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Neoclassical Literature Explained: Swift, Pope, and Their Impact

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What is neoclassical literature, and who wrote during this time?

Two big names out of the Neoclassical movement included Jonathan Swift and Alexander Pope. Yet, there were many more. If you are familiar with the former due to “A Modest Proposal” (1729), then you already have some familiarity. If not, it’s never too late to dig into the satirical elements of the movement.

However, there is much in the movement that it is necessary to explore for a better understanding of literature in general.

What was the neoclassical literature period?

The era in which this period thrived was somewhere between 1660 and 1798. The movement features three important sections, that include the Restoration Period, the Augustan Period, and The Enlightenment Period.

Furthermore, the Neoclassical literature era was marked by an attempt to mimic the Greek and Roman writers of the past. Additionally, writers tried to blend the ideas of enlightenment into the overall writing style of the time. Some sources state that the neoclassical movement in literature was based on these past ideals and skepticism, which took a stern look at societal norms of the time.

With it, came a great deal of satire.

Important Works and Themes

Some works that popped up during this time included The Dunciad by Alexander Pope. He published this anonymously, as it was an unsavory look at his critics. There was also Gulliver’s Travels by Johnathan Swift, which satirized society at large and the inconsistencies in what the norms and mores were espoused.

The neoclassical movement was also the time of wit and cynicism. The writing reached more people, which was great for the down-trodden because education–a factor in reformation–became a reality. As such, themes of social needs and the belief in society, religion, and government were important aspects in published works. As some sources stated, the literature of the time featured “common sense, order, accuracy, and structure,” and showed humanity as “flawed and more human.”

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Daniel Defoe: Progenitor of the Modern Novel

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Daniel Defoe is recognized as one of England’s first novelists. And, rightfully so, because to his credit, he wrote one of the most influential books ever penned. He also wasn’t afraid to shy away from controversy with his political leanings. Both long and short confrontational and epic pieces worked for Defoe.

Life of Daniel Defoe

Early years

Defoe was born in England in 1660 to a noncomformist, dissenting tallow chandler, who sent his son to an academy in Newington Green. There, it is said, that Defoe developed a very deliberate and easy style due to the instruction of the Reverend Charles Morton. Morton focused on the works of Puritan preacher John Bunyan and writings from the Bible. This laid back style would come to aid Defoe later in his life as he crafted fiction that is both universally appealing and not too dense.

He eventually went to pursue a career in trade and tried a few different business ventures. Though he wanted to establish himself as a young businessmen, he still experienced multiple bankruptcies, and he was even imprisoned for debt.

Merchant and Political Activism

Defoe began writing political pamphlets to speak out against Catholic James II and various other governmental grievances. He was thrown in prison for writing the political pamphlet The Shortest Way with the Dissenters; Or, Proposals for the Establishment of the Church. His crime: seditious libel. This particular text was considered a crime for its satirical elements and pointed aggression.

Afterward, he gained the recognition and empathy from the public for his poem “Humn to the Pillory.” After a variety of political pamphlets were produced and his publication The Review was lauded, he began writing novels. He soon came to find that the years drafting political dialogue lent itself to fiction.

Defoe’s Contribution to Literature and Death

Defoe wrote a great deal in his novel-writing years. He produced many classics of literature that are still interpreted and dissected today.

Here’s a list:

  • Robinson Crusoe (1719)
  • A Journal of the Plague Year (1722)
  • Moll Flanders (1722)
  • Roxana (1724)
  • The Storm
  • The Further Adventures of Robinson Crusoe

While Crusoe seemed to define his career, he still wrote a great many memorable stories. He is frequently referred to as a realist writer, and a pioneer of the modern novel. His use of adventure and depth of description created worlds for readers. Much like Thackeray or Dickens, Defoe had a way with conjuring worlds filled with realistic plots, settings, and characters. He died in 1731.

In a fitting manner of his thoughts on living, he writes, contemplatively, in Robinson Crusoe, the following:

“I learned to look more upon the bright side of my condition, and less upon the dark side, and to consider what I enjoyed, rather than what I wanted … and which I take notice of here, to put those discontented people in mind of it, who cannot enjoy comfortably what God has given them, because they see and covet something that he has not given them. All our discontents about what we want appeared to me to spring from the want of thankfulness for what we have.”

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Emulation and Immersion: Key to Writing Voice

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As a short story and novel dabbler, I often wonder how my voice can come through in some sections of a story and then totally fall flat in others. Am I not being true to myself? Am I not tapping into the muse? Are the writing gods forsaking me? What other myths can I use to convince myself there is an easy track to developing my own voice as a writer? For this post, I am going to look at what is typically recommended for writers to develop a distinctive writing voice.

Developing Your Voice as a Writer

Before we get there, we should get a concrete sense of what writing voice is in a theoretical sense. In so many ways, you want to be able to engage with the text you are writing by developing languages associated with that style of writing. Through that, you come up with a specialized language and then a more universal and specific language. In other words, know your genre and know your tone. If you can lock down the language associated with a particular topic, then your voice becomes apparent.

Yet, we can go even farther than that and explore a few traditional methods of developing voice. There are a few main recommendations I see often, and they fall into two categories:

  • Emulation
  • Immersion

Emulation

Emulation is the focus of writing using the style of an author you like each time you sit down to write with the sole purpose of taking the things you enjoy from their style. An example of this would be your 13-year-old self sitting at a desk and trying to write a pulp story because you think the author’s diction and syntax is interesting.

By doing this, you are practicing another author’s tone in order to perfect your own. Allegedly, Hunter S. Thompson engaged with this sort of writing technique by emulating Faulkner.

Another example would be a musician listening to a record and playing the music back. Eventually, the idea is that the musician (or writer in this case) will adopt the nuances of the person they are emulating. Then, that will mesh with an existing skill set (or other emulations) to create a new style of writing wholly original to the author.

Other writers have talked about this very thing.

Immersion

Immersion is literally just a writer focusing on a style and in a genre for a sustained amount of time until a style grows from trial and error. That is, if you read and write in sci-fi for long enough, you will adopt a style that is beneficial to explain science fiction ideas or that adopts a voice you are comfortable with.

I like to think of pulp writers during the turn of the 1900s. You could tell there were a lot of good writers there, but you could also tell a lot of them were adopting a style befitting a pulp writer (a style beneficial to quickly cranking out prose for money). This goes for any other genre of writing as well.

Other Ideas Regarding Voice

There are other ways and explanations, too. Writer Leah McClellan states that a writer’s voice is a combination of “Attitude, tone, and personal style.”

“Attitude is about emotion, values, and beliefs,” she writes. “ … Tone of voice in your writing is similar to tone of voice while talking … it’s not what you say—the facts—but how you say it (or write it).”

Furthermore, personal style are all of the little choices one makes when writing. These choices include diction, syntax, structure, mood, tone, and so much more. I think these are definitely fair points and if it’s beneficial for you to think of writing as an extended metaphor, I think you will find her advice useful.

Final Thoughts on Writing Voice

Writing is a skill that you have to practice. You have to learn the rules and use them to the best of your ability, and outside of the application of prescriptive grammar, you have to practice conveying a message to people who probably understand descriptive grammar. That isn’t to say that prescriptive grammar is the right approach or the be-all and end-all. I’m also not saying because we live in descriptive grammar bubbles online that we should simply throw out the rules.

However, you as a writer have to start with the mechanics and then learn how to break the rules. This will extend your writing in more digestible ways and impact your audience awareness. In other words, if you have a new and unique style, can you explain why it works without saying “It just does.” You also don’t have to say that it comes from some special place from beyond the pale.

Rationale does wonders for development and progression.

With that being said, you also have to dispel the myths of writing, which include things like “writing is a God-given gift,” “writers are depressed geniuses,” “substance abuse makes writing better,” or “you need a degree in writing to be a writer.” Similarly, you can implement poetic strategies to engage your readers more and spice up your writing.

All of these ideas inhibit creativity and get in the way of style and voice, and these myths perpetuate crappy narratives about an otherwise normal skill that needs to be practiced and honed if one wants it to develop into something better—like a piece of writing with an original voice.

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Myth vs Legend vs Tall Tale: What Sets Them Apart?

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Zeus, The Headless Horseman, Paul Bunyan, and Bigfoot all share some commonalities. Clearly, there are supernatural and fantastical elements in each of their stories, but how do myths, legends, and tall tales differ? And, how can we distinguish between them? It becomes much easier to understand these differences if you consider the context and typical usage of each term. In this post we will understand how each of these terms share similarities and differences.

What is a Folklore?

Folklore is an umbrella term that encompasses all oral tradition. If you can think of a story that you’ve heard passed down from your great-grandfather, to your grandfather, to your father, and now down to you, then you have encountered folklore. The titans, King Arthur, Nessie, and the Slender Man are all forms of folklore. They are cultural, they are stories, and they are passed down. It’s as simple as that.

What is a Myth?

The word “myth” is derived from the Greek word “mythos.” This means “story.” Mythological stories are rooted in religion or folkloric beliefs and they help define the origin of a culture.

As one source states: “… myths can be used to demystify a supernatural or unresolved event. Myths present reality in a sensational way, often using creatures and gods.” For instance, if one hears a story about the origin of a holiday tradition—say, the story of Old St. Nick—they are probably hearing a myth because Santa Claus is a “sensational,” god-like creature who surreptitiously visits homes on Christmas Eve and leaves gifts for children. This explanation clarifies Christmas for younger folks and is passed down from parents as well.

Mythic stories reflect society’s attempts to understand how things in the world came to exist, even though they incorporate supernatural elements. That’s why they typically feature nonhuman characters doing things that could be construed as supernatural. For a better understanding, think about the Greek gods and all the stories and movies you’ve heard or watched that detail their exploits and existence. Myths = Mt. Olympus.

What is a Legend?

Much of people’s confusion between myths and legends come from their similarities. Legends share the same qualities as myths. These include supernatural elements, unbelievable characters or monsters, first-hand accounts, etc. Yet, the major difference is that they come from the recent past, have historical roots, and are passed from one generation to the next.

Robin Hood and King Arthur fit the mold of a legend because they come from the semi-recent past. They aren’t some far off idea that is foggy in time. We can see them and their relationship to our own lives. Legends also have historical connections (they could be real), and they people have passed them down through oral, visual, and textual mediums. It should go without saying, but legends often walk a careful balance between reality and fiction.

To better understand this, think about Bigfoot, or more accurately, think about The Legend of Bigfoot. We aren’t entirely sure what the cryptid looks like (its big and hairy at least), and it only gained popularity relatively recently in the late ’60s or early ’70s. However, the Bigfoot story is now very popular. As such, people still pass their own stories down from one generation to the next.

What are Tall Tales?

Tall Tales are those wacky stories you remember form when you were a kid. They tell something about an immediate culture’s history or how something came to be in the world. Likewise, cultures preserve these stories through cultural traditions like music, pictures, interpretations, and more.

When you think about the stories of Pecos Bill and Johnny Appleseed, then you have some idea of a Tall Tale. They are like sagas that feature protagonists completing tasks that shape the world as we know it. Did they really do the things those stories said they did? Well, probably not, but those stories do help us understand the world around us.

Moreover, much like legends and myths, society passes down tall tales from generation to generation through a variety of mediums. Tall tales often feature conflicts resolved in some extraordinary way. For instance, Johnny Appleseed saw a lack of apple trees, therefore he spread them across the entire country on foot. either through strength, ingenuity, or sheer gumption. Paul Bunyan battling Babe the Big Blue Ox is one of these stories. At first, they are enemies, but this changes after they exhaust each other with their fighting. As it relates to tall tales, both are supernatural, and their giant sizes are responsible for shaping parts of U.S. geography, at least according to the story.

Remembering Folklore, Myth, Legend, and Tall Tales

The easiest thing to remember is that folklore is an umbrella term. Therefore, myths, legends, and tall tales form underneath this term and have their own nuances. Regardless of their differences, myths, legends, and tall tales serve a continued purpose of understanding. Myths, legends, and tall tales (all of folklore for that matter) continue to be important to society for their ability to help show us the world we live in through different lenses.

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Censorship in Satire: The Impact of the Theatrical Licensing Act

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In modern times, censorship for satirical lampooning is still in existence, from politicians to moguls and oligarchs. This was still the case in the 1700s, when playwrights were looking to put verbal and visual daggers into powerful leaders they did not agree with or leaders they found hypocritical. Those leaders did not respond with the same kind of tongue-in-cheek humor. Thus, the Theatrical Licensing Act of 1737 came into play to silence these irritating voices.

Background of the Licensing Act

In a previous post, we discussed Henry Fielding, who was an accomplished playwright and satirist who was known for plays such as The Author’s Farce, which critiqued the commercialization of writing and theatrical conventions.

He also wrote Shamela, which had poked fun at the Samuel Richardson book Pamela. His wit knew no bounds, so he wrote about literature all around him that he found worthy of poking fun at to make a point.

Moreover, he also wrote highly satirical plays such as The Historical Register for the Year 1736 and Eurydice Hiss’d that took to task the politicians of his era

While Fielding’s work wasn’t solely responsible for the Theatrical Licensing Act of 1737, it was plays and ideas such as those mentioned that caused the upper crust to sour. Their thin skins in the face of luminary playwrights showed through.

The Licensing Act in Theory and Practice

Sir Robert Walpole, prime minister of England, enacted the licensing act to begin with. His decision to do so was due to the high level of jabs the theater was taking at the political realm. Especially during the tumultuous political climate of 1700s.

As the Woodson Research Center states, “… the law allowed for the censorship of any piece of work deemed inappropriate for the London stage and provided the means for the suppression of satire directed towards the king or other government officials,” (Woodson). As can be said, it was a blanket act to keep criticism from reaching its way to the political elite. The Woodson Research Center further points out that this all but killed the momentum of the theater culture.

Ramifications of the Theatrical Licensing Act

The licensing act left only two theaters in London open for the public. Both Drury Lane and Covent Garden remained open, which meant that there were fewer places for the public to watch plays. Therefore, playwrights could make less of a mark on culture. They could also take fewer jabs at the elite. Of course, this caused many issues with employment in theatres. It also caused employment for writers and the free exchange of ideas. Whereas once there was a lively satirical environment (creative as well), there was now none of that. The arts in the theatrical discipline lay fallow.

Conclusion

While the licensing act eventually fell out of favor, it did have its benefits. For one, the act pushed playwrights into novel writing, which was not a popular discipline at the time. Plays earned money and novels did not. By the time the atmosphere had shifted and theaters were back in business, most writers were writing novels instead of plays.

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Voices of Change: The Harlem Renaissance

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It is hard to imagine the pain and sorrow a marginalized group of Americans must have felt emerging from the slavery of the South. Their palatable hope of Northern emancipation dissolved into similar racism and ostracism, too. But, from the ashes the phoenix does rise. In this post, we are going to talk about an important artistic movement known as The Harlem Renaissance. This movement pushed Black voices into the spotlight, and highlighted their artistic endeavors, from music to writing.

The Catalyst of a Cultural Movement and Renaissance

The Jim Crow laws of the post-Civil War American South did damage to Black Americans mentally and physically. These laws were the “system of segregation and discrimination in the South” by “legal segregation” (National Geographic). For example, these types of laws kept Black from eating in the same restaurants. They also could not drink from the same drinking fountains, going to the same theaters as whites. Likewise, exclusion can have the adverse effect of keeping people from feeling human.

It would stand to reason then, that many Blacks wanted to find a way out of the South.

As sources state, the disparity between Blacks and Whites in the South caused a turbulent rift to grow larger. The poison in the veins of these trodden Americans “led many African Americans to hope for a new life up north.” As Black Americans hid and dodged “hate groups” and “hate crimes” in the Deep South, they wondered about the “promise of owning land.” This promise never “materialized” (US History).

As it relates to our topic, the Harlem Renaissance grew out of Black Americans moving North. Here, they doubled-down on their cultures and histories in the segregated communities they were relegated to toil. Similarly, such innovation in the arts matched marginalized groups in the past. This includes the Native Americans who fought to maintain their own languages against the aggressions of European integration.

What was the Harlem Renaissance?

The Harlem Renaissance was a period between 1910 and the mid-1930s. The movement saw a large amount of Black Americans generating art from Harlem in New York City.

History states that “ … this period is considered a golden age in African American culture, manifesting in literature, music, stage performance and art.” The convergence of Black Americans on the Harlem area stemmed from The Great Migration from the South to the North. The migration was spurred by the aforementioned Jim Crow laws that actively worked to undermine Black power.

Other factors that led to this migration included, “natural disasters.” Likewise, little immigration to the United States and recruitment from Northern companies led to Black Americans heading North.

Langston Hughes

Langston Hughes, Harlem Renaissance author, wrote a great deal about the Black experience. Biography states, “Hughes broke new ground in poetry when he began to write verse that incorporated how Black people talked and the jazz and blues music they played. He led the way in harnessing the blues form in poetry with ‘The Weary Blues,’ which was written in 1923 and appeared in his 1926 collection The Weary Blues.”


The Major Players in the Renaissance?

The Harlem Renaissance would see the likes of W. E. B. Du Bois, Langston Hughes, Claude McKay, and Jean Toomer emerge as powerful writing voices. McKay would produce a collection of poems titled Harlem Shadows in 1922, which was a breakthrough for Black writers. He would go on to write more prominent works, such as the poem “America” and “If We Must Die.”

Countee Cullen, who had published volumes of poetry including Color, Copper Sun, and The Ballad of the Brown Girl, innovated in the Harlem happenings. He married W.E.B. DuBois’ daughter Nina Yolande. The public saw their marraige as a “major social event in Harlem.” It “marked the joining of the Cullen and Du Bois lineages, two of its most notable families” (Poetry Foundation).

Furthermore authors like Richard Wright and Ralph Ellison would contribute defining pieces of literature regarding the identify of Black Americans.

Conclusion

While this is a small picture of the Harlem Renaissance, it is important to recognize its lasting legacy on writing (and other art forms). Due to the large volume and publication of many important voices in Black literature, this movement gave levity and authority to Black culture. It also staked a claim for Black literature, poetry, music, and art, and showed white Americans that there was more than one voice in the country.

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Ralph Ellison: From Invisible Man to Iconic Writer

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Ralph Ellison won the National Book Award in 1952 for the only novel he ever published. That novel was “The Invisible Man.” His book told a story about a black man in America. The main character feels invisible to American society because of the color of his skin. It’s a timely tale that rang true when it was published and rings true in the era of Black Lives Matter.

History of Ralph Ellison

Growing Up

Ellison was born in Oklahoma City, OK, and lost his father at an early age. Before taking up writing, Ellison played the cornet and wanted to direct his ambitions toward a life as a symphonic composer. However, after moving to New York, Ellison picked up a job as a writer for the New York Federal Writers Program. He then became the editor of The Negro Quarterly.

At this time, he met the likes of Langston Hughes, Alain Locke, and Richard Wright. With their tutelage and friendship, his skills as a writer grew. He spent countless hours engaged in conversations about literature, politics, and social issues, and took in the wisdom and experiences of these influential figures. They challenged and inspired him to delve deeper into his own writing.

Writing Mentors

From Langston Hughes, he learned the power of poetry and the beauty of the spoken word. Alain Locke exposed him to the rich cultural heritage of the African diaspora and taught him the importance of using literature as a means of empowerment and self-expression. Richard Wright, a master storyteller, showed him how to capture the harsh realities of life with raw honesty and unflinching realism.

As stated on the Cultural Front, Ellison was engaged by his mentor. “Hughes served as a guide as Ellison began learning about New York City, leftist politics, and leftist literature. Moreover, when Hughes learned that Wright was moving to New York City, he made him aware that Ellison wanted to meet him.” The friendships he formed during this time were intellectually stimulating. They also offered him a supportive community of like-minded individuals who understood the challenges he faced. These challenges includes being a writer of color in a predominantly white literary world.

Their influence would leave an indelible mark on his work. Similarly, their tutelage allowed him to become one of the most revered and influential writers of his time.

The Invisible Man

Ellison had already been publishing essays and short stories before tackling a novel as a project. After he enlisted in the Merchant Marine as a cook during WWII, he took to writing his novel. Publishers put out the book in 1952. The novel was met with fanfare, stayed on the 1953 bestseller list for 16 weeks, and won the National Book Award. The success of “The Invisible Man” essentially helped shape the minds of Americans as it relates to race relations and shined a light on the under-represented and disenfranchised groups during that era.

As he states in the first chapter, Ellison found confusion and contradiction in society about who he was, and who he should be in his heart. He states: “It took me a long time and much painful boomeranging of my expectations to achieve a realization everyone else appears to have been born with: That I am nobody but myself” (Ellison). The lasting effect of his novel is still apparent in modern literature. Some authors cite it as one of the most important works of the last 100 years (Read.gov).

Conclusion

Through writing, Ellison found not only his voice but also his purpose. The encounters he had and the relationships he cultivated shaped and defined his literary legacy. He forever left an imprint on the pages of history. No doubt, the messages of a marginalized individual in “The Invisible Man” continues to be important to the conversations at large.

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The Life and Legacy of Henry Fielding: A Literary Pioneer

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In this post, we are going to look at the life of Henry Fielding. Fielding was a pioneer of novel writing, a playwright, and a London judge. He was also a satirist, and he had many successes at making the elite cringe.

Biography

Early Authorial Years

Fielding was born April 22, 1707 in Sharpham Park in Somerset, England. As a young man he studied classics and law at the university in Leiden. The Theatrical Licensing Act of 1737, which happens to be an important and pivotal moment that we discussed on the blog, saw Fielding resume his pursuits of law because the theatre had become heavily censored by the British Government.

In contrast, Fielding was a fan of producing rather scathing plays critical of the ruling class. Obviously, these two competing ideas cannot coexist peacefully. As such, he assumed the role that many writers of his era assumed and tackled complex issues in his writing.

As Nasrullah Mambrol states in Analysis of Henry Fielding’s, that the the author himself focused his criticisms and writings through textual expertise. “It is through the role of the narrator that he most clearly and successfully experiments in the methods of teaching a moral lesson,” the author states. “Starting with the voice of direct literary parody in Shamela and moving through the varied structures and voices of the other novels, Fielding’s art leads in many directions, but it always leads to his ultimate concern for finding the best way to teach the clearest moral lesson”(Mambrol).

Turning to Writing

While involved with the law, Fielding continued to write. In 1742, he wrote Joseph Andrews, which is considered by some historians as one of the first novels ever produced in the English language. However, his fame as a playwright takes precedence due to the lowly opinion of novelists during his time. Playwrighting netted the larger audience. As for novels, Fielding wrote Shamela, (1741) The Life and Death of Jonathan Wild, the Great, (1743) The History of Tom Jones, a Foundling, (1749) and Amelia (1751) (Britannica).

A Forthright Judge and Final Days

Later in his life, Henry Fielding became London’s chief magistrate and garnered a reputation as incorruptible throughout his career. He started one of the first police forces. They were called the Bow Street Runners. Fielding suffered from gout, asthma, and dropsy, or a swelling of soft tissue due to excess water. He died on Oct. 8, 1754.

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To His Coy Mistress: Satire and Love in Marvell’s Poetry

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Andrew Marvell, the poet and satirist behind the poem “To His Coy Mistress.” Led a remarkably interesting life, and his contributions are numerous. So much so that there is one defining poem that has kept ageless and universal in its appeal into the modern era.

Who was Andrew Marvell?

Andrew Marvell was a “metaphysical” poet and satirist who wrote “To His Coy Mistress,” somewhere between 1650 and 1652. Marvelll went to Trinity College in Cambridge. He wrote a variety of “political verse satires’ from The Last Instructions to a Painter, to The Rehearsal Transpros’d. Marvell was born March 31, 1621 and died August 18, 1678. His housekeeper eventually saw the publication of the aforementioned piece in 1681.

Defining a Metaphysical Poet

As Britannica writes, a “metaphysical poet” is a writer in 17th-century England. Their work “… is a blend of emotion and intellectual ingenuity, characterized by conceit or ‘wit'” (Britannica). The poetry is often a contrast between a few things that pushes the reader into thinking about the poet’s perspective. There are more modern maetphysical poets as well, including H.D.

In other words, the poet is interested in “exploring the recesses of his consciousness.” The metaphysical poets . These poets have a grandiose, sarcastic interpretation of the world, and they paint this picture with satire and wit.

Marvel’s “To His Coy Mistress”

In Marvel’s “To His Coy Mistress,” the author pokes fun at the conventions of love. He asserts a sort of carpe diem attitude toward the subject of the poem. The virginal woman who is the focus of Marvell’s lust is object of his affections. As such, Marvell is trying to get her to give into her baser desires rather than waiting another day.

He spends time praising the subject’s body, including “Thine eyes, and on thy forehead gaze” and “each breast.” In addition, he warns her that time marches onward. Therefore, her beauty will fade: “But at my back I always hear / Time’s winged chariot hurrying near.” According to Marvell, she should relent to his wants before she loses her appeal.

Conclusion

In his poem, Marvell wants experience his love’s carnal pleasures before they both get older. The boorish nature of this request is a satirical poke at the chasteness of society (or lack thereof). It is also lampooning the hastiness of love for baser desire. His sentiment certainly critiques courting lovers and how sex is often viewed in society. Similarly, during the time of society, marriage was sacrosanct, therefore lust was frowned upon. One wedded for honor and dignity. In this way, intercourse before marriage was a brutish desire.