the dead body that we’ll see at
the end of the poem, but not yet that dead body
suspended moment of sleep = death
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Document Summary

Which, having all, all could not satisfy so much all! a rhetorical figure = epizeuxis, a repetition of two words with no other in between, for emphasis. T"s yearning for something, but no sooner he has it, it does not satisfy like prolexis (foreshadowing) face to face confrontation. L does not see his evil she"s never coped with evil eyes, does not understand his looks that speak she"s the incarnation of innocence. T becomes a figuration of weakness and femininity. (155-68) t"s worrying about whether he can do the right thing, how he"ll be thought of. T speaking directly to his sword, phallic. word for vagina is sheath. he"ll sheath his sword, so he"ll also rape l. O: same shape as 0 cipher, an alphabet, number system, symbolic figuration, also a code. Freud idea of penis envy and castration, not new. House refers to the architectural home and the genealogy and linage, directly dependent on the female body.