| Author (s) | Tayyab, Areeba |
| Published | 01 September 2020 |
| DOI | DOI: http://dx.doi.org/10.5281/zenodo.4012478 |
| Full article |  |
| Abstract This paper attempts to carry out an in-depth analysis of the objectification of the female body in Pablo Neruda’s works of poetry Twenty Love Poems and a Song of Despair. The aim is to pinpoint the use of images and objects that presents his beloved as an object. The tactile imagery as well as visual imagery will be taken into consideration for the purpose. The purpose, therefore, is to scrutinize the use of such objects for the representation of women in his work. The emphasis is not just in highlighting a feminist stance but in digging deep into the concept of lovemaking, keeping in mind the works of Slavoj Zizek and Jacques Lacan. The idea of courtly lovemaking somehow justifies the notion of female objectification in his work. The psychology behind an ideal love and the fulfillment of courtly pleasures have been analyzed from a psychoanalytical lens to explore why the writer used such imagery for his writing. The writer’s psychology, passion, notions are considered for the purpose. The modern version of love talks about the rationality of the situation, but Neruda’s work mostly focuses on courtly ideals. The research then will be two folded i.e., on one hand, it will discover the use of objectification of the female body and, on the other, it will dissect the poetic notion of courtly love used by Neruda. Although a lot of research has been done on Neruda’s poetry, this research takes a step forward as it brings in psychoanalytical analysis on the notion of courtly love used in his poetry. |
| Keywords | Female body, Courtly gaming, Biological essentialism, Psychoanalytical analysis, Objectification, Male gaze |
| Citation | Tayyab, Areeba 2020. Tracing female objectification in Neruda’s work: a psychoanalytical study of courtly love in twenty love poems and a song of despair. European Journal of Interdisciplinary Research. Volume 1, issue 1. September 2020. DOI: http://dx.doi.org/10.5281/zenodo.4012478 |
| Author Information | Areeba Tayyab is an adjunct faculty and researcher based at the Superior University, Pakistan. She is an author and columnist. |
I. Introduction
The concept of female objectification is almost always under heated debate, specifically in terms of gender studies, this framework is important to dissect and explore how objectification was once admiring. While considering the notion of female objectification, one has to understand the reality of courtly love as well. In the past, the objectification of the female body was a part of the courtly culture and it was appreciated to a great deal. It seems as if female objectification was a part of admiring beauty of women using all the wrong attributes and associations.
The study aims at finding the traces of female objectification in the work of an erotic romance of Pablo Neruda. Interestingly, the writer had a diverse range of experiences, starting from being a political activist to Nobel Laureate and then to the position of an international diplomat. As a revolutionary activist his poems present an image of the present and comments on the times to come. Twenty Love poems and Song of Despairis one of his early works which is regarded highly erotic and passionate.
The objectification theory proposed by Fredrickson presents an idea of ‘body’ (Fredrickson & Roberts, 1997:174). The theory gives an idea that the women are accustomed to the culture and society they live in and as they are viewed as observer’s perspectives, they become mere objects for the society that uses them as a tool. Since society exists in the binaries and the male being on the left side of the binary possesses a good deal of viewing the other sex as the object of desire. The women in objectification theory are not just objects but objects for sexual pleasure. The theories of objectification discuss the impact of such objectification on the female mind as well and discuss that such instances can increase shame for their own bodies.
Chauvinism and patriarchy still prevail in contemporary culture. It is only the understanding of feminism and female rights that objectification and trivializing women are now considered part of something wrong and unethical. The process of objection was so brutal that even the males were not aware of it in the first place as Karen Horney discusses the fact that “the socially sanctioned right of all males to sexualize all females, regardless of age or status” (Fredrickson & Roberts, 1997: 35). This “socially sanctioned” right is arguably created because of the biological essentialism which is imposed by the society on both the genders. To say that males have played a vital role in female objectification will be an understatement because the women have also played some part in appropriating objectification onto themselves. Against this backdrop, this article presents an alternative narrative of female objectification as to how these cultures existed in a rather primitive and ancient world as well and how objectification was considered a part of a courtly love-traditional romance.
Women body has been a matter of discussion for a long period of time, in literature and in other means of popular culture. Considering the time when Simon de Beauvoir wrote The Other Sex, there were also instances of writers who kept on writing about women’s bodies with the same zest. A question that can serve the purpose is that did Neruda intentionally use the tool of female objectification or is he following the patterns of writing courtly lovemaking?
The courtly romance was a genre introduced after the French invasion and later on, it became a part of the English culture as well. In terms of marking such sexual praises as awful trivialization somewhere happened in the Victorian age where women started to understand the pressure and “responsibilities” behind such trivial gazes. This particular idea of gaze is also a ‘sanctioned right’ given to men. The trivial gaze is not in control of women. Objectification, in essence, involves “woman’s body, body parts or sexual functions are out from her person, reduced to the status of mere instruments” (Fredrickson & Robert, 1997:175). Although it involves women, they have no or very little role to play in it as “a sexually objectifying gaze is not under women’s control” (Fredrickson & Robert: 1997:176). Sexual gaze has been a part and parcel of erotic poetry and is witnessed in Pablo Neruda’s work, too.
Another parallel notion that has to be considered for the research is the conventions of a courtly love. The courtly love and the conventions of lovemaking can be associated with the notion of female objectification. Zizek’s ideas of ‘courtly love’ or ‘women as a thing’ is relevant here and serves the purpose of this paper. Women, even if considered a spiritual commodity, are still considered as an ‘inhuman creature’. Also, while describing Lacan, Zizek uses his ideology “terrifying, an inhuman power.” (Zizek,1994:90). The terrifying inhuman power can be seen in the Hellenistic arts of the Roman and the Greats i.e. the figure of Beatrice or Helen of Troy. These women were considered to be divine entities not to be touched after an immediate encounter as they were considered being more than mere humans. In that sense, apart from being inhuman, she is not possessed by any solid attribution as she is “never characterized for any of her real, concrete virtues, for her wisdom, her prudence, or even her competence” (Zizek,1994:89). On the basis of these evidences, one can argue that female objectification prevailed in old, pre-modern times and this image continues to become a part of the collective psyche.
Surprisingly, this trivial objection is not just limited to a specific time frame but according to Zizek, as expressed in his article From Courtly Love to the Crying Game, he writes that if still as being modern, we think that the idea of courtly love is vanished then we are blinding ourselves from the reality. (Zizek, 1994:3)
The trivial associations are also very much existent in the modern world. While reading Pablo Neruda’s poetry, one can feel the similar wisdom, prudence, and competence of his beloved. This timid spiritual existence for Zizek is “a radical otherness which is wholly incommensurable with our needs and desires” (Zizek,1994: 89). Since the female body or the female has become a part of the other and cannot be consumed easily therefore the existence becomes a separate entity that is not human. She becomes a ‘traumatic object’ with whom having a relationship is not possible. Zizek also uses the example of Femme Fatal, the famous noir movie character as a traumatic lethal partner. The relationship between two people cannot be between two subjects but between a subject and an object. From such instances, one can say that Zizek also talks to the objectification of women differently.
In light of the arguments made above, this article hence adopts the following objectives:
- Pinpointing the instances of female objectification in Neruda’s work.
- Understanding the psychology behind such objectification in his work.
- Considering the notion of courtly love, to understand and justify the use of the art of objectification by the writer.
The research questions are as following:
- Why Neruda kept following the orthodox conventions of courtly love in his work?
- To what extent, the culture of courtly writing is contributing in the projection of female objectification in the literature produced in the world?
- Does Neruda’s purpose revolve around trivializing the women, or creating an image of an unattained love?
II-Main body
The female objectification can be understood by the term Das Ding, or the thing. The female considered as “the thing” of sensation, unattained by the hands of courtly men is a desire strong in itself. While discussing the idea of attaining, the masochist theatre is an important aspect to discuss. According to Zizek, there is a game prevailing between the two sexes which is just as fake as the image of the object i.e. the woman. In this game of sexes, both genders serve as according to the cultural-based binaries and traditions and linger on to it for a longer period of time. He argues that “the nature of this masochistic theatre is thoroughly non –psychology” (Zizek,1994:92). Human psychology has nothing to do with the action played by both of the subjects, neither one can accuse biological aspects for the purpose. What is prevailing according to the critic is the very notion of biological essentialism where the subjects have to work/play according to the courtly culture set by society for them. Zizek’s notion of predefined culture-based roles of the gender justifies the notion put forward in this research.
In the world of erotic literature or romantic poetry, there are instances of surreal atmosphere and passionate imagery that ultimately bring a lot of room for female objectification. Since the existence of the object that is to be attained has to be made an imagination worth living, therefore the writer may aim at extending the desire in a masochistic way. The body of the female becomes the object of desire which can only be attained after a long period of struggle or is eventually impossible to attain. In the first poem of his collection, Neruda states “Body of a woman, white hills, white thighs/you look like a world, lying in surrender” (Neruda,1976: 204). The concept of eternal being or spiritualization can be seen in the images of white hills and white thighs. The color of purity is the uttermost desire of the writer to attain. The desire of the writer, for the object to surrender, is also very much visible. The word ‘body’ also highlights the notion of Fredrickson that female bodies are viewed by men as an object of sexual desire. In this particular poetic creation, there is no existence about the woman or the beloved of the writer but the body itself. Therefore, the woman as a person does not seem to be in the picture but just parts of her body are seen visible in these lines.
The masochistic tone/game continues, as the writer states:
“Body of my woman, I will persist in your grace
My thirst, my boundless desire, my shifting road!”.(Neruda,1976: 204)
The writer addresses directly to the body of his beloved rather than calling her a woman in general. The thirst and the boundless desire signify the urge to connect to the otherness of the object. As the things that cannot be attained are fantasized, it can be argued that the writer’s journey in satiating his thirst is conventional.
The passive role of females is also one notion that is discussed by Lacan. Zizek reconfirms it by using the term “automatic objects”. In his poem Leaning into the Afternoons, Neruda talks about the absent eyes of his woman. “I send out red signals across your absent eyes” (Neruda 1976: 204). The absent eyes of the woman depict an image of an automatic object, someone that does not hold a vision of her own but is very much dependent on the subject i.e. a mere tool that is given a sense of direction or charms of love by her beloved.
The eternal feelings are still seen in his One Hundred Love Sonnets where he says:
Did not touch your night, or your air, or dawn Only the earth, the truth of the & unit in cluster”.(Neruda,1976:222)
The feeling of staying away and still having a longing, or a sensation to touch can be seen in these lines. Even the surrounding of an object is divided into objects of air, earth, and clusters.
The elements of secrecy and the pleasure of hidden sexual pleasure, too, is seen when Neruda declares: “I love you as certain dark things are to be loved in secret, between the shadow and the soul” (Neruda,1976:1). The idea of a soul or something other than human is witnessed once again. Regarding the notion of darkness, a similar line can be seen in his collection of Twenty Love Poems and a Song of Despair, where he states: “You always keep darkness, my distant female” (Neruda,1976: 204). The sense of distance from the object can be witnessed in this case. This again signifies the preconceived notion of courtly lovemaking where the object has to be taken with a long trial. Zizek writes:
“Within this perspective, courtly love appears as simply the most radical strategy for elevating the value of the object by putting up conventional obstacles to its attainability” (Zizek,1994:4).
The female organs and the female body are highlighted by frequent use of nakedness in his sonnet XXVII, where he says: “Naked, you are simple as one of your hands/smooth, earthy, small, and transparent round” (Neruda,1976:2). The body is compared with transparent round objects i.e. a reference to her breasts. This again signifies the fact that the female is just not a concrete personality but just a body, an object of desire. The conventional notions of Femme Fatal figure are also seen in his work as he says:
Another’s. She will be another’s. Like my kisses before. Her voice. Her bright body. Her infinite eyes.(Neruda, 1976:205)
The conventional notions of betrayals and the existence of short-term relationships are also seen in his work. The object to desire, thus is there for a limited time hence its existence becomes tougher to handle. Zizek uses the phrase “an apathetic void imposing senseless, arbitrary ordeals” (Zizek,1994:102) for the purpose. The idea of reciprocity is very much important to understand. In a symmetrical relationship between two subjects, the situation seems to be very much real but when there is no reciprocity then the relationship takes place not two subjects. While discussing the example of Lady Lancelot, there could have been a dominating/submissive attitude. Or there could have been the existence of a powerful secondary object which is actually an object, an inhuman being, who does not possess a personality of her own.
One interesting aspect which can be seen in both his collection is the use of the word ‘you are’ which can be seen as the first-person narration of the writer. During the course of these poems, it seems as if Neruda himself is gazing the beloved and is writing about her from his own perspective. There is no instance in both the texts where we find the lover giving a perspective or adding up to the narration. This is actually what Fredrickson said about sanctioning a right to the male to objectify women and women cannot have any control over it.
During the reading of both the collections, there is a discussion of body parts like eyes, hips, lips, and breasts. May it be a metaphorical or direct view about the beloved, the presence of the body is very much there. The female character is just an object that is being gazed upon for generating text. She does not possess a character of her own.
The presence of female objectification is very much visible in the writing but one has to consider what Zizek and Lacan have to say in detail. Masochistic games or the notion of Das Dingare important factors to highlight but considering them as part of biological essentialist society, these ideals seem to be a perfect eye-catching and breath-taking ways of writing about women in verse. The nudity and the desperation to achieve the object can be termed simply as objectification or idealization of the conventions of the courtly love. However, to say that these are just instances of sexual perverted male gaze will again be an injustice to the writer’s work.
III-Conclusion
There is an existence of female objectification not just in Neruda’s work but in many other writings as well. To criticize these writers as male chauvinists would be unjust to a great deal. In the article, the purpose is not to blame these writers for highlighting the male gaze in their work but to question the biological essentialism that is prevalent in the pre-modern, but also in the modern society.
The poetry of Neruda might be just instances of romantic literature or erotic poetry, but the culture of masochist gaming or courtly gaming is, nonetheless, dividing the subjects into a subject and an object. The existence of women as an object can be damaging not for just the female psyche but the male psyche as well. Although psychology or biology play a very limited role in this entire debate, still the concept is an important aspect to discuss.
The writers of the ancient, pre-modern world considered objectification as part and parcel of their work and hence this culture persists to date. The purpose of this paper is to pinpoint such work that directly or indirectly objectifies women. Although a lot of research has been conducted on female objectification, still this research broadens the scope by amalgamating and questioning the ideals of courtly and predefined gender roles in love in Pablo Neruda’s work.
Funding
Funding for this paper came from author’s own sources. No external, third-party, or private sector funding to report.
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