"The dominant mode of ethical thought in the Renaissance held that passions must be governed by reason to ensure good order in society." Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay In Renaissance ethics there is a paradox: passions - by definition, "barely controllable" - should be controlled, and the success of a stable public sphere hinges on the control of one's private desires. This juxtaposition is seen in Christopher Marlowe's "Hero and Leander". The male protagonist uses oratory to seduce Hero, which was seen as the correct way to woo a woman. Despite his outward actions, his motive is lust. This presents an imbalance between the external, what is presented to society, and the internal, Leander's true nature and desire as a pursuer. To those who witness this show, Leander appears to be fulfilling his role as a Renaissance man, controlling his emotions. However, the consummation occurs and Venus no longer fulfills her role as a chaste priestess. Marlowe arguably presents an ambiguous view of the opening statement; the courting couple conforms to the outward ideals of governed passions but still acts on this mutual lust. The opening statement specifies that passions should be governed by “reason” and not by “passions.” Marlowe probably presents their relationship as encompassing both. Before their union, Leander makes an eloquent argument, designed to convince Hero to take him as her lover. The fundamental flaw in Leander's oral reasoning is his goal: to obtain Hero as a lover, as if he were an object. His speech then begins as reason, but descends to an inability to control his passions while his persuasion persists: Honor is purchased by the actions we do. Believe me, Hero, honor is no small thing. It is important for the reader to consider at this point that Hero is alone and without male relatives who would usually advise her. Therefore, Leandro's authoritative tone that pushes her to 'believe him' is perhaps the only advice she will receive and be able to follow. Marlowe's use of language mirrors Leander's intent: to persuade Hero that remaining a virgin for Venus' sacrifice is useless. The values ​​by which Hero lived his life, honor and chastity, are diminished through the verb "purchased", suggesting that Hero is an object to be purchased in Leander's words. There is also an undeniable irony in this statement. The protagonist claims that honor is achieved through the 'actions we do', which Hero has adhered to even in the actions she has not yet performed. However, he recognizes the power of his words and achieves his goal through persuasive rhetoric, a completely dishonorable act. This deception outlines the need to conform to society's ideals of repressed passion and the suppression of passions simply with words. In reality, Hero undermines this ethical thought by taking his virginity. It is also interesting to consider that, although this verbal argument is convincing to Hero, its effects do not work on Neptune, as his "profound and persuasive Orations fail" (Marlowe, line 710). This carries with it connotations of gender politics; The Hero submits to Leander because he is the weaker sex, while Neptune is wise in deceiving men. A further element in Leandro's oratory that suggests his desire for structure. The rising and falling intonation of iambic pentameter suggests a "give and take" motion, which has sexual connotations. This subtly in hisdesire seems almost threatening, as the reader is aware but must watch Hero succumb to his persuasion. So far, the use of words as representing "reason" has been examined in Marlowe's poetry. However, he also suggests that some passions are simply ungovernable, rejecting this Renaissance mode of ethical thought. When the two lovers first see each other, there is a significant lack of speech: 'Thus, while dumb beckons to their yielding stags entangled' (Marlowe, line 187). This 'silly' element implies that love a at first sight it simply happens and allows no opportunity to establish order. This unpredictability could be seen as a threat to society as it encourages uncontrollable passions between people who have just met. CS Lewis comments that: '...we do not see the lust but what lust thinks it sees.' This perhaps suggests a false aspect of their love; it could simply be lust, but recognized as love through this clouded judgment of desire is illustrated through the transition of pronouns. In the previous lines the two lovers were referred to separately as "he" and "she", but now they are automatically referred to as "they". Marlowe then seemingly rejects the opening statement and advocates relationships driven by passion, not reason. However, it is obvious that Renaissance society could easily condemn their “surrendering hearts.” This language implies that they are openly willing to fall in love, but it also suggests their desire to engage in sexual activity before marriage. This lack of control is further emphasized in the verb "entwined", which suggests that the two lovers are eternally linked in a mess of emotions. Traditionally, Renaissance epics end in death. However, Marlowe constructs a mock epic with this poem and the resolution is not death. However, there is still punishment for this "involvement" as Hero is "sent to hell" (lines 818). The fact that both parties were involved in the relationship is perhaps representative of 16th century gender politics, however it is Hero who is punished for sacrificing her virginity to Leander, not Venus. This suggests that while the characters may not continue to uphold this reasonable ethic of society, there will be consequences. However, Marlowe does not end the poem with total death, suggesting that the opening statement leaves much to be explored. Throughout the poem, Leander is considered so handsome that he is often mistaken for a woman. So the 'passions' that should be governed perhaps relate to homo-sexual, as well as heterosexual, relationships. Rebecca Yearling comments: 'they are homoerotic, or even homosexual, relationships, without being sodomitical'.[1] This is a seemingly paradoxical statement, especially considering that homosexuality was considered a crime against nature. However, Marlowe presents this controversial attraction between Neptune and Leander in the experimental setting of a poem. Leander is confused by the sea god's homosexual advances, as one would typically expect a male to be in the 16th century. The subject is therefore homoerotic, but the ambiguity means that the text is not "sodomitic"; the text as an object in society does not seem to pose any threat. This feminine vocabulary to describe Leander is used as Neptune preys "[on] his bosom, his thighs, and every lim" (Marlowe, line 673). The body parts named are traditionally feminine and suggest a vulnerability and naivety in the young Thracian soldier, highlighting that he does not yet possess the wisdom that comes with age. Furthermore, 1500-1900, 53 (2013) 53-71