Sexual Expectation for the Late 17th Century British Gentleman

Late17th century English oil paintings depicting seemingly flawless gentlemen with ostentatious attire and impeccably coiffed hair, often with a Bible or cross within view, compel modern man to associate Restoration England with intense prudery, exaggerated courtesy, and undying chivalry, when in fact it was a clandestine period of grandiose theatricality that often obscured sins and vulgar contradictions. British society expected men to maintain two distinct faces, depending upon the atmosphere of the situation, but these expectations generally correlated to whether that situation was public or private.

In public, society commanded a man to be undeniably polite, which meant refraining from expressing any extreme emotion or strong sentiment. Society only openly approved of men who always radiated a modest and dignified form of contentment in the company of others. Unfortunately, this unrealistic demand more often than not conflicted with human's natural desires and instincts, specifically in terms of sexual conduct. Earl of Rochester John Wilmot's carnal poems, "The Imperfect Enjoyment," "The Disabled Debauchee," "Song," "Against Constancy," and "Upon Nothing," establish the belief that a man should not only skillfully perform, but also be rapacious in their lascivious pursuits.

Late 17th society encouraged English men to play the main role in the bedroom. Wilmot's poem "The Imperfect Enjoyment" conveys the frustration of a man who suffers from a premature ejaculation while making love to his lady. The narrator portrays himself as a pathetic character for not being able to perform, hyperbolically stating, "But I, the most forlorn, lost man alive,/To show my wished obedience vainly strive:/I sigh, alas! and kiss, but cannot swive [screw]" (lines 25-27), convincing the reader that if he were a noble man of his time, he would be able to ejaculate accordingly.