Jonathan Swift's The Lady's Dressing Room"

In this satire, Swift criticizes the idealized female protagonist from literature of his time. The character of Celia represents this ideal, and Swift describes how "The Goddess from her Chamber issues, / Array'd in Lace, Brocades and Tissues" (Swift 3-4). Obviously, Celia here appears beautiful and flawless, as conveyed by the word "Goddess." As the poem goes on, however, Strephon, who seems to be the male protagonist, enters Celia's dressing room and "[takes] a strict Survey, / Of all the Litter as it [lays]" (7-8).

Swift goes on to completely denounce Celia's beauty and demonstrate that it's all a facade, describing how naturally unperfect, and actually disgusting, this "Goddess" is. "A dirty Smock" has been "Beneath [her] Arm-pits well besmear'd," her "various Combs" are "Fill'd up with Dirt," and Strephone even finds "A Paste of Composition rare, / Sweat, Drandriff, Powder, Lead and Hair" (11, 12, 20, 21, 23-24). More negative connotations are formed with Celia when Swift speculates about "Hairs that sink [Celia's] forehead low, / Or on her Chin like Bristles grow," and "The smallest Worm in Celia's nose" (57-58, 64).

Obviously, these extensive descriptions convey Celia's naturally revolting state, but they also serve as a reminder of the old adage "looks can be deceiving," and imply that underneath all of these idealized females there may be an equally gross "Celia." Swift makes this point, describing his "pity" for Strephon in wondering if he "Should... the Queen of Love refuse / Because she rose from stinking Ooze" (131-132). Indeed, while Celia may look good on the stage in full makeup, Swift reminds us that "Such Order from Confusion sprung, / Such gaudy Tulips rais'd from Dung" (144-145). Is it wise, or even possible, to admire the beauty of a flower without considering the literal crap from which it rose? Swift's strong descriptions seem to argue that no, it's not.