Forsander

Madison Forsander
16 December 2017
Dating for Dummies from an OG and a Wanna-Be: A Psychoanalytic and Feminist Interpretation
of the Patriarchal Pathology within the works of Tyler, The Creator and Robert Herrick
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Abstract:
For as long as humans have functioned within a patriarchal society men have objectified
women. Contrary to popular belief, the millennial generation is not to blame for the degradation
of respect between the sexes. This societal pattern is blatantly evident with poets such as Robert
Herrick, to modern day hip hops Tyler, The Creator. Throughout their works both men exhibit
outright monstrous behaviors by fetishizing patriarchal female innocence, commodifying the
female appearance, and their unknown male gaze through stalking. Based upon their artistic
output, one might suggest that this is due to obviously low self-esteem and fear of intimacy. With
Tyler, The Creator being a dark, underground 21st century lower-middle class black rapper, and
Herrick a 17th century upper class white wanna-be Petrarchan poet, this specific patriarchal
pathology extends beyond all categorizations of time, race, and class.
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When Kanye West proclaimed everybody know Im a motherfucking monsternow she
claiming that I bruised her esophagus/ head of the class and she just want a swallowship (15-43)
in his song Monster off his 2010 Album of the Year My Beautiful Dark Twisted Fantasy,
nobody outwardly questioned Kanye. In fact, nobody dared question 2010 Kanye, rather we
praised and showered him with accolades. Even when he was blatantly objectifying women, by
degrading their worth and education to sexually explicit acts. When Dave Matthews Band so

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lovingly admits that I watch you there/ through the window/ And I stare at you/ You wear
nothing but you wear it so well (38-42) in their 1996 hit song Crash Into Me the general
public notes its whimsical romanticism and classic DMB qualities, alongside its countless
Billboard rankings. Despite these award-winning tracks, and popular opinion, the past 20 years
and the millennial generation is not entirely to blame for the degradation of respect and healthy
communication between the sexes. In reality there is evidence of parallel monstrous behaviors
from centuries past. Females are consistently forced to suffer through patriarchal monstrosity on
a daily basis, from catcalling to legally defined stalking.
Based on these patriarchal and historical facts, this work intends to question two
patriarchal powers, their personalities, and artistic output based on their treatment of the women
they express feelings (healthy or unhealthy) toward. While centuries have passed between the
lives of Tyler, The Creator and Robert Herrick, these two display an irrefutable connection based
on their works. This connection extends beyond all categorizations of time, race, class and
artistic medium. Seeing that Tyler, The Creators experiences are based in the traditional gangsta
rappers life in Americas urban centers in general and low-income minority communities in
particular, are replete with poverty, police brutality, drug abuse, educational inequality, high
dropout rates, and violence (Richarson 175). Tyler, The Creators day-to-day surroundings
drastically oppose Robert Herricks lifestyle. This displays an extreme paradox to Herricks 17th
Century, white, upper class live, functioning alongside the nobility and an educated population.
Despite these factors, both of these men produce similarly concerning pieces. Therefore, their
lyrical and poetic actions are based entirely in the fact they are men functioning within a
patriarchal society. Throughout their works both Tyler, The Creator and Robert Herrick exhibit
outright monstrous behaviors by fetishizing patriarchal female innocence, commodifying the

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female appearance, and their unknown male gaze through stalking. Based upon their works, one
might suggest that this is due to obviously low self-esteem and fear of intimacy. Despite living
centuries apart this patriarchal pathology can be seen first hand within selected works from
Herricks Hesperides collection as well as Tyler, the Creators album Goblin.
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Tyler, the Creators upbringing and familial issues also need to be considered when
evaluating the sexual and psychological development that created his current lyrical persona. It is
vital to recognize that all facts about Tylers childhood and relationships are based on his songs,
which leads on to question the legitimacy of the narrator. However, he is consciously creating a
history and persona for listeners to base their opinions off of, and that is one part of being an
artist. With the familial history that listeners have received via Goblin one would note that
traditional Freudian theories of sexual development accentuate the importance of parental figures
and how the child responds to their parents, both of the same gender and of the opposing gender.
In Tylers case, he recognizes his concerns regarding his parents within Yonkers. He states
Fuck the fame and all the hype, G/ I just want to know if my father would ever like me/ But I
dont give a fuck, so hes probably just like me/ A motherfuckin Goblin (45-48). Tyler
obviously admits his daddy issues and lack of relationship with his father. This tense
relationship mirrors Tylers relationship with his mother as well. He appears to have some
contact with her, but their connection is still strained. He explains I slipped myself some pink
Xannies/ And danced all around the house in and all-over print panties/ My moms gone, that
fucking broad will never understand me/ Im not gay, I just wanna boogie to some Marvin (2124). Apparently Tyler is insecure about what goes on while his mother is out of the house, and he
feels threatened both by her and other peoples impressions of what he does. The fact that he

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needs to specify that he is not homosexual is similar to the common phrase no homo which
peaked when Yonkers was released. In his 2013 chapter Boys to Men: Getting Personal about
Black Manhood, Sexuality, and Empowerment David H. Ikard distinguishes that This
expression is used almost exclusively by black men and typically in circumstances where men
are expressing affection toward another or articulating themselves in a way that could be deemed
weak or unmanly (86). Tyler falls within Ikards categorization, as a black male who lacks the
confidence as a male to compliment another man, due to the fact that he did not have a male role
model in his formative years. Based on his lyrics, Tyler, The Creator has a significant number of
interpersonal and psychological issues, that translate into his romantic relationships with
women.
Tyler, The Creators internal paradoxical self esteem issues are exceedingly evident in his
extremely popular song Yonkers. The first line consists of Tyler exclaiming Im a fucking
walking paradox- no Im not (2). This clearly sets the tone of his mental state and opinion of
himself overall. Tyler utilizes his lyrical abilities to subvert any conventional or reasonable
explanation of himself and his intentions. In her 2008 work Hip-Hip Honeys and Da Hustlaz:
Sexualities in the New Hip Hop Pornography Mirelle Miller-Young comments that hip-hop
proffers a space where the self is constantly refashioned and performed in ways that subvert
bourgeois values or responsibility, sexual propriety, and decency (265). Tyler clearly embraces
this opportunity that is given to hip hop artists wherein they are free to subvert all traditional
values and respectability. He continues this process within Yonkers by rapping openly about
his therapy and personal psychological issues. Tyler sates Heres the number to my therapist/
(Shit) You tell him all your problems, hes fucking awesome with listening (11-12). Based on
the societal taboo of discussion ones psychological treatment, Tyler is undoubtedly uprooting

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the norm. He is also openly projecting his own treatment on to others. This is just one example of
how Tyler actively goes against the grain and social norms, he is challenged by his psychological
issues, but rather than addressing them in a healthy manner, he chooses to mock and avoid a
conventional plan to improve his mental state. In keeping with his self diagnosis of paradoxical
tendencies, Tyler proceeds to talk down on his own therapist, insinuating that he is not in fact
being treated. He says for a fucking shrink, sheesh, I already got mine/ hes not fucking
working, I think Im wasting my damn time/ Im clocking three past six and going postal (1517). This development leaves Tyler at the will of whatever psychological demons he is fighting.
In regards to Tyler, The Creators self-image, based on his lyrics he is evidently lacking
in his own self esteem. This extends to his inability to accept criticism and the existence of any
threatening successful male figures. As a modern hip hop artist, Tyler, The Creator is forced to
tolerate criticism from all angles, and this is a daunting task within his psychological state. In
Yonkers Tyler admits Oh, not again! Another critic writing report/ Im stabbing any blogging
faggot hipster with a Pitchfork (39-40). Evidently, any negative criticism is not taken graciously
by Tyler, and he has a tendency to get violent toward those who threaten him. This is a prime
aggressive example of performance of hip-hop celebrity/pimp/player is a self-articulation that
makes use of black mens outsider status and reframes it as an oppositional and autonomous
masculinity (Miller-Young 273). Miller-Young argues that this aggression is based on the hiphop celebritys racial outsider status and in Tyler, The Creators case he is forced to turn to hyper
masculinity and violence to perform his self-articulation. This aggression is not only intrinsic,
but is also directed outward, at other successful male figures. In Yonkers Tyler claims that he
is Rapping as Im mocking deaf rock start clearly having no regard for artists outside of his
genre (one that is traditionally white) and those with disabilities (3). In this instance, he projects

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his disappointment and lack of societal acceptance on to other populations of men. This mindset
builds to targeting specific successful mainstream artists in Tylers threat that he will crash that
fucking airplane that that faggot nigga B.o.B is in/ And stab Bruno Mars in his goddamn
esophagus (26-27). When Yonkers was released, these two artists were particularly prevalent
in mainstream radio music, while Tyler, The Creator was and still remains to be a primarily
underground, dark rapper. He rejects these successful black male pop artists, and obviously
resents their opulence and popularity within the music industry. Tyler takes this even farther,
verbally attacking another, even more widely known male victim. He raps stating Jesus called,
he said hes sick of the disses/ I told him to quit bitching, this isnt a fucking hotline (13-14).
Jesus, being undoubtedly the most widely known, recognizable, and popular dark skinned man
ever, is not even excused from Tylers rage and resentment toward the recognition that he so
clearly craves, yet lacks within his life.
As a young man, Tyler is still extremely influenced by his friends and their opinions of
him, therefore these pressures influence his decisions and actions toward women. In She Tyler
admits that [I] Dont wanna seem like a punk pussy (31). He openly recognizes that his friends
influence him, which would lead one to wonder if he is attempting to compensate for somewhere
else where he may be lacking. This would explain why in Yonkers and She Tyler, The
Creator does not embellish upon his sexual endeavors, and attempts to accentuate his fears and
inability. He opens up with a very vulnerable admission And I finally got the courage to ask you
on a date/ So just say yes, let the future fall into place (50-51). This passage exhibits Tylers
paradoxical tendencies both within his inner dialogue, and interpersonal conversations. This
paradox is acutely seen in the fact that this statement, essentially moving toward romantic
feelings, is punctuated by the word cunt (47). Tyler has absolutely no hesitation in blatantly

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stating such a demeaning, derogatory term, followed by a romantic proposal three lines later
within the same song.
This young boy mentality toward relationships, sex, and women in general is
contradictory to the relations that he wants to have with his new neighbor throughout She.
Tyler, The Creator diverges from the common and appropriate approach to a relationship with a
woman. He surely belongs to the population of rappers [who] define their sexual agency in
ways that diverge from the traditional black middle-class adherence to respectability as the only
path to assess, opportunity, and citizenship. Of course, this self-construction is tied to the
performance of fantasy: fantasies of entrepreneurial empowerment, of sexual prowess, and of
power over women and other men (Miller-Young 274). Throughout She Tyler takes a very
disconcerting path to propositioning a woman. This is unquestionably due to his intrapersonal
issues that cause abnormal reactions, feelings and actions within interpersonal interactions and
relationships. His internal struggles and unconventional issues seep into social interactions
causing this boyish mentality and inability to participate in human relationships. Seeing that
Tyler, The Creator does not create healthy relationships internally, with himself, or hypothetical
situations, this effects other aspects of his life. Such as, his interpersonal communication and
relationships with other people. At the end of his second verse in She Tyler tells the new girl
on his block that We can begin the pretend game, I wanna be Finn from Adventure Time (39).
Adventure Time is a popular fictional animated show mainly for young adults, and Finn is the
main character. Finn is the last human in a post apocalyptic wasteland of mutated creatures.
Clearly, based on his adolescent internal filter, Tyler takes an inappropriate approach in his
sexual relationships.

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These issues clearly mirror those exemplified within Robert Herricks poetry. Any
encounter with the work of Herricks Hesperides creates an acute awareness of his deep rooted
psychological issues. Herrick explains The Frozen Heart of his, stating I freeze, I freeze, and
nothing dwels/ In me but Snow, and ysicles. For pitties sake give your advise (1-3). His
emotionless, cold, unchanging heart is evident throughout his work, in his opinions and actions
toward those around him. In his 2007 piece Robert Herrick and the Ambiguities of Gender
David Landrum mentions Herricks lack of conventional adult confidence and interpersonal
relationships is largely due to the fact that Herrick grew up in a home parented by the mother,
and he seemed to have felt the absence of his father, who dies shortly after he was born, almost
acutely (185). Without a positive male role model in his formative years, Herrick was robbed of
the opportunity to view a functional male, as well as a health romantic relationship in a safe
space. This unconventional upbringing prompted Herricks intrapersonal fears, impotence, and
threated attitude toward other males.
Another fear that clearly makes Herrick uncomfortable and fearful throughout this work
is the topic of other threatening males, and those who criticize him and his work. Herrick
mentions multiple noblemen by name within poems, and writes about them specifically.
However, he is aware of the implications if he refers to nobility by name, seeing that he is
experienced within the inner workings of proper classism. That being said, unnamed,
hypothetical people are at the mercy of Herricks emotional backlash. In Duty to Tyrants
Herrick argues that outraged peoples should Touch not the Tyrant; Let the Gods alone/ To
strike him dead (5-6). Although this reference might have been transparent to his
contemporaries, Herrick chooses to use his poetic influence to disseminate his political feelings.
The fact that he does not name this Tyrant appears extremely weak to modern readers. In this

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scenario, Herrick is impotent within his criticisms of the nobility, taking a seemingly strong a
potent stance on their leadership, while in reality he does not outright share his fear. Much like
any other artist at least somewhat in the public sphere, Herrick receives harsh criticisms of his
poetry. He is so insecure and lacks confidence in his work that in To Criticks he threatens
critics stating Ile write, because Ile give/ You Criticks means to live:/ For shed I not supply/
The Cause, theffect wod die (1-4). He places himself in a position to control the critics lives,
threatening to end their lives. Herrick is emotionally available in a positive manner only when a
woman is sexually vulnerable. The title of his poem Comfort to a Lady upon the Death of her
Husband is extremely clear in his intentions. Later in his Hesperides Herrick encourages the
woman to Dry your sweet cheek, long drownd with sorrows raineLady, now appeare/ Loke
to the peeping sprong-time of the yeare./ Off then with the grave clothes; put fresh colours on;...
Now let the Rose raigne like a Queene, and smile (1-12). Herrick is not confident enough to
approach a married woman, but he is fully capable of degrading the time that this woman spent
with her late husband, as soon as he passes. Herrick takes multiple differing avenues to exhibit
how severely threatened he is by those men around him, those who refer to him directly as well
as those who simply conduct their lives with companionship he so desperately wants.
Throughout his work Herrick is perpetually paranoid about aging and death, somewhat of
a constant artistic midlife crisis. In his 1970 work Robert Herrick's Persona John Kimmey
notes that as a narrator Herricks active role is that of an aging lover searching for rejuvenation
through the company of young mistresses (222). While the young mistresses are extremely
prevalent, and most basic theme within his works, Herrick also speaks to his own condition and
decline. In writing All things decay and die Herrick notes that All things decay with
timeThat Timber tallDroops, dies, and falls without the cleavers stroke (1-6). This

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metaphorical tree encompasses Herricks life overall, as well as his potential impotence. He
recognizes that his time will expire, both with sexuality, and with life overall. Although Herrick
would not be pleased with simply quietly withering away like any other aging artist. Rather, His
intent, like his creators, is to fashion poems that twill not die (Kimmey 224). Herrick
specifically explains The Argument of his Book has to do with a large cohort of topics, as well
as the fact that I write of Hell; I sing (and ever shall)/ Of Heaven, and hope to have it after all
(13-14). He chooses to write about everlasting topics, those that will outlive him, keep readers
interested for centuries to come following his death. Later, Herrick makes a very confident
request, that at the time of his death he may have/ A sacred laurel spring from[his] graveAs
the eternal monument of me (5-10). In keeping with his phallic tree metaphors, Herrick also
incorporates the symbolic meaning of victory, glory and success with the use of a laurel tree.
Herricks multiple mentions of death show his paranoia, and lack of heirs to the Herrick name.
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Due to Tyler, The Creators psychological, and potential physiological shortcomings he
seeks out innocent women, but even their innocence cannot subside his violent fantasies. Seeing
that he is constantly employing these boyish mindsets and actions, Tyler cannot handle a
potential adult relationship with a woman. So he turns to innocent women, such as the main
female character within She. This is the New girl [who] moved on the block (3). In 2011
when She was released, Tyler was 20 years old, and still referring to women as girls. Within
his own mind, and therefore his lyrics, Tyler is unable to create a realistic woman character,
instead he stands among rappers who create a rhetorical opposition between true/real and
untrue/unreal black women. (Reid-Brinkley 248). Tyler takes certain characteristics of the
female identity, and accentuates them, while others are completely disregarded. Innocence is

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traditionally imposed on a girl by society at large, and the microcosm of society within their
homes. Tyler, The Creator states Aint no man allowed in your bedroom/ Youre sleeping alone
in your bed (21-22). Both these lines and the She music video insinuate a strong male figure
that impose these rules upon the new girl on the block. The fact that this girl needs to be innocent
for Tyler to be interested in her highlights the dichotomy between the good black woman and
the bad black women functions such that poor and working-class women become scapegoats
for the pervasiveness of these representations of black women outlined in Shanara R. ReidBrinkleys 2008 article The Essence of Res(ex)pectability Black Womens Negotiation of Black
Feminity in Rap Music and Music Video (251). These rules therefore not only solidify her
innocence, but also attempt to urge this nameless girl into the good black women column.
Tylers new girl on the block is in turn forced to mimic the behaviors of the lady in order to be
intelligible within the signification of the cult of true womanhood (Reid-Brinkley 245). These
virtuous characteristics of true womanhood are twisted into sexually suggestive statements
such as night light hits off, turnin kisses to bites[I got] intentions thats right (She 24-25).
In one concise statement, Tyler transforms a timed night light into bites and in turn perverts her
innocence into a fetishized sexual fantasy.
Continuing with Tyler, The Creators incessant paradoxical, this female innocence only
heightens his violent fantasies. Throughout She there are multiple violent comments directed
toward other males, primarily the new girls exes. This consists of lines such as On my waist,
theres a black Glock (2) and If thats your ex, you should probably own a pistol (15). Tylers
physical violence toward men, specifically men who are a threat toward him, is fairly
impersonal. Guns are not a particularly personal means of harming or killing a person, the deed
can be done at a distance with one bullet. Although, Tyler, The Creator integrates gun violence

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into his personal, physical and detailed violent delusions for the new girl on the block. These
begin with Youll be down in earth quicker if you diss me tonight (She 26). This line
signifies that she will end up buried within the earth tonight regardless, but if she questions
Tylers masculinity this will only hasten the process. This morbid comment leads one to believe
that Tyler is threatened by her on some level, physically, mentally, sexually, or economically.
This fear only heightens the competition between black men and women for educational and
economic status within the limited spaces created by contemporary commitment to diversity has
strained black make and female social partnership (Reid-Brinkley 249). Going into the
interaction, Tyler believes that the two cannot coexist and he blatantly states his fantastical plans
to kill her. He elaborates in that One, two, youre the girls that I want/ Three, four, five, six,
seven, shit/ Eight is the bullets if you say no after all this (40-42). Guns are not a very personal
weapon, however, when one has a premeditated number of bullets that will penetrate the victims
body, it becomes personal and purposeful. Also, Tyler focuses on the accessibility, physical
characteristics, and self defense uses of a gun in regards to an ex boyfriend. While on the other
hand, when he mentions shooting the new girl on the block, he is focused on the number of times
the bullet- a foreign object- will enter her body. This is escalated with the continuation of Tylers
fantasy, he tells her I just wanna drag your lifeless body to the forest/ And fornicate with it but
thats because Im in love with/ Youcunt (45-47). Tyler, The Creators paradoxical
tendencies work their way into his feelings toward the new girl on the block, but the sexually
exploitative, violent side surely persevere. Abuse [is] often justified by stereotyping black
women as having loose sexual morals and the presumption that black womens bodies were
available to both white and black men without black womens consent (Reid-Brinkley 245).
This may explain Tylers aggressive manner toward the girl, and his violent fantasies. The

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mindset considered by Reid-Brinkley is definitely validation to someone in Tylers
psychological state, and can be viewed as reasoning for physically and sexually violating a black
woman.
Another plausible explanation for Tyler, The Creators exploitation of female innocence
plays into his physical shortcomings. In Yonkers Tyler says Bedrock, harder than a
motherfucking Flintstone (5). Bedrock can be another allusion to the Flintstones, and also to Lil
Waynes 2010 hit Bedrock. But this type of projection is only necessary when one is
overcompensating for what they are lacking. Mireille Miller-Young argues that Rappers
perform a kind of hypersexual black manhood, but cannot really perform as studs, because
doing so means living up to an impossible standard (at least ten inches long) that very few men
can achieve. These rappers prefer to perform the pimp or player, therefore, because performing
the stud would open their performances up to critique and vulnerability (274). This lack of
confidence in his sexual abilities transforms into begging in She. Tyler states Ill be th
happiest if you decide to kick it tonight/ We can chill and I can act like I dont wanna fuck/ You
can tell me all your problems like I really give one (27-29). He is not self-assured enough to
pursue a girl naturally, he is bargaining with her and being deceitful in his intentions. This
mentality is not that of a poised and confident man, but of a boy who feels he falls short of
expectations.
Herricks continual, borderline obsessive inclusion of innocent women and virgins is seen
throughout his Hesperides. Seeing that virginity is a social construct, formulated by the
bourgeois patriarchy, Herrick naturally uses this in order to categorize and marginalize women.
His work To the Virgins, to make much of Time blatantly explains his opinion on how virginal
women should conduct themselves. Herrick actively encourages innocent women to Then be

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not coy, but use your tim;/ And while ye may, goe marry:/ For having lost but once your prime,/
You may for ever tarry (13-16). With the minor, yet existing influence he had on societys
opinions, Herrick does not choose to encourage women to educate themselves, or to be righteous
religious followers, or even to settle down and be good wives. Rather than taking a traditionally
patriarchal suggestion, Herrick would rather encourage women to have sex, and as much as they
possibly can before they age and men no longer find them attractive. This is not even a benefit to
the women, the motivation clearly lies with the male population. In this way the
autobiographical and the fictional Herrick combine, the London-born poet and the chaste wooer
of innumerable virgins (Kimmey 232). He clearly has a personal investment in the sexual
explorations of the innocent women of the world. On himselfe Herrick continues with this
mentality, while incorporating his own twisted visions. He claims that I can play, and I can
twine/ Bout a Virgin like a Vine:/ In her lap too I can lye/ Melting, and in fancie die (3-6). This
fantasy is specific and based on the assumption that the woman is a virgin. It begs the question if
this is a reflection of Herricks own inexperience and fear of inability to perform. In his 2001
piece But Do Not So: Herrick's Ravishment and Lyric Address Darrell Hinchliffe notes
Herrick is exposed as a poseur, dwelling in an elaborately staged and implicitly effeminate
narcissism (307). This obsession with virginity is simply Herricks projection of his own sexual
insecurities. By fantasizing about innocent, inexperienced women, Herrick in turn avoids his
partner having expectations, and he cannot fall short if the woman does not have prior sexual
expectations to begin with.
This perversion is also blatantly clear in Herricks treatment of his hypothetical virgins
within his fantastical poems. It does not satisfy Herrick simply to sleep with these women, he
also needs to overpower them physically in order to be satisfied. In To Athena he even admits

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that there will be/ No spices wanting, when Im laid by thee (9-10). If he has a woman, he will
not want, not even for some of the most expensive and highly coveted resources in the 17th
Century. Despite this, Herrick clearly states that he requires much more than that, he needs to
have power over the women around him, to exercise his supposed patriarchal strength over
women. Within Ambition Herrick recalls that In Man, Ambition is the commonst thing;/
Each one, by nature, loves to be Kinn (3-4). Herrick normalizes the traditional patriarchal need
for power, the fact that men with inferiority complexes need to exercise their physical or sexual
power over the seemingly inferior women in order to feel masculine. While functioning within a
patriarchal society, Herrick cannot exercise power over men who outrank him. Therefore, his
desire to overpower women becomes overwhelming. Hinchliffe concurs that A series of
rhetorical performances give voice to the demands of masculine persuasive force upon a
succession of mistresses, in manners ranging from expressions of barely restrained
possessiveness to figurative, if not literal assault (305). It is quite concerning for an uppermiddle class man, aware of womens intellectual abilities, to demand such possession over them,
hypothetical or otherwise. Herrick narrates a scobble between a husband and wife in that he
whips his wife; and cryes,/ Hell slit her nose; But blubbring, she replyes,/ Good Sir, make no
morecute ith outward skin (1-3). Even with mutual marriage situations Herrick paints the male
as dominant, overpowering violent character. Herricks hunger for power is arguably most
obvious within poems that document his dreams.
Within his dreams, Herricks power normally exists in the form of violent phallic
imagery. Throughout Hesperides The metaphor of sexuality as war has unpleasant connotations
and casts the male in the aggressive role, the female as the vanquished (Landrum 187). There
are strong phallic allusions within The Dream in that Me thought, (last night) love in an anger

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came,/ And brought a rodto slave, where he before did sting (1-8). In the majority of his
violent works, Herrick blames his gruesome imagery on his dreaming subconscious in order to
avoid moral responsibility for his artistic output. Herricks most characteristic and widely known
work regarding his violent phallic dreams is The Vine. This work chronicles that I dreamd
this mortal part of mine/ Was Metamorphozd to a Vine;/ Which crawling one and every way,/
Enthralld my dainty Lucia (1-4). The entire poem goes into specific detail of how this
fantastical vine enthralls Lucia, but no reaction, positive or negative is given from the
hypothetical womans perspective. The entire encounter is entirely about Herrick, and the
woman, in this situation Lucia, is completely disregarded. The speech [within this
work]evokes a power relation: the assertive imperatives project a world he both desires and
regards as rightfully his, a world in which the conventions and codes of love serve to reproduce
his masculine sovereignty (Hinchliffe 313). This violent phallic imagery, and dream sequence is
entirely self fulfilling, working entirely for the patriarchal goal set.
One may assume that this obsession would subside with the death of such a strong poetic
personality, however, Herrick has plans to keep his compulsion alive. Somehow, Herrick
declares to have convinced his hypothetical corps of virgins to memorialize him after his death.
He claims that Virgins promisd when I dyd,/ That they wod eachcome,/ And with flowers
dresse my Tomb./ Having promisd (1-5). Herricks desire is frequently manifested as a
fearsome demand to possess and dominate, to extend the sovereignty of the ego over the Other
(Hinchliffe 305). In this case, similarly to the majority of his power struggles, involve himself
and a virginal woman. The careful selection of virgins is vital to his works. Herrick perverts
female innocent into a fetishized characteristic of women as an entire population.
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Tyler, The Creators questionable actions trickle down into how he approaches women,
or rather doesnt approach them through his stalker style. He blatantly states this in She saying
I just wanna talk, and conversate/ Cause I usually just stalk you and masturbate (48-49). Tyler
may be a stalker, but he is clearly a poor one at that, seeing that he openly admits this to his
victim. However, this does not concern him due to Hip hops keep it real, keep it street codes
of conduct, regardless of womens desires to abide by them and own them, are highly malecentric and regulated, and so women are often casualties in their own complicity outlined within
T. Denean Sharpley-Whitings 2007 book Pimps Up, Hos Down: Hip Hops Hold on Young
Black Women (74). Tylers male regulated view of the innocent new girl on the block gets even
more explicit. In the hook of She Frank Ocean exposes The blinds wide open so he can/ See
you in the dark when youre sleepin/ Naked body, fresh out the shower/ You touch yourself
after hoursBut check your window, (swag) hes at your window (17-23). In the reality of the
male-female interactions in the rap community, the black male takes precedence and power. But
this is largely due to the precedence set by these males in keeping black women below them, a
continual proletariat within the hip hop community.
In his lyrics, Tyler, The Creator is obviously obsessed with the physical appearance of the
new girl on the block, and women in general based on the way that he is objectifying,
quantifying and commodifying their bodies. This illuminates the contemporary significance of
sexuality, specifically an abundant, unrestrained, and commodified sexuality, to black
hypermasculinity (Miller-Young 273). Tyler cannot help but comment that Youre a pretty
broad in the top three (She 36) and I just couldnt take it, youre so motherfuckin gorgeous
(She 43). He undoubtedly would not be interested if this woman was not attractive. SharpleyWhiting recognizes that Hip hop cultures sexual expressivity is a marked contrast to the old-

Forsander 18
guarded code of respectable sexual conduct, and thereby holds itself out as freedom (even if it is
a mere perversion of freedom), a release. (65). She acknowledges that hip hop artists fully rebel
against past regulations on sexual expression in society and music, by completely freeing all of
their darkest sexual desires. Tyler, The Creator surely falls into this category in that he does not
hold in any of his thoughts that objectify and commodity the women in his lyrics.
Along with his positive physical comments, Tyler, The Creator also lets loose within
his critical impressions of the female physique. He raps that All I want, fuck money, diamonds
and bitches, dont need them/ But where the fat ones at? I got something to feed em
(Yonkers 32-33). Sharpley-Whiting comments that womens bodies are prefigured as
accessible, exchangeable, and expendable. Discussions- academic, fictionalized, and pedestrianhave given us plenty of insight and opinions into the historical exploitation and
misrepresentations of black female sexuality (63). In Tylers eyes, women are not seen as
human beings, rather they are a commodity that one collects and exploits. He refers to women in
such demeaning terms, reducing them to their appearances. His criticism is not exclusive to
weight, it continues on to beauty habits and upkeep. Tyler mocks Its been a couple months, and
Tina still aint perm her fucking weave, danm (Yonkers 36). As a man who has no idea what
is required of women nowadays to be viewed as appropriately groomed for society, Tyler, The
Creator has absolutely no credibility in this argument. He does not take into consideration the
time, economic or physical sacrifices that women make, nor does he care about their health
overall. He undeniably falls within hip hop generation mens merging worldview vis-a-via
black women, that is, in borrowing those fateful seven words from Kanye West, Black men
dont care about black women (Sharpley-Whiting 60). Seeing that Tyler, The Creator is not a

Forsander 19
mainstream rapper, he must adopt certain mainstream guidelines in order to stay relevant.
Evidently, he has adopted the mainstream objectification and degradation of women.
Despite Herricks dramatic, emotional imagery of women and being with them, he never
explicitly does anything with women, even his hypothetical Julia, one of his serial mistresses
(Hinchliffe 320). Rather than approaching a woman, talking to her, a potentially dating her,
Herrick renounces himself to being a lifelong Peeping Tom, stalking Julia from afar and
fantasizing about being with her. To Robert Herrick, Julia embodies the perfection of all females
and he is absolutely in awe of every aspect of her existencefrom a window without her
knowledge. She is completely oblivious to the fact that his male gaze is consistently and
forcefully entering her life. It is quite possible that The certainty of the face-to-face is either too
appalling or too chastening. It is as if the masculine pose, which can remain so confident when
confined to the realm of signs and codesis revealed as hollow at the point of its imagined
encounter with the mistress (Hinchliffe 314). Herrick may have internal intentions to approach
Julia and act on his emotions, however this encounter never comes to fruition.
Within Hesperides Herrick is constantly writing about, to, or in reference to something
regarding Julia. In Upon Julias Voice he alleges that her voice is So smooth, so sweet, so
silvry, is thy voice/ But listen to thee, (walking in they chamber) (1-3). Julia is not speaking
directly to Herrick, nor does she say anything specifically that he can refer to. Also, she is in her
chamber which is her bedroom, her personal space that Herrick has infiltrated presumably
without her approval. His poems move between extremes of a passive, self-absorbed
inwardnessand a concern for the dynamics of a relationship with a woman as-other
(Hinchliffe 305). Herrick is so insecure within interpersonal interactions, and so enveloped in his
own mind that he cannot recognize the twisted pseudo relationship that he has fabricated

Forsander 20
between him and Julia. Herrick describes Julias bed in Her Bed as a Cloud as silver cleare,/
Plump, soft, & swelling every where (1-2). With the exception of the adjective soft,
theoretically, every bed is soft this is not a unique characteristic, all other explanation of Julias
bed is through imagery, insinuating that Herrick has only seen Julias bed. He has not been in it,
and therefore cannot speak to the physical attributes of her bed outside of its appearance. David
Landrum notes that the imagery he uses suggests the softness and passivity that was also seen as
a proper social role for women (Landrum 182). This is seen within the description of the
woman herself, as well as all objects owned for or connected to that woman.
Naturally, Herrick is obsessed with Julias appearance, along with her clothing, or lack
thereof in certain situations. In Upon Julias Clothes he elaborates on her physical appearance
and dress. Herrick states that When as I silks my Julia goes,/ Then, then (me thinks) how
sweetly flowes/ That liquefaction of her clothes./ Next, when I cast mine eyes and see/ That
brave Vibration each way free;/ O how that glittering taketh me! (1-6). Simply his physical
explanation of Julia based on his unknown male gaze is a combination of fantasy and masculine
desire is so boldly stated as to seem prurient, the assertion of subjection (Hinchliffe 308). His
focus is entirely on her physical, outward appearances, something that Herrick subjugates with
his critical eye, judgment and pleasure. There is not even a footnote regarding Julias personality,
thoughts, emotional strength, or talents. Which makes it extremely clear that Herrick is not at all
interested in anything about Julia other than her appearance.
Utilizing his stalking skills, Herrick continues his commodification of Julia, however he
is not only concerned with her clothing choices, but her physical body overall. In his work No
Loathsomeness in love Herrick perverts this sweet sentiment to parallel the qualities he deems
necessary in order to love a woman. He begins stating What I fancy, I approve with

Forsander 21
characteristics such as height, architecture of the nose, incongruities of the forehead and eyes,
cheek depth, and lips (1-14). Not only is there a high, likely unobtainable expectation for the
physical appearance of women, but Herrick consistently compares his serial mistress, Julia, to
precious gems.
Herricks direct comparisons of Julias body parts to gems signals a clear
commodification, or sign exchange value correlation between theses two objects. An initial
mention of this is found within The Rock of Rubies: and The quarrie of Pearls Herrick notes
that if Some askd me where the Rubies grew?...with my finger pointed to/ The lips of Julia
similarly, Some askd how Pearls did grow, and where/ Then spoke I to my Girle,/ To part her
lips, and shewd them there/ The Quarelets of Pearl (1-8). Not only does Herrick claim
ownership over Julia physically and socially, but he also places monetary and societal value on
her physical body. Thus, in his warped thought process, making ownership over Julia, his own
object, more impressive. In this manner, Herrick follows Karen Rabers patriarchal
predisposition from her 2011 work Chains of Pearls: Gender, Property, Identity which outlines
the argument that pearls usually speak about a virtue that denotes women in terms of male
property interests, indicating proprietary control, sexual policing, bodily exploration, and
ownership, the social life of pearls in early modern England reveals them to be a remarkably
liable commodity (160). When in reality Herrick is degrading the female population, and
womens value as human beings. Referring to pearls specifically is a clear connection to a yonic
symbol and therefore the womans chastity. Seeing that pearls are extremely porous and
vulnerable jewels Herrick creates the connection that, pearly chastity damaged by mere airy
nothings is terrifyingly fragile (Raber 163). This commodification to pearls poses a direct

Forsander 22
connection to Julias innocence. Just as society fawns over the beauty of pearls, Herrick obsesses
over Julias innocence and chastity.
+++
It has clearly been shown that there are undeniable connections between Tyler, The
Creator and Robert Herrick based on their works Goblin and the Hesperides. These monstrous
connections can be boiled down to their intrapersonal issues, their obviously unhealthy mental
states and need for psychological therapy. Also, both of these patriarchal artists exhibit a
fetishized view of female innocence, each demonstrates an obsession with their hypothetical
partners experience, or preferred inexperience. Lastly, both Herrick and Tyler exercise their
unknown male gaze through stalking Julia and the new girl on the block, respectively. While this
connection between these artists does in fact transcend centuries, race, social status, and means
of artistic expression, this does not conclude the importance of this patriarchal pathology. The
importance of this pattern lies within womens knowledge and intolerance of these actions. This
pathology is entirely patriarchal, and is clearly an active threat against the female freedom and
privacy. No woman deserves to be fetishized and stalked by a dysfunctional peeping tom, the
matriarchy must end the unconscious suffering of our Julias and new girls on the block.

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Forsander 23
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