This passage revolves around the poet as he goes through an episode of extreme jealousy towards his poet-friend, Lynceus or Varius. In these lines, the poet uses his jealousy to put the context of love elegy against the serious genre of epic represented by Lynceus. As a self-proclaimed expertus, the poet uses the pursuit of his girl by Lynceus to justify that love conquers all and that love elegy is worth as much as epic, if not more. And so, to demonstrate his point, the poet gives examples of how Love has wronged others, using examples like the relationships between Paris and Menelaus and Jason and Medea. From Propertius’ early poems, we know that the girl represents his source of poetic inspiration; thus, she represents love elegy. Since,
In the first part of the play Egeus has asked the Duke of Athens, Theseus, to rule in favor of his parental rights to have his daughter Hermia marry the suitor he has chosen, Demetrius, or for her to be punished. Lysander, who is desperately in love with Hermia, pleads with Egeus and Theseus for the maiden’s hand, but Theseus’, who obviously believes that women do not have a choice in the matter of their own marriage, sides with Egeus, and tells Hermia she must either consent to marrying Demetrius, be killed, or enter a nunnery. In order to escape from the tragic dilemma facing Hermia, Lysander devises a plan for him and his love to meet the next evening and run-off to Lysander’s aunt’s home and be wed, and Hermia agrees to the plan. It is at this point in the story that the plot becomes intriguing, as the reader becomes somewhat emotionally “attached’’ to the young lovers and sympathetic of their plight. However, when the couple enters the forest, en route to Lysander’s aunt’s, it is other mischievous characters that take the story into a whole new realm of humorous entertainment...
Psappo’s poetry was the model from which ancient cultures defined love. Her views on love have influenced many works of literature, including The Aeneid of Virgil. Love is an uncontrollable force that strikes an individual from the outside and can occur suddenly as well as unexpectedly. Love is often depicted as a positive emotion that causes people to feel blissful, but this can easily turn into furor; furor is the aspect of love associated with violence and insanity. Dido’s love for Aeneas exemplifies the internal turmoil that afflicts individuals when they are deprived of the love that they crave so ardently. Virgil accomplishes this through the incorporation of the symbol of fire and through the platonic metaphor of the war between reason and appetite in his work.
Lysander calls Demetrius a?spotted and inconsistent man?, indicating Demetrius? fickleness towards women, that he is flirtatious and flawed. Demetrius is willing to go to any extent to have Hermia marry him, even allowing Hermia to be subject to a life of a nun or death, if she does not marry him. Demetrius. infatuation with Hermia brings out the tyrannical and possessive part of his character, as can be seen when he says?and, Lysander, yield thy crazed title to my certain right?
Aphra Behn’s, “To Lysander” is like a diary entry from a woman to a man, who has no intentions of returning the love that is being sent to him. Throughout the entire work there is a pattern of words that force the reader to assume there is the emotion of bitterness and discontent in the poets purpose. She has fallen in love with this man who she refers to as, “Lysander,” who never truly loves her, outside of the bedroom. Behn uses all thirteen stanzas to convey the idea that love is a natural thing when it flows equally from both sides, but if it is anything short of that, then the smitten one soon becomes a slave to the grip of loves power.
...ne perfect other half for everywhere, but that each of us will find numerous loves throughout our lives which will suit us throughout different phases and different events (Nadel 29). It is exactly this resistance to love and the need to become immune to its unyielding power makes him such a melancholically charismatic figure. His women were all loved, all worshipped, but in the end, this Byronic hero remains with a forever broken heart, to speak the words of his heart through the lyre of his music.
Comparing and contrasting the kinds of love represented by Tellus and Endymion in Lyly’s comedy of errors, Edymion, and the love between Tamburlaine and Zenocrate in Marlowe’s Tamburlaine show similarities where passions drive lovers to capture suitors, but differ in one couple desiring the unattainable, and another taking action to attain. Love is presented in different ways, specifically in Lyly’s play the love is unattainable and unreal, as opposite in Marlowe’s play the love is attainable. Both, couples also have similarities when lovers are driven by their passions.
EBB expertly manipulates the Petrarchan sonnet form, commonly known as a way to objectify women, in order to voice her yearning for true love. The Victorian era was witness to rapid industrialization, and with this came a growing superficiality for dowry’s and status. EBB accentuates her own context by so strongly rejecting its newly materialistic conventions, especially towards love. EBB laments ‘How Theocritus had sung’ (Sonnet I), her Greco allusion successfully communicating her longing to return to the values of substantial love during the romantic era. This highlights her own context as it illustrates a distain for its current values of superficiality. Furthermore, EBB conveys her contempt of having to ‘fashion into speech’ (Sonnet XIII) her love, this mocking of courting is highly explored as she continues to ridicule those who love for ‘Her smile, her look’ (Sonnet XIV), thus highlighting her context to the audience. In addition, during Sonnet XXXII, EBB powerfully voices how ‘Quick loving hearts…may quickly loathe’; her expert employment of anadiplosis critiques how superficiality in love may cause it to fade away. A motif of love fading away due to shallowness throughout her sonnet progression significantly highlights the values of love at the time and therefore
Love plays a very significant role in this Shakespearian comedy, as it is the driving force of the play: Hermia and Lysander’s forbidden love and their choice to flee Athens is what sets the plot into motion. Love is also what drives many of the characters, and through readers’ perspectives, their actions may seem strange, even comical to us: from Helena pursuing Demetrius and risking her reputation, to fairy queen Titania falling in love with Bottom. However, all these things are done out of love. In conclusion, A Midsummer Night’s Dream displays the blindness of love and how it greatly contradicts with reason.
Loyalty is one moral value that is evident throughout the poem. No character embodies loyalty more than Penelope who remains loyal and true to Odysseus throughout his absence, refusing to give in to the suitors' proposal of marriage and not engaging in any extramarital affair. She constantly praises Odysseus with glowing words,1 and although it may get quite annoying to the reader, she is constantly weeping for Odysseus. Penelope's loyalty to her husband is contrasted vividly in the poem with the story of Clytemnestra's betrayal of her husband. Agamemnon is perpetually wailing and lamenting about his betrayal and death in the underworld. When the slain suitors tell him how they died, he cries out that Odysseus is fortunate because he had won himself a loyal wife.2 The moral theme of loyalty is also clear when Odysseus punishes Melanthios and the serving maids gruesomely for being disloyal.3 On the other hand, Eumaios and Philoitios are praised and rewarded for remaining loyal to Odysseus. Loyalty will always be rewarded- Odysseus comes back to Penelope and the loyal oxherd and swineherd are rewarded while the disloyal are punished.
In his dramatic monologue, Robert Browning uses irony, diction, and imagery to achieve a haunting effect.
These two works present the development of a narrator, and in many ways, the narrator of Troilus and Criseyde can be seen as the maturing narrator of Parliament of Fowls. The narrator of the latter text is introduced as a man searching for an understanding of love, an emotion so complex that his consciousness is “astonyeth with his wonderful werkynge” (5). While love is certainly an intricate emotion, the narrator has unduly complicated his task: “The lyf so short, the craft so long to learne, / The ‘assay so hard, so sharp the conquerynge, The dredful joye alwey that slit so yerne” (1-3). Rather than developing a clear, concise definition of love, the narrator presents a subject which only becomes clear when he explicitly states that he means love. Even in his waking hours the narrator is confused by his searches in old texts for understanding, which leaves his actions and efforts meaningless.
In this Epic Poem the value of loyalty is expressed by many characters. First of all, Odysseus, a Trojan War hero, shows his loyalty by never replacing his wife, Penelope, for someone else. Odysseus is stuck on the island of Kalypso, who is a beautiful sea nymph, when he is tempted to fall in love with her. Odysseus is loyal enough to Penelope and focuses on getting home to see her. Without this value, Odysseus would have fallen in love with everyone on his journey home. Odysseus shows how loyalty is a value that everyone needs in life. In addition, Eumaios and Philoitios, residents of Ithaka, display their loyalty by fighting for Odysseus not against him. Odysseus is disguised as a beggar and tests the faithfulness of Eumaios and Philoitios. He wants to see if they are still loyal to him so he asks them if they would fight for Odysseus if he comes back. They answer by saying, “You’d see the fight in me!” showing how they still care for their leader (20.260). In the end, their loyalty pays off because Odysseus knows of their trustworthiness, so he does not kill them in battle. Eumaios and Philoitios’ integrity is something that Odysseus and others honor. Finally, Penelope’s faithfulness to Odysseus plays an important part in this novel. If Penelope did ...
The main conflict in the play and propellant for the action is when, Egeus, the father of Hermia has chosen Demetrius as the man he wants her to marry. His decision is most likely based on economic, political, and social factors. Egeus believes he is making a reasonable decision based on Hermia's future in their society. Unfortunately Hermia is in love with a gentleman named Lysander and vice versa. Her father may have made his decision with good intension to try and keep with the traditional customs of his day and even perhaps taking into consideration such things as attractiveness. However, he fails to foresee that his daughter might actually love someone else. Lysander, like many young men, shows little regard for the rules of society and is willing to break tradition and flee At...
In “Sonnet XVII,” the text begins by expressing the ways in which the narrator does not love, superficially. The narrator is captivated by his object of affection, and her inner beauty is of the upmost significance. The poem shows the narrator’s utter helplessness and vulnerability because it is characterized by raw emotions rather than logic. It then sculpts the image that the love created is so personal that the narrator is alone in his enchantment. Therefore, he is ultimately isolated because no one can fathom the love he is encountering. The narrator unveils his private thoughts, leaving him exposed and susceptible to ridicule and speculation. However, as the sonnet advances toward an end, it displays the true heartfelt description of love and finally shows how two people unite as one in an overwhelming intimacy.
Andrew Marvell in his poem describes a young man convincing his fair mistress to release herself to living in the here and now. He does this by splitting the poem up into three radically different stanzas. The first takes ample time to describe great feelings of love for a young lady, and how he wishes he could show it. The idea of time is developed early but not fully. The second stanza is then used to show how time is rapidly progressing in ways such as the fading of beauty and death. The third stanza presses the question to the young mistress; will she give herself to the young man and to life? Although each stanza uses different images, they all convey the same theme of living life to the fullest and not letting time pass is seen throughout. Marvell uses imagery, symbolism, and wonderful descriptions throughout the poem. Each stanza is effective and flows easily. Rhyming couplets are seen at the ends of every line, which helps the poem read smoothly.