Literature Shows Us That Sexual Desire Must Be Restrained
‘Literature shows us that sexual desire must be restrained.’
In light of this view, discuss the ways in which writers represent sexual desires and its consequences.
Within
Volpone, a key object of sexual desires would be Celia – who is so beautiful, Jonson deemed it fit for her name to mean ‘celestial’. As a result of her beauty, and its subsequent sexualisation (such as her
“soft lip” that “would tempt you to eternity of kissing”), Corvino obsesses over possessing her, as if she were a widely coveted jewel. His unrestrained desire towards Celia leads him to be harsh – almost abusive – in his possessiveness. Celia’s intact chastity suggests that Corvino’s possessiveness may even be tied with restraining his desires towards her – instead treating her as an object whose value would decrease after being sullied rather than a human being. It is also when he restrains even his possessive desires towards Celia, and allows himself to be overcome with greed that Corvino assured his own downfall. It is in fact the breakdown of his relations with Celia (sexual or otherwise) that causes a rift between them, and leads to devastating consequences. Celia herself expresses shock at Corvino’s actions, asking him if “is that, which ever was a cause of life, [is] now placed beneath the basest circumstance? ... For money?” Referring to sex particularly as a ‘cause of life’ highlights the intimacy and relevance of the act, and would not reflect a warning to keep sexual desire restrained. In fact, Jonson’s message concerned the breakdown of interpersonal relationships, especially within the emerging capitalist society at the time, which worried him with its increasing selfishness and individuality (where
Celia expressed his views directly, calling money the ‘basest’ when compared to emotional bonds).
Using Celia and Corvino, Jonson was not warning against the dangers of sexual desires more than expressing concerns over how intimate bonds would be abused in the face of capitalism.
In light of this view, discuss the ways in which writers represent sexual desires and its consequences.
Within
Volpone, a key object of sexual desires would be Celia – who is so beautiful, Jonson deemed it fit for her name to mean ‘celestial’. As a result of her beauty, and its subsequent sexualisation (such as her
“soft lip” that “would tempt you to eternity of kissing”), Corvino obsesses over possessing her, as if she were a widely coveted jewel. His unrestrained desire towards Celia leads him to be harsh – almost abusive – in his possessiveness. Celia’s intact chastity suggests that Corvino’s possessiveness may even be tied with restraining his desires towards her – instead treating her as an object whose value would decrease after being sullied rather than a human being. It is also when he restrains even his possessive desires towards Celia, and allows himself to be overcome with greed that Corvino assured his own downfall. It is in fact the breakdown of his relations with Celia (sexual or otherwise) that causes a rift between them, and leads to devastating consequences. Celia herself expresses shock at Corvino’s actions, asking him if “is that, which ever was a cause of life, [is] now placed beneath the basest circumstance? ... For money?” Referring to sex particularly as a ‘cause of life’ highlights the intimacy and relevance of the act, and would not reflect a warning to keep sexual desire restrained. In fact, Jonson’s message concerned the breakdown of interpersonal relationships, especially within the emerging capitalist society at the time, which worried him with its increasing selfishness and individuality (where
Celia expressed his views directly, calling money the ‘basest’ when compared to emotional bonds).
Using Celia and Corvino, Jonson was not warning against the dangers of sexual desires more than expressing concerns over how intimate bonds would be abused in the face of capitalism.