Life is like a river that has ebbs and flows, high and low tides, as well as rough and serene spansions. For a period of time, it may seem like smooth sailing, but, at some point, the boat is likely to hit choppy waters. This may make some sailors weary. Is it better to enter the river and risk a coarse journey, or is it more advantageous to keep to land? Christopher Marlowe and Sir Walter Raleigh evaluate sentiments like these within their poems “The Passionate Shepherd to his Love”, and “Nymph’s Reply to the Shepherd”. Just as Marlowe’s shepherd sees it fit to venture for his reward, Raleigh’s Nymph isn’t willing to stake her emotions on the shepherd’s promises. The value of the reward, in this case a loving relationship, is held against …show more content…
This is achieved through Raleigh’s use of diction, especially the way that he describes love’s transformation over time. He uses words with negative connotations like “cold”, “dumb”, “fade”, and “yield” to emphasize the Nymph’s unkindly response. Most of these negative words are kept within the middle stanzas of the poem, possibly to tend to the ethos of the nymph. He paints the nymph as cautious but audacious. Her letter starts off with acknowledgement of the shepherd’s ideas, initially reflecting her as polite and respectful, but when she begins to refute the shepherd’s claims, her true nature is revealed with the help of words like “complain”, “gall”, and “wayward”. The presentation of the nymph’s character emphasizes the point of the poem; everything is not as it originally seems. As a whole, the poem touches the reader’s sense of mistrust and reminds them of instances of betrayal. The poem forces the audience to look more deeply into the nymph’s character. From hints throughout the poem, such as the second line, the reader can infer that the nymph’s experience with similar situations formed her mistrust of the shepherd. The nymph even makes a reference to Philomel, a Greek figure who was raped and used by a man, on line seven, further emphasizing her distrust in men. This creates sympathy and frustration, appealing to the audience’s pathos. Fittingly, …show more content…
While the response, “Nymph’s Reply to the Shepherd”, carries a bleak and frank name, Marlowe’s title adds opinion and flavor by replacing the nymph’s name with “Love” and adding in the adjective “Passionate”. This theme holds itself throughout the poem with vivid imagery and bold, imaginative scenes. Most of this imagery focuses on either landscapes or material objects such as on line four where the shepherd describes the scenery as “Woods, or steepy mountain yields”. These qualities depict the shepherd’s ideals almost instantly. He is more concerned with joy in the moment, such as buying the expensive robe mentioned on line thirteen or the golden buckles on line sixteen, and less interested in the outcome of the situation. The shepherd doesn’t think as thoroughly about creating a relationship with the nymph as she does. Most of the shepherd’s attempts to impress the nymph come off as hasty and foolish, especially when compared to the nymph’s intricate reply. The shepherd promises things that he cannot deliver, such as on line twenty-one where he describes others dancing every May morning just for the delight of his love. This evokes skepticism in the eyes of the reader and supports the nymph’s assertions that the shepherd is not to trust. Not only does the shepherd exaggerate what he has to offer, he also treats the recipient of the letter as
In the short story “Where Are You Going, Where Have You Been?”, a Greek meaning of the character Connie has been presented in two ways, by her being a nymph and her breathing. Some researchers believe Connie to be a nymph from Greek mythology because the definition of a nymph follows suit with the character Connie. “In Greek mythology, nymphs were inferior divinities frequently
persuasions. For that reason, using only pathos for emotions of the audiences is not enough
To that end, the overall structure of the poem has relied heavily on both enjambment and juxtaposition to establish and maintain the contrast. At first read, the impact of enjambment is easily lost, but upon closer inspection, the significant created through each interruption becomes evident. Notably, every usage of enjambment, which occurs at the end of nearly every line, emphasizes an idea, whether it be the person at fault for “your / mistakes” (1-2) or the truth that “the world / doesn’t need” (2-3) a poet’s misery. Another instance of enjambment serves to transition the poem’s focus from the first poet to the thrush, emphasizing how, even as the poet “[drips] with despair all afternoon,” the thrush, “still, / on a green branch… [sings] / of the perfect, stone-hard beauty of everything” (14-18). In this case, the effect created by the enjambment of “still” emphasizes the juxtaposition of the two scenes. The desired effect, of course, is to depict the songbird as the better of the two, and, to that end, the structure fulfills its purpose
...ve for these characters was fated to be unattainable and deceiving. The attempt to seek out such represents a temptation that is pointless to pursue because the simple variable of change is unavoidable. This patriarchal society's denial to this truth is a cruel deception that, in both poems, victimizes women. The deception is maintained in the fairy-tale folklores of romantic poetry that Goblin Market and The Prince's Progress imitate, both literally and suggestively. Rossetti’s narratives illustrate a complex of immediate gratification, especially with the incorporation of romantic ideas, and they highlight that the fulfillment of these delights, however brief, leads to certain betrayal and disappointment. In this way, Rossetti oddly criticizes the romantic ideas in traditional literature while presenting a review of the beliefs fundamental to those ideas.
Dorabella, like Eve, falls for the deception easily, but Fiordiligi, like Adam, is a bit more resilient but gives in when, Dorabella the Eve says it is harmless to Fiordiligi. Both of the women could not help themselves; the desire overcame the “love”. Deception is continuous in this play. Even Despina the maid is in disguise to help the men for her own desire of money. Don Alfonso was the one that urged, that tempted the two young men’s minds of whose “love” was more pure and faithful.
...eason’, she loves him ‘but in friendly recompense’; he takes her only ‘for pity’, she yields to him ‘on great persuasion, and partly to save your life, for I was told you were in a consumption’. As pipers strike up the music for a final dance we can only agree that they were ‘too wise to woo peaceably’ (5.2.65)” (Palmer 119).
“At Once, seeing a man, all naked as they were, the nymphs, beating their breasts, filled the whole grove with sudden screams and clustered round Diana to c...
Who can the nymph’s confusion guess? The blood forsook the hinder place, And strewed with blushes all her face, Which both disdain and shame expressed: And from Lysander’s arms she fled, Leaving him fainting on the gloomy bed” (Stanza 12, Lines 111-120). One aspect of power shown in this stanza is by Cloris leaving Lysander in the situation he was in, she left him completely powerless. It also shows how Cloris finally stood up for herself and realized what was happening and that it was wrong. Even though this was a time where women were supposed to lie down and take what was given to them she got up and ran because she has the power to do that. Behn is saying that all women have the power to stand up for their selves and exit a situation they should not be in. Women have the right and power to flee even if society says
Throughout “The Canterbury Tales” one the things that all the tellers have in common is love. Not all of the tellers agree about what love is, however, or how it should be shared. They all contemplate about related concepts, including marriage, fidelity, and chastity, and argue about men’s and women’s roles in the context of an intimate relationship. He shows two different viewpoints on the roles in The Canterbury Tales.
The Nymphs Reply to the Shepard is set out in six stanzas. each composed of four lines of similar length. This is a mimic of the layout used by Marlowe, here this gives prominence to the similarity. of the two poems,. Added to this both poems have a similar rhyme scheme.
As Romeo and Juliet converse about the feud between their families, Romeo explains that his affection for Juliet goes beyond the family feud. Romeo assures Juliet that nothing will be able to keep his love away from her because “With love’s light wings did I [he] o’erperch these walls; for stony limits cannot hold love out” (50-51). Shakespeare uses a metaphor to compare love to a bird. Love is more directly compared to a bird’s light wings and ability to perch on walls. The symbolism of a bird is also used to showcase the freedom that the two lovers desire to attain through affectionate love. Affection is also presented by an unnamed narrator who describes the way he cares for his lover. The narrator explains that he “met her and loved her; that is all. And for a whole year… [he] lived on her tenderness, on her caresses, in her arms, in her dresses…” (3). Maupassant uses rhyme to bring a sense of musicality to the story. Music is often used as a platform for an individual to convey their affection to their lover. Because the narrator was affectionate towards his lover, he writes with rhymes and musicality in order to provide the reader with the sense of love and affection through
Through reading the works by Marlowe and Raleigh it's determined that the shepherd had only sexual feelings for the Nymph. The poems showed no acts of love, only sexual desires that the Shepherd was feeling and a strong sense of rejection from the Nymph. The Nymph did an extraordinary job of standing up for herself. The Shepherd failed in his plan to trick the Nymph and ended up looking like a jackass.
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.
Although Raleigh’s title does not describe the nymph, her reply is an exercise in freedom to think for herself and express her own values. Marlowe 's poem offers no evidence that his “love” is a nymph; however, Raleigh makes the speaker a nymph who playfully mocks the shepherd’s request. Raleigh clarifies this intention by using six stanzas of four lines and the same iambic tetrameter used by Marlowe. The nymph 's choice to mirror the shepherd 's structure indicates that her “reply” is a systematic deconstruction of his argument. Mockingly, she concedes, “if all the world and love were young and truth in every shepherd’s tongue,” then she would “live with thee and be thy love”; in other words, the nymph playfully suggests that these propositions are not true. By using the same rhythm and turning the shepherd 's requests back upon themselves, the nymph echoes the shepherd 's
Christopher Marlowe, also known as "Kind Kit" and "The Muses' Darling," is most famously known for being a pioneer in English drama. Introducing blank verse, villain-heroes, and revenge dramas to the stage, Marlowe had a huge influence on other playwrights of that time including William Shakespeare.