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Talk about the life of Robert Herrick's life
Essay 17th century english literature
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Based on our study of Ben Jonson and Robert Herrick, one can find many representative characteristics of early seventeenth century poetry, featuring neoclassical ideas and a touch of prerenaissance ideas. These include the moral stance of poetry and a clear, direct “everyman” approach to communication. One will also find much homage to classical themes such as carpe diem and utopia. There are also many classical values, forms, and references to mythology evident in Jonson and Herrick’s work which is so indicative of the era in which their works were published. Thus, poetry of this time includes both classical themes and a new responsibility that came with the public role of poets.
A sense of moral obligation is quite prominent in this early poetry, especially in Jonson’s poetry. Jonson published his own material and lived the life he embodied in his poetry. We see him guiding people in much of his works. In one, entitled “On My First Son,” Jonson asks why “will man lament the state he should envy?” (6).In this particular line, he is alluding to death as a release from the human world, and imploring us to consider how, in a sense, we would be lucky to die early. We also see this guidance embodied in much of Herrick’s work. His Corinna’s Going A-Maying proclaims “Come, let us go, while we are in our prime/And take the harmless folly of the time” (57-8). Here he is guiding people to make the most of the day. Both of the aforementioned lines show a sense of moral guidance; however, in Herrick’s case, we are also seeing the old concept of seizing the day.
The classical theme of carpe diem is another typical feature of early seventeenth century poetry. The theme of seizing the day and making the most of what you can is often a part of the integral lessons offered in poetry of the day. In one of the stands in Jonson’s To the immortall memorie, and friendship ofthat noble paire, Sir Lucius Cary and Sir H.Morison he asks “For, what is life, if measur’d by the space/Not by the act?” (21-22). He is demanding to know why we measure life by time instead of what we do. It is also interesting to note that this poem is actually a Pindaric ode, a classical form of poetry including the stand, turne, and counter turnes. Herrick’s “To the Virgins, To Make Much of Time” is also full of this concept of seizing the day.
Literature of the English Restoration offers the example of a number of writers who wrote for a courtly audience: literary production, particularly in learned imitation of classical models, was part of the court culture of King Charles II. The fact of a shared model explains the remarkable similarities between “The Imperfect Enjoyment” by the Earl of Rochester and “The Disappointment” by Aphra Behn—remarkable only because readers are surprised to read one poem about male sexual impotence from the late seventeenth century, let alone two examples of this genre by well-known courtly writers. In fact, Richard Quaintance presents ten more examples by lesser-known poets as he defines the literary sub-genre of the neo-Classical “imperfect enjoyment poem,” written in imitation of Roman poems on the same subject, which is shared by Rochester and Behn (Quaintance 190). Since Rochester and Behn are working along such closely similar lines in terms of the artistic models that their own poems aim to imitate, it is therefore fair to ask the question: what are the main differences in their compositional technique within this tightly-defined literary sub-genre of the neo-Classical “imperfect enjoyment poem”? By examining features of each poem in turn—including form (including this sub-genre they share), but also narrative voice and tone—with some examination of the secondary critical literature on both Rochester and Behn, I hope to demonstrate that there are distinct differences in compositional technique which involve the difference in sex between these two writers. But my conclusion will attempt to problematize the very notion of an authorial sex difference by raising the concept of gender, and in particular the aspect of “performativity”—...
In the late eighteenth century arose in literature a period of social, political and religious confusion, the Romantic Movement, a movement that emphasized the emotional and the personal in reaction to classical values of order and objectivity. English poets like William Blake or Percy Bysshe Shelley seen themselves with the capacity of not only write about usual life, but also of man’s ultimate fate in an uncertain world. Furthermore, they all declared their belief in the natural goodness of man and his future. Mary Shelley is a good example, since she questioned the redemption through the union of the human consciousness with the supernatural. Even though this movement was well known, none of the British writers in fact acknowledged belonging to it; “.”1 But the main theme of assignment is the narrative voice in this Romantic works. The narrator is the person chosen by the author to tell the story to the readers. Traditionally, the person who narrated the tale was the author. But this was changing; the concept of unreliable narrator was starting to get used to provide the story with an atmosphere of suspense.
During the 17th century the style of writing was changing from poems about death to ones whose subject was about living life to it’s fullest extent. This kind of writing was also known as carpe diem. Robert Herrick and Andrew Marvell were two of the first carpe diem poets. Although their styles were similar their subjects differed.
Ever hear of the phrase “carpe diem”? It is a common Latin phrase meaning “seize the day” or in plain English, make the most of the time you have. This phrase is very well portrayed in Robert Herrick’s most popular poem “To the Virgins, to Make Much of Time”. Herrick was an established poet in the mid-1900’s who lacked ambition but wrote remarkable poems. He was a graduate from Cambridge University, which took him seven years to complete, and a member of Ben Jonson’s circle of young friends (Herrick 380). Herrick was later appointed a priest at the parish of Dean Prior, in Devonshire. He carried this title at Dean Prior until he died at the age of 83 (Herrick 380). His education, unique living style, and his friends, all greatly influenced his extraordinary poems. In Herrick’s poem he describes carpe diem by using vivid words and images and by connecting the meaning and theme to personal feelings.
... Because it uses the threat of death to urge the addressee to hurry up and live life to the fullest, especially through love, E.E. Cummings' "since feeling is first" is essentially a carpe diem poem. Works Cited cummings, e. e. "since feeling is first. " The Norton Anthology of Poetry.
Ben Jonson’s poem, “To Penshurst”, reflects a genre of poetry known as country house poetry. This poetry was written primarily in order to please the owner of the country house. Jonson’s poem was written specifically to praise the Kent estate of Sir Robert Sidney. What makes Jonson’s country house poem different from the other poems of this time period is the content that Jonson wrote about. Johson’s “To Penshurst” appeals to all classes of people whether it be a peasant or a king due to its sheer acceptance and simplicity in nature. This poem could almost be considered a literal gift to Penshurst, much like it is a gift to all social classes. In this poem, Jonson writes in the hopes of praising the Sidney’s estate, Penshurst. The estate resides in the town of Kent, and the scenery is described as being humble much like the manor. What makes this poem intriguing is how it deviates from the country house poetry of the time. During this time in history, the likelihood of peasants intimately interacting with royalty was very unlikely. What Penshurst offers through this work is lower and middle class equality among all classes. Outside of Penshurst, though, the same concept does not apply. This is because Penshurst, in a sense, could be considered a type of utopia. This is primarily because of the welcoming interaction between peasant and royal life. As mentioned earlier, all classes are not equal outside Penshurst. Penshurst is almost like a paradise for those looking for an escape from the harsh social standards of the society of the time. Though, unlike Thomas More’s “Utopia”, there are no negative connotations that the reader can decip...
Parry, Graham, The Seventeenth Century. The Intellectual and Cultural Context of English Literature, 1603-1700 (London and New York, 1990), pp. 107-131, 212-235.
Lord George Gordon Byron was most notorious for his love affairs within his family and with Mediterranean boys. Since he had problems such as incest and homosexuality, he did not mind writing about his love for his cousin in “She Walks in Beauty”. Byron wrote the poem after he left his wife and England forever. Byron made his own trend of personality, the idea of the ‘Byronic Hero’. “Byron’s influence on European poetry, music, novels, operas, and paintings have been immense, although the poet was widely condemned on moral grounds by his contemporaries” (Dick, 54). Overall, the study focuses on the life of Lord George Gordon Byron, imagery, and about the lyrics of “She Walks in Beauty”.
Carpe diem is a Latin aphorism, which literally is translated to “pluck the day” but is referred to as "seize the day”. This term was taken from the first book of Odes (23 BC), written by the Roman poet Horace. Two poems from this English course that exemplify this phrase are Beowulf and Macbeth. Beowulf, translated by Burton Raffel, is poem that is set in Scandinavia. In essence, Beowulf, a hero of the Geats, comes to the aid of Hrothgar, the king of the Danes, whose mead hall in Heorot has been under attack by a monster known as Grendel.
Stanza four contains an allusion to a line from Seneca’s work De Brevitate vitae, which states “Life is brief, art long.” (Longfellow 13). The speaker suggests that we should live as productive a life as possible. Longfellow also uses a simile in line fifteen to compare the human heart beat to the “muffled drums”. He implies that each beat of our hearts, carries us closer to death, and that our own hearts are measuring out the backbeat of a steady and irreversible journey to death. He transforms the march to the grave to a march to battle in the fifth stanza, with the use of war imagery. Longfellow also compares life to a “bivouac” in line eighteen and implies that the reader is a soldier that has to become a hero in this battle. He then goes on to explain in detail how the reader can become a hero and urges the reader to live actively. He does so with the use of repetition of the word “act” to emphasize his imperative instructions (Longfellow 23). Longfellow ends the sixth stanza by leaving the reader with the knowledge to live actively in the
You will read in the third line of the stanza: “But, dying, has made us rarer gifts than gold” (3). I feel he is trying to persuade the reader that battle is in fact very rewarding, and they will be valued more in death verses when they are alive. It also suggests that the sole reason for living is to be honored from a death in battle. Looking at the language of the poem, you can see many metaphors are created throughout the poem. Within the second stanza we read: “Pooled out the red Sweet wine of youth”(5).
Wolfson, S. & Manning, P. 2003. The Longman Anthology of English Literature Vol 2: The Romantics and their Contemporaries. London: Longman.
Carpe Diem has one universal meaning: “Seize the day”. This can simply mean to take a small risk or even make a life-changing decision. No matter how one chooses to use this saying, the user must make the most of the present time and give very little thought to the future. In the movie, Dead Poet’s Society, this saying is promoted throughout the story being told as it helps many characters achieve their desires in that moment. Carpe Diem affected Professor John Keating and his way of teaching his students, Charles Dalton and his leadership, and finally, Neil Perry and his eleutheromania.
I wish, in this article, to make some observations about the way in which some of the seminal ideas in the Poetics affected one key writer within the English literary tradition. Curiously enough the first thing to be said about Arnold's view of Aristotle is that it is more a Platonic than an Aristotelian view. In short Arnold was primarily, though not merely, an idealist. If, for the sake of clarity we could for the purpose of this analysis call Aristotle a realist, we might be better able to see the proper scope of this account. What we have then is the case of a man who was primarily a scientist and philosopher -- a realist in the best sense of the word, influencing a poet and visionary -- an idealist in the best sense of the word.
No poem of John Donne's is more widely read or more directly associated with Donne than the tenth of the Holy Sonnets,"Death, be not proud." Donne's reputation as a morbid preacher was well-known. He had a portrait of himself made while posed in a winding-sheet so that he could contemplate a personalized memento of death. Donne draws upon a popular subject in medieval and Renaissance art, Le roi mort or King Death. His fascination with death reaches another plateau with this poem. He almost welcomes it and denounces the process as being neither horrifying nor the "end-all be-all." In a contextual point of view, he works to rupture habitual thinking and bring attention to the intensity and depth of a situation by creating doubt or offering a new aspect of his subject. Donne takes this poem and pours forth an array of visions that directly connects to the contextualist in a look at death, the pa...