- 页码：第1页 2019-01-05 23:37:56
Male sexuality, in other words, is not just analogically but actually the essence of literary power. The poet's pen is in some sense a penis. -- G.M.Hopkins
But of course the patriarchal notion that the writer "fathers" his text just as God fathered the world is and has been all-pervasive in Western literary civilization, so much so that, as Edward Said has shown, the metaphor is built into the very word, auther, with which writer, deity, and pater familias are indentified.
Defining poetry as a mirror held up to nature, the mimetic aesthetic that begins with Aristotle and descendes through Sidney, Shakespeare, and Johnson alternative, mirror-universe in which he acually seems to enclose or trap shadows of reality.
One hundred years later, in a famous letter to Charlotte Bronte, Robert Southey rephrased the same notion: "Literature is not the business of a woman's life, and it cannot be."
All females are "Cyphers" - nullities, vacancies - existing merely and punningly to increase male "Numbers" (either poems or persons) by pleasuring either men's bodies or their minds, their penises or their pens. -- Anne Finch
JA's novels "lacks a strong male thrust" or "lacks that blood congested genital drive which energizes every great style"
Roland Barthes declares, he was figuratively emasculated, for "the scriptural sperm" could flow no longer.
Jean-Paul Sartre recalled in Les Mots his childhood belief that "to write was to engrave new beings upon the infinite Tables of the Word or ... to catch living things in the trap of phrases."
Honore de Balzac, "woman's virtue is man's greatest invention"
Poetry, the creative act, the act of life, the archetypal sexual act. Sexuality is poetry. The lady is our creation, or Pygmalion's statue. The lady is the poem; Petrarch's Laura is, really, poetry.
As a creation "penned" by man, moreover, woman has been "penned up" or "penned in." As a sort of "sentence" man has spoken, she has herself been "sentenced": fated, jailed, for he has both "indited" her and "indicted" her.
As Humpty Dumpty tells Alice in Through the Looking Glass, the "master" of words, utterances, phrases, literary properties, "can manage the whole lot of them!"
He silences them and, as Keats's "Ode on a Grecian Urn" suggests, he stills them, or - embedding them in the marble of his art - kills them.
Simone de Beauvoir has commented that the human male's "transcendence" of nature is symbolized by his ability to hunt and kill, just as the human female's identification with nature, her role as a symbol of immanence, is expressed by her central involvement in that life-giving but involuntary birth process which perpetuates the species.
Virginia Woolf, we must "kill" the "angel in the house", which is the most pernicious image male authors have ever imposed upon literary women.
Christina Rossetti, she realizes that the male artist often "feeds" upon his female subject's face "not as she is but as she fills his dreams."
Dante, Milton and Goethe - P21
Lilith, Adam's first wife - P35
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