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informal essay on the passionate shepherd to his love and the nymph's reply to the shepherd
informal essay on the passionate shepherd to his love and the nymph's reply to the shepherd
informal essay on the passionate shepherd to his love and the nymph's reply to the shepherd
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Written only a year apart, Christopher Marlowe's "The Passionate Shepherd to His Love" (1599) and its seemingly contradictory retort, Sir Walter Raleigh's "The Nymph's Reply to the Shepherd" (1600), collectively set a fascinating scene. During a first read through of each of the poems, the plots seem fairly straightforward. However, one may be led to believe that Marlowe's poem was about nothing more than an eloquent confession of love and that Sir Walter Raleigh's reply was merely a rejection of that very confession. In reality, each poem contains much deeper meaning than is often interpreted during a first read through. The consistency of the "The Nymph's Reply to the Shepherd" being an exact opposite is mildly entertaining as every line of "The Passionate Shepherd to His Love" was individually countered and rejected. For example, "...we will sit upon the rocks," and "See[] the shepherds feed their flocks" being replied to with "Time drives the flocks from field to fold, when rivers rage and rocks grow cold." In the first line, Marlowe describes sitting on rocks watching flocks of sheep in the pasture below, while in the second Raleigh adds that the sheep have already been sent to their pens, no longer able to be seen, and the rocks intended for sitting will only grow cold. All of that being said, it can be seen upon closer examination of each of the poems that there is more meaning than just a rejection to a confession of love.
When reading these two poems one after the other, one of the first things the reader should notice is the two contrasting tones. "The Passionate Shepherd to His Love" describes everything with a highly optimistic tenor, while "The Nymph's Reply to the Shepherd" leaves the reader feeling cold and lonely...
... middle of paper ...
...tating that time continues on.
In conclusion, the apparent meanings and the actual meanings of Christopher Marlowe's "The Passionate Shepherd to His Love" and Sir Walter Raleigh's "The Nymph's Reply to the Shepherd" are quite different. With a more analytical outlook and taking the time to break up each line into more elaborate meanings, it quickly becomes clear that the poets put value not only to each word of the poems, but to the structure and order of the words as well. The use of rhetorical devices and rhyme schemes allowed these poets to engrave deeper messages into seemingly simple and pleasing pieces of literature and it becomes apparent that Raleigh's poetic reply was his way of arguing Marlowe's views of living in the moment in the form of another metaphor.
Works Cited
Magee, Dr. Bruce. Louisiana Anthology. Louisiana Tech University. Web. 15 Feb. 2014.
In the novel Their Eyes Were Watching God, Janie is a beautiful African-American woman who wants to explore and find love with a real man. She goes through a few men trying to do this, but at the same time she is unwillingly forced with these men who don’t affiliate with the love she desires. However, when Tea Cake marries Janie she gains self-determination when he expresses his love and affection to her that is qualifying factors of her love expectations. Therefore, Janie learns the value of true love and proves herself as a brave woman.
“Love is like the sea. It's a moving thing, but still and all, it takes its shape from the shore it meets, and it's different with every shore.” The main character in Their Eyes Were Watching God, Janie Crawford, possesses a seemingly unquenchable thirst for affection, and does not rest until she finds the man who is able to offer her the love she desires and believes to deserve. Janie defines love as a fluid force that is different with every man, and transforms with changing circumstances. Janie does not care to be wealthy, or to have high social standing; she wishes to be submerged in a sea of tenderness and to swim through waters of passion, and to be caressed by captivating waves of lust. Her idealistic conception of love and the corresponding desire for it developed from her sixteen-year-old obsession with a bee pollinating a pear blossom in the back yard of her grandmother’s house.
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When reviewing the work of Dylan Thomas, one can see that he changes his style of language, such as using metaphors and imagery, to fit each poem accordingly. In the poems, "Do Not Go Gentle into that Good Night," and "Fern Hill," which are the poems I will be looking at in this presentation, he uses different techniques and language to make each poem more effective to the reader. I have chosen these works because they are his most well known, I shall start off by reading the poem “Do Not Go Gentle…” even if it was written after Fern Hill, as it is the most famous of all his works. "Do Not Go Gentle into that Good Night" is addressed to Thomas' father, giving him advice on how he should die. The poem is a villanelle, which is a type of French pastoral lyric. It was not found in English literature until the late nineteenth century. It derives from peasant life, originally being a type of round sung. It progressed throughout the sixteenth and seventeenth centuries to its present form. For Dylan Thomas, its strictly disciplined rhyme scheme and verse format provided the framework through which he expresses "both a brilliant character analysis of his father and an ambivalent expression of his love towards him"(Magill 569 ).
This essay is anchored on the goal of looking closer and scrutinizing the said poem. It is divided into subheadings for the discussion of the analysis of each of the poem’s stanzas.
In the case of To His Coy Mistress by Andrew Marvall, a not-so-gentle gentleman is trying to woo a “coy” young lady with claims of love. This poem is strewn with hyperbole to the point that it becomes exactly the opposite of love. When there is such over exaggerated praise, it starts to lose the real meaning of the message. If you take a look at lines 13-18, you can see the obvious amplification:
Relationships between two people can have a strong bond and through poetry can have an everlasting life. The relationship can be between a mother and a child, a man and a woman, or of one person reaching out to their love. No matter what kind of relationship there is, the bond between the two people is shown through literary devices to enhance the romantic impression upon the reader. Through Dudley Randall’s “Ballad of Birmingham,” Ben Jonson’s “To Celia,” and William Shakespeare’s “Shall I Compare Thee to a Summer’s Day?” relationships are viewed as a powerful bond, an everlasting love, and even a romantic hymn.
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.
The tone and emotion of the poem changes as the speaker goes on. The first stanza of the poem convey...
I am going to start by comparing the form of each poem. The souls of
The use of figurative language and imagery in the two sonnets “How do I love thee” by Elizabeth Browning, and “Shall I compare Thee to a summer’s day” by William Shakespeare, convey complex emotions pertaining to love. The way that Shakespeare describes his feelings toward his significant other, suggests that he desires for the love he shares with his possible mistress to transcend death and last eternally. Mrs. Browning’s use of figurative language is more apparent, as she describes the various ways that she loves this particular person, expressing the extent of her intense unconditional love. Shakespeare uses personification of the Sun, during a summer’s day, to determine whether a summer’s day actually captures the essence of this individual that he loves so dearly. Shakespeare’s sonnet asks a question that he answers when he writes this person into an existence that will last for an eternity, which a limited summers day cannot. Shakespeare’s use of imagery and figurative language is more effective.
Both of the writers used flock of sheep in both of these poems. In the poem The Passionate Shepherd to his Love the Shepherd says “ And we will set upon the rock / Seeing the Shepherds feed their flocks”. Then in The Nymphs Reply to the Shepherd she tells him “Time drives the flocks from field to fold”.
Comparing Sir Walter Raleigh's "The Nymph's Reply to the Shepherd" to Christopher Marlowe's "The Passionate Shepherd to His Love"
They seemed to had deifted off from thinking about those above them, and instead started focusing on themselves more than anything else. This is evident by the large amount of poems about a significant other. Christopher Marlowe demonstrates this idea in “The Passionate Shepherd to His Love” by speaking about nature and how the “steepy mountain yield” all of the beautiful sights he sees (Marlowe 4). He is also describing this to his interest, and does not seem to even mention another entity throughout the whole poem, emphasizing the change to individualism. This change is also demonstrated in Sonnet 31 by Sir Philip Sidney were he brings up, “that busy archer,” referring to Cupid (Stanley 4). This shows that poets at the time were not afraid to go against what the Church would deem suitable at the time, so they wrote whatever they felt was best for themselves. The poets translated the idea of becoming more independent and not having to get so much from a higher entity, which could still be translated into
It is evident on first reading the passage that the language used is heightened and flamboyant, for example; ‘Like Almaine rutters with their horsemen’s staves’ (1.1.127). Figurative language, such as simile, is utilized here (Pacheco, p38), creating powerful imagery for the audience. Marlowe portrays the three friends as glamorous and their future achievements as worthwhile; however, he has subtle means of informing the audience that all is not as the characters anticipate.