Saying No and Saying Yes

Abstract

“Saying No and Saying Yes” turns at last from the speaker of the erotic invitation to its imagined auditor: the figure being invited to “seize the day.” Persuasion poets, of course, never expect acquiescence—the motif would hardly exist if ladies were easily seduced. However, Spenser’s The Faerie Queene and Milton’s A Maske are among those longer works that make room for very demonstrable acts of refusal, and both do so within an explicitly moral, Protestant context: Spenser via his knight Guyon (hearing Acrasia’s song in the Bower of Bliss), and Milton through his virginal and unnamed Lady responding to the libertine Comus. Despite some obvious similarities between these encounters, the two poets imagine remarkably different responses to the voluptuous invitations they feature. Spenser’s Guyon responds not with his putative virtue, Temperance, but vehement rage to Acrasia’s invitation in the Bower—becoming an agent of the very materialist forces he repudiates. Milton, on the other hand, imagines a place for chastity that is not built upon a sequestration of the self, but a willingness to seek, and find, trial. He thereby provides a model for perhaps the most “impossible” thought experiment of all, one in which a woman participates as an intellectual and rhetorical equal, and in whom eloquence, chastity, and desire can coexist. Milton thereby utilizes the trope to turn it on its head, constructing within it a forum for a proto-feminist articulation of agency and voice.