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A Comparison of 'The Passionate Shepherd to his Love' and 'The Nymph’s Reply to the Shepherd'
In Elizabethan times poetry was a very important part of Elizabethan
life. Elizabeth 1st adored plays and poetry and was a major patron,
meaning that in a way she encouraged sponsorship of the writers and
poets of her time, so that they were encourage to perform and write.
These two poems are examples of pastoral poetry, a form of poetry that
deals with the lives of shepherds and shows a contrast between the
innocence and simplicity of rural life, compared with the
artificiality of city and court life. The pastoral dramas first
appeared in the 15th and 16th century. “The Nymph’s Reply to The
Shepherd” is a parody as it is a reply to “The Passionate Shepherd to
his Love” and answers verse by verse, the original poem. It alters it
to make a point about reality and time passing, but is quite humorous.
Sir Walter Ralegh-writer of “The Nymph’s Reply to the Shepherd” was
born in 1552 and was the discoverer of tobacco and potatoes. He was a
good friend to her majesty, Elizabeth I who knighted him and appointed
him Captain of the Queen’s Guard. He was then found out to have
married one of Elizabeth’s Maids of Honour and so was locked in the
Tower of London where later on, in 1618, he was beheaded for being a
“traitor”. Christopher Marlowe-writer of “The Passionate Shepherd to
his Love”, was born in the same year as Shakespeare, 1564, and was the
son of a shoemaker. Many believe that he was a rival playwright to
Shakespeare. He (Marlowe) received his Batchelor of Arts in 1584 and
his master’s degree in 1587. Marlowe was thought to be a spy and when
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...eginning.
In the nymph’s last verse, I feel that she is softening and realises
that she actually wants to live with the shepherd and have all the
things he is promising her but she realises life cannot be like that.
She explains in her last verse that if only they could both be young
for ever and that love got stronger and happiness lasted then she
might live with him. There is a sense of regret in this verse but she
is gently sarcastic too, by imitating the shepherd’s use of
alliteration and his last line.
From studying both these poems, it is clear that throughout there is a
sense of love, but one person is showing their feelings, the shepherd,
and the other is showing how the effect of time changes everything,
the nymph. It is clear that the nymph’s poem is a parody and twists
phrases from the original poem.
“The individual human mind. In a child's power to master the multiplication table there is more sanctity than in all your shouted "Amens!", "Holy, Holies!" and "Hosannahs!" An idea is a greater monument than a cathedral. And the advance of man's knowledge is more of a miracle than any sticks turned to snakes, or the parting of waters! But are we now to halt the march of progress because Mr. Brady frightens us with a fable?”
Comparing The Passionate Shepherd to His Love and Nymph's Reply to the Shepherd. and the stark contrast of the treatment of an identical theme, that of love within the framework of pastoral life. I intend to look at each poem separately to give my interpretation of the poet's intentions and then discuss their techniques and how the chosen techniques affect the portal of an identical theme. The poem The Passionate Shepherd to His Love appears to be about the Elizabethan courtly ideal of living with the barest necessities, like.
The poem “The Wife's Lament” the wife is face with being thrown into exile and he urges for he old life where her and her husband can lived in happiness. He journey come about when her husband, who is the Lord, exiles her. His family came between the two of them and inevitable caused their separation, although it isn’t clear in the poem what was the exact event that caused her banishment. The wife is then forced to relocate to the woods and there she spend her days pondering on a life of happiness with her husband. She talks about her husbands feeling towards the situation,saying ”Then I learned my Lord was like myslef”(Wife's Lament 18). She says this about her husband because they both feel betray...
Through her many allegories, Hurnard echoes God’s call for His children to joyfully love, trust, and obey Him. She encourages her readers through the call of the Shepherd to strive after true satisfying love by forsaking thei...
Love in Desire's Baby by Kate Chopin, The Passionate Shepherd to His Love by Christopher Marlowe, and The Nymph's Reply to the Shepherd by Sir Walter Raleigh
The purpose of the sorrowful imagery in "The Garden of Love" was to create a negative mood and the purpose of the love-filled diction was to create a positive mood, but to take it one step further one must ask what the purpose of establishing these contrasting moods in each poem? "The Garden of Love" contains depressing images and has a gloomy mood to portray hell as the epitome of depression and negativity whereas "The Shepherd" contrasts this setting by using friendly diction to create a joyful mood to portray heaven as the quintessence of joy and peace.
Lance’s excessive contrasting of Crab with each of the members of his house emphasizes Crab’s expressionless departure from them. Lance clearly does not seem to possess any misgivings about Crab’s indifference in relation to the fact that he is a dog, as Lance recounts the distress of his cat, who wrung her “hands” (2.3.7) which by her very nature, she cannot have done. Similarly, Crab likely does not weep because he cannot weep, a notion that Lance seems to overlook. Lance’s desire to see Crab weep is perhaps pertinent in that his speech occurs immediately following an exchange of vows between Proteus and Julia, before Proteus departs for Milan. Proteus remarks of the weeping (and now absent) Julia, “What, gone without a word? / Ay, so true love should do. It cannot speak” (2.2.16-7). That Proteus should make such a claim undermines his vows to Julia, as well as the Petrarchan mode of love, which aims to win the woman with words. Because of the proximity of the two scenes as well as a similar intent on weeping expressing true emotion, it is perhaps possible to read the interaction between man and dog as a mocking representation of the lovers and their separation. While neither Lance nor Crab seems to face detachment from a lover, Lance is nonetheless concerned with the manner in which one expresses a true emotion, such as sadness or regret.
The Flea and To His Coy Mistress are two poems written by poets living during the Renaissance Period. To His Coy Mistress was written by Andrew Marvell and The Flea was written by John Donne. Both of these poets were well-educated 'metaphysical poets', and these poems illustrate metaphysical concerns, highly abstract and theoretical ideas, that the poets would have been interested in. Both poems are based around the same idea of trying to reason with a 'mistress' as to why they should give up their virginity to the poet.
The Passionate Shepherd to his Love and The Nymphs Reply to the Shepherd are both four line stanzas. They are both pastorals as well which means that the are replies to each other. The Nymph is replying to the Shepherd saying that he really doesn’t love her saying his love is fake.
The overall gist of "To His Coy Mistress" is established in the opening stanza of the poem. It describes a sceneario where a girl has the option to either give in to the young persuaders sexua...
...s the rest of her life to herself. She may once again weep for him, but ultimately her freedom overshadows this.
Love in "To His Coy Mistress", "Shall I Compare Thee," "Let Me Not," and "The Flea"
Reason and love in A Midsummer Night’s Dream Shakespeare’s A Midsummer Night’s Dream is often read as a dramatization of the incompatibility of “reason and love” (III.i. 127. Yet many critics pay little attention to how Shakespeare manages to draw his audience into meditating on these notions independently (Burke 116). The play is as much about the conflict between passion and reason concerning love, as it is a warning against attempting to understand love rationally. Similarly, trying to understand the play by reason alone results in an impoverished reading of the play as a whole – it is much better suited to the kind of emotive, arbitrary understanding that is characteristic of dreams. Puck apologises directly to us, the audience, in case the play “offend[s]” us, but the primary offence we can take from it is to our rational capacity to understand the narrative, which takes place in a world of inverses and contrasts.
Her thoughts and decisions are anything but just and ethically correct. She has not been fully experiencing the joy that marriage should have brought. She felt the death of her husband as the beginging of her new world. Her dream and excitement of entering