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Shakespeare elizabethan theatre
Shakespeare elizabethan theatre
Analysis of Shakespeare
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Meanings of “Sex without Love” by Sharon Olds Poets often times share their opinions through their poems. It is not always easily understood. Poets use metaphors, similes, and play with their words to show how they feel about a certain situation. In “Sex without Love” by Sharon Olds, a lot of this comes into play. Sharon Olds is not incredibly fond of those who have sex without love. This, one can easily figure by the first line in her poem, “How do they do it, the ones who make love/ without love?” Throughout the poem, we can see how she feels, such as in line five where she refers to those in the act as “steak”; she could be trying to make them out to be just a two pieces of meat; using one another for pleasure. She then uses a simile and says, “Wet as the/ children at birth whose mothers are going to/ give them away.” (Olds 6-8) In these lines, she is referring to the babies that can be conceived in the act of sex without love that mean little to these two people, so they are just given up right at birth. With this, the reader can also see that she thinks this act is irresponsible and can result in a mistake. When Sharon says, “How do they come to the/ come to the come to the God come to the/ still waters, and not love/ the one who came there with them”(8-11), one can see she is also …show more content…
In “Sex without Love”, from the beginning the reader can see that Olds is not very fond sex without love, but looking closer into the poem the reader can see that it intrigues her. She even seems to tip her hat to those who can have sex without love. Though she shows fascination in those who have sex without love, she still makes it clear that she just would not be able to do it and does not usually like when others are involved in this act. In a short poem, Olds finds a way to use metaphors, similes, and much more to show how she
Things like imagery, metaphor, and diction allow poetry to have the effect on the reader that the poet desires. Without these complex and abstract methods, poetry would not be the art form that it is. In Alan Dugan’s poem “Love Song: I and Thou”, he uses extended metaphor and line breaks to create tone and meaning in this chaotic piece.
The speaker is supposed to be writing a love poem to his wife, but the unmistakable criticism he places on her makes one wonder if this is really love he speaks of. It may not be a "traditional" love story, but he does not need to degrade his wife in this manner. Reading through this poem the first time made us feel defensive and almost angry at the speaker for criticizing his wife so badly. Although it is flattering to be the subject of a poem, we do not think many women would like to be written about in this way.
“We make love and the dry sheets crackle in blue sparks” (25). This was clearly a reference to a sexual encounter by the main persona in the poem. “Water slides vein by vein over the face of stone” (25). This is the physical act of weeping by the main character. At this point, I do not feel like the author has conveyed anything significant, but that is when I noticed something interesting. The author just described two very intense and opposite emotions in quick succession; sex, which is an emotionally uplifting experience, and then weeping, a form of emotion that occurs in extreme distress. The act of sex could not prevent the main persona from feeling piercing sadness immediately after the act, a sadness which pushes the main character to the point of
Love and Lust in Play-By-Play, Sex without Love, and Junior Year Abroad. Lust is an incredibly strong feeling that can prove to be almost uncontrollable, leading it to commonly be mistaken for love. Due to the relative closeness of these emotions, both are often confused, and even when one is in love he or she does not recognize it. Many think that love just comes knocking on one's door and one will know when it does, but they don't realize that for love to occur, a relationship has to be worked out.
One of the characteristics of Sharon Olds' poems is she likes to focus on bodily experience. And inside this poem, Sharon Olds frequently uses similes to help the audience to imagine the actual events of sex. For example in line 2, Olds uses "Beautiful as dancers" to describe the beauty of making love, but at the same time she also questions how people can do such a beautiful thing with someone whom they are not in love with. Another simile the poet uses in line 6, 7 and 8, "As wet as the children at birth whose mothers are going to give them away," and line 11, 12 and 13, "light rising slowly as steam off their joined skin...
...s to express their poetry. These poets use different elements of poetry in make their own poems unique. Using specific forms of poetry will make the poem more rhythmic highlighting key aspects of the poem. Snodgrass' decision to use first person narrative brought out the closeness he had with his significant other. In contrast, Olds' choice of third person allows the reader to interpret the poem differently as if it was first person. These perspectives of narration are required to portray different aspects of love in poetry. However, these two poems connect well with one another. Since Olds' writes her poem about how individuals have sex without love. Snodgrass' poem does not see the problem with one-night stands and seems to partake in one of his own. These two poems share a great deal of differences; however, they both express their views on the same theme: love.
In the situation of Georgina there is a sentient need for a creative and rewarding relationship. This physical-psychological desire, however, does not have love as the basis of a long-term, deep emotional relationship between two individuals (Goldman, Philosophy of Sex, pp. 78-79). It is more the bodily desire for the body of another that dominates her mental life (Goldman, Philosophy of Sex, p. 76). In the Georgina's need for...
She asks him if she was unworthy of having him as a husband, or if she was not mother material. The speaker is disagreeing with modern society’s idea of innocence equalling beauty, as she “counted rosiest apples on the earth / Of far less worth than love” (19-20), meaning that she had met other women that we less equipped to become wives and mothers than she, disagreeing with the fact that simply because she was impure does not mean she could be a bad mother. Again, in “Cousin Kate”, the speaker is ridiculed by society but the man she was once romantically involved with is not. Since she is wooed by him, her master, she indulges in her sexual desires and engages in premarital sex. Due to this, the man deemed the woman a whore as the rest of society did, and cast her aside. Instead of seeking love in this now “unclean thing” (15), he goes to her cousin, who is “good and pure” (25) and “bounds [her] with his ring” (26). The speaker suggests that her “love was true” and cousin Kate’s love “was writ in sand”, implying that her love could be washed away as easily as sand on a beach, therefore it was illegitimate. According to society and the lord, a woman who pretends to love a man is better than a woman who lacks sexual
At the start, the first stanza of the poem is full of flattery. This is the appeal to pathos. The speaker is using the mistress's emotions and vanity to gain her attention. By complimenting her on her beauty and the kind of love she deserves, he's getting her attention. In this first stanza, the speaker claims to agree with the mistress - he says he knows waiting for love provides the best relationships. It feels quasi-Rogerian, as the man is giving credit to the woman's claim, he's trying to see her point of view, he's seemingly compliant. He appears to know what she wants and how she should be loved. This is the appeal to ethos. The speaker seems to understand how relationships work, how much time they can take, and the effort that should be put forth. The woman, if only reading stanza one, would think her and the speaker are in total agreement.
In the poem "To his Coy Mistress" Andrew Marvell tells a subtle and valid argument as to why women should fall in love with him. He attempts this through form and imagery and through manipulatative reasoning. Marvell, a well-known politician, held office in Cromwell's government and represented Hull to Paraliament during the Restoration. Sharon Olds' poem "Sex without Love," uses imagery to question how sex is fullfilling without love. Sharon was born in San Francisco on Novemeber 19, 1942. She earned a Bachelor's Degree at Stanford University and a PhD at Columbia University.
Poetry is not only a brilliant form of expression, but also a powerful tool for persuasion. The renowned metaphysical poet John Donne uses the genre for this very purpose in “The Flea,” a work in which he encourages a young woman to have premarital sex with him. Donne backs his argument by referring to a flea that has sucked his own blood as well as his lover’s. In the first stanza Donne assures the woman that sleeping together would be a minor act. When he says “How little that which thou deniest me is” he promises the woman that the act would be as miniscule as the flea is in size (1.2). Also, by using the word “deniest” he tries to make the women feel a sense of guilt, as if she is depriving him of something that he is rightfully entitled to. He goes on to say that “in this flea, our two bloods mingled be” (1.4). As the footnotes point out, this borrows from a notion presented by Ovid that the mixing of bloods occurs during sexual intercourse. When Donne states that such an event is not “A sin, nor shame, nor loss of maidenhead” he is saying that there is no need to cast judgment on the mingling that has occurred. “Loss of maidenhead” implies losing virginity, so the speaker is telling the lady that she should not feel any guilt over such a thing. This would certainly contradict the cultural standards of the time, yet Donne plays it off as nothing to fret over.
...ng about how they want to take the uterus out, she said that “they said you were immeasurably empty/ but you are not” with those lines, they are trying to say that she is empty inside and she refuse to believe, there we see how a woman would feel with such a big thing for them, maybe women would think that they are losing their female power. Basically this poem is showing how a woman would feel and what she is thinks about her body. A poem in where Anne Sexton expresses the struggle of being a woman.
The Broke Female The 60’s was certainly a time of women’s curiosity and venture outside of the norm “homemaker” role. Women not only found pleasure in the world, but in themselves as a whole and as a woman. Sex and the Single Girl by Helen Gurley Brown played an important role here as her intent was to guide women - or more specifically the single woman - in her pursuit of independence and pleasure. Sex and the Single Girl most definitely lead the readers on to believe that it was to empower women; even to break away from the norm and advocate the unattached female. My response will focus on the contradictory nature the guidebook, and other literature like Cosmopolitan, create when advising a woman to do and be something on the one hand while having an underlying message on the other.
The poem is basically all about how much irony is brought out throughout the world; and how it is expressed through people's emotions and their actions. Irony is when “the use of words to convey a meaning that is the opposite of its literal meaning”(http://www.dictionary.com/browse/irony?s=t) . Sometimes certain things are difficult to talk about even with people that your comfortable talking
He is simply mocking this idea that people hold about love, that this man can actually fall in love with this woman after three days, and only keep loving her if things don’t change at all. He is trying to say that yes, you love someone as they are but if things change, your feeling shouldn’t change either. There is no shift in the tone of the poem, the tone of mockery, and humor, stays within in the play along with the idea of this man only finding interest in this woman for her beauty and nothing more(“Had it any been but she And that very face, There had been at least ere this A dozen dozen in her place” (stanza