Who So List To Hount Flashcards
Who was WSLTH written by?
Thomas Wyatt
What period did Wyatt write this poem in?
The Renaissance
What was the Renaissance?
The Renaissance began in Italy in the 14th century. Artists and inventors travelling from Italy brought this influence to England .
Renaissance translates to “rebirth” and marked a renewed interest in art and culture with famous poets like Wyatt and Shakespeare .
What is WSLTH about?
It is about a man who is in pursuit of a woman, who he metaphorically compares to a wild deer, he treats this pursuit as conquest however ultimately withdraws from the chase as he finds that she is unattainable because she belongs to another man (Caesar/ Henry VIII)
What is the barrier of love in WSLTH?
Society’s expectation of men
How could you introduce the barrier of love in relation to societal expectations of men?
Society’s expectations of men have consistently molded the discourse surrounding love, transforming it into a contentious arena where personal longing confronts external limitations. In Wyatt’s “Who So List To Hount” , deeply rooted in the knightly ideals of the Renaissance, the speaker illustrates love as a pointless quest, with the woman he longs for ensnared by the constraints of societal power and status, ultimately rendering her forever unattainable.
What would your TS be for WSLTH?
(Barriers to love)
Thomas Wyatt masterfully critiques the societal expectations placed on men—driven by rivalry, control, and the insatiable pursuit of power—that stifle the possibility of authentic love, offering a poignant reflection of the corrupt and treacherous intrigues within the Tudor court.
“Whoso list to hunt, I know where is an hind, / But as for me, alas, I may no more.”
BARRIERS TO LOVE
The speaker acknowledges the unattainable nature of the beloved (the hind). The line reflects how societal norms constrain men’s pursuit of genuine love, rendering it impossible and frustrating. The phrase “I may no more” suggests a sense of powerlessness within a context that limits men’s agency.
“Noli me tangere, for Caesar’s I am.”
BARRIERS TO LOVE
The hind’s rejection (“Noli me tangere” - “Do not touch me”) is an assertion of ownership by Caesar (a higher power, likely representing the king or political authority). This highlights societal control over romantic relationships, where men’s desires are thwarted by powerful external forces, such as political status or social hierarchy.
“Who list her hunt, I put him out of doubt, / As well as I may, I am not the hare.”
The speaker’s frustration is evident in this line, as he realizes he cannot control the pursuit. By saying “I am not the hare,” he acknowledges that men’s desires in this societal context are passive and often futile. This reflects how societal expectations (such as competition and status) turn love into a power struggle, preventing authentic connection.
“For she is with the Caesar’s care.”
BARRIERS TO LOVE
The hind belongs to Caesar, indicating that the object of desire is controlled by a higher social or political authority. This represents the societal barrier to love, where men’s romantic pursuits are restricted by powerful external forces—like political figures or social hierarchies—leaving little room for genuine affection to flourish.
“And wild for to hold, I think, no will.”
BARRIERS TO LOVE
The line suggests that desire, when constrained by societal pressures, becomes unsustainable. “Wild” represents natural, unrestrained feeling, but it’s quickly suppressed by societal expectations. This reflects how the pursuit of love in a rigid social structure is impossible, as men’s desires are curtailed by these “barriers.”
TS for masculinity for WSLTH
In Who So List to Hunt, Sir Thomas Wyatt explores the complexities of love and masculinity by portraying the speaker’s futile pursuit of an unattainable woman, reflecting both the competitive nature of male desire and the limitations of masculine power in the face of unrequited love and social constraints
“Who so list to hunt, I know where is an hind, / But as for me, helas, I may no more.”
(First stanza)
MASCULINITY
Hunting Metaphor: The speaker compares the pursuit of love to hunting, framing masculine desire as active and predatory.
Resignation: “Helas, I may no more” marks the speaker’s frustration and defeat, challenging the masculine ideal of dominance by revealing the futility of the pursuit. Love is presented as beyond the speaker’s control, undermining traditional masculine power.
“Noli me tangere, for Caesar’s I am, / And wild for to hold, though I seem tame.”
MASCULINITY
Power Dynamics: The phrase “Noli me tangere” and the reference to Caesar suggest the woman is claimed by a more powerful man (the King), limiting the speaker’s masculinity and ability to claim her.
Masculine Limitations: The woman’s “wildness” contrasts with her outward “tameness,” challenging the traditional masculine view of women as passive objects of desire. The line also explores the tension between desire and social hierarchies, where the speaker’s masculinity is diminished by the woman’s inaccessibility.
“And therewithal I cease to make a moan.”
MASCULINITY
• Resignation: The speaker’s decision to stop mourning signals his acceptance of defeat and acknowledges the limits of his power. This contrasts with the typical masculine expectation of triumph and conquest, suggesting that real masculinity involves recognizing one’s limitations in love.
For Caesar’s I am.”
(Second stanza)
MASCULINITY
Hierarchy and Submission: The speaker’s acknowledgment that the woman belongs to Caesar emphasizes the role of social and political power in shaping masculine identity. The speaker’s submission to a greater power challenges his masculinity, exposing the limits of personal desire in the face of larger social forces.
“Who so list to hunt, I know where is an hind.”
MASCULINITY
Objectification of Women: The woman is likened to a “hind” (a deer), objectifying her as something to be captured. The metaphor also reveals the male desire for conquest, but the speaker’s inability to attain her exposes the limits of masculine power and control in the pursuit of love.
“But as for me, helas, I may no more.”
MASCULINITY
Defeat and Vulnerability: The phrase “helas” reveals the speaker’s vulnerability and resignation. This challenges the expected masculine ideal of stoic strength and power, showing that love often leaves men helpless and frustrated, unable to control their desires.
“And wild for to hold, though I seem tame.”
MASCULINITY
Subversion of Gender Roles: The woman is described as “wild,” challenging the traditional view of women as passive or “tame” in romantic relationships. This undermines the masculine ideal of control and dominance, suggesting that both men and women possess agency and autonomy in matters of love.
TS for freedom and love in WSLTH?
In Who So List to Hunt, Sir Thomas Wyatt explores the tension between freedom and love by portraying the speaker’s pursuit of an unattainable woman, whose inaccessibility represents the constraints of both social hierarchies and personal desire, ultimately suggesting that true freedom in love is only possible when one accepts the impossibility of possession.
Quote 1: “Who so list to hunt, I know where is an hind, / But as for me, helas, I may no more.”
(First stanza)
FREEDOM AND LOVE
Freedom and Desire: The metaphor of hunting represents the speaker’s desire for freedom in love, as he actively seeks to pursue the woman. However, the line “helas, I may no more” reveals the speaker’s resignation, showing that true freedom in love is restricted by the woman’s inaccessibility and his own inability to control the outcome.
Limitation of Masculine Power: The speaker’s surrender highlights the idea that, despite his desire for freedom, he cannot escape the constraints of social and emotional limitations in matters of love.
Quote 2: “Noli me tangere, for Caesar’s I am, / And wild for to hold, though I seem tame.”
(Second stanza)
FREEDOM AND LOVE
Inaccessibility and Social Constraints: The phrase “Noli me tangere” (Do not touch me) and the reference to Caesar emphasize the woman’s inaccessibility, reflecting the constraints placed on both her and the speaker by social hierarchies.
• Limited Freedom in Love: The woman’s ownership by “Caesar” limits both her freedom and the speaker’s, suggesting that true freedom in love is impossible when love is subjected to societal power structures.
Quote 3: “And therewithal I cease to make a moan.”
(Conclusion)
FREEDOM AND LOVE
• Acceptance of Impossibility: The speaker’s decision to “cease to make a moan” reflects his acceptance of the limitations imposed on him by love. He recognizes that pursuing the woman, and seeking freedom in their relationship, is futile.
• Freedom Through Resignation: This resignation implies that the only freedom the speaker can attain is through the acceptance of love’s impossibility, suggesting that true freedom in love comes not from possession, but from letting go.
Quote 4: “For Caesar’s I am.”
FREEDOM AND LOVE
• Hierarchical Limitations: The statement “For Caesar’s I am” reinforces the woman’s lack of freedom, as she belongs to a more powerful figure. This hierarchy limits both her agency and the speaker’s ability to act on his desires.
• Restricted Love: The reference to Caesar suggests that love in this context is governed by power and ownership, with little room for genuine freedom or mutual connection.
