Still to be neat, still to be dressed

Fiction | Poem | Adult | Published in 1609

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Summary

Background

Poem Analysis

Themes

Symbols & Motifs

Literary Devices

Symbols & Motifs

Cosmetics

In his exploration of the deceptive nature of a woman’s appearance, Jonson uses cosmetics as a recurring symbol. The unnatural and undesirable qualities of cosmetics are reflected in the overwhelmingly negative diction choices he employs in the first stanza, like “presumed” (Line 4), “hid” (Line 5), and “not” (Lines 5, 6, 6). As cosmetics were associated with prostitution and theatre, make-up was seen as inherently deceptive and immoral. In this way, Jonson comments on how a woman performs her femininity and sexuality when he refers to the woman’s need to still be “powdered” and “perfumed” (Line 3). While she is trying to entertain societal standards of beauty, the speaker criticizes her for performing the wrong type of femininity and sexuality. The speaker presents the alternative to all cosmetics symbolize when he refers to natural, physical parts of her appearance in stanza two, like her face and her hair, instead of the tools of manipulation. The speaker equates “simplicity” with “grace” (Line 8). Other uses of positive diction used during the second stanza, like “free” (Line 9), reinforces the positive associations of a natural and chaste woman.

The Body

Jonson uses the body itself as a symbol within the poem. Throughout the 12 lines, the body stands for a person’s emotional and moral state. For example, the speaker breaks the woman into parts, like her hair and face, to define her character. Her face can reflect her moral character, whether it is the duplicitous and disguised character of an adulterer, or that of the plain and unadorned chaste woman.

This use of body parts extends to the speaker in the final lines of the poem. He uses his eyes to represent appearances and his heart represents his love and devotion. This was a smart choice on Jonson’s part, as humans are all a sum of their parts and even today, certain body parts are connected with emotions.

Art

In a brief poem of only 12 lines, any repeated word carries weight. Twice, the speaker uses the specific term “art” (Lines 5 and 11), highlighting its importance. The dual usage of the term implies two definitions at work: Art can be considered the creative result of many hours of effort, and it can also be thought of as a false construct only mirroring reality. In the first use, the speaker says, “art's hid causes are not found” (Line 5), meaning that although the woman’s efforts to decorate herself may be considered artistic to those who see her, they ultimately hide a part of the woman she does not want the world to see. While she may have pure intentions, the very use of make-up gives the outward suggestion that she is engaging in a deception.

In the second use of the term, the speaker refers to “th'adulteries of art” (Line 11). As the audience understands “adulteries” to mean deception or unfaithfulness, the speaker’s statement implies that any excessive adornment beyond one’s natural beauty may indicate a woman’s infidelity. If a woman hides her true self through cosmetics, what else might she be hiding? Jonson relies on his audience’s understanding of his specific diction choices in this poem to make connections between the nature of art versus the nature of women’s natural appearances.