Summary Of The Passionate Shepherd To His Love

I have chosen to compare and contrast three "love" poems with three "lust" poems from our text, An Introduction to Poetry (9th edition, Kennedy and Gioia, Longman Publishing). I feel that poems about true love often incorporate themes of duration, unity and longevity; all lasting sentiments. Conversely, poems of a lusty nature convey the sentiment that the feeling is transitory, and must be pounced on immediately (before we get a chance to think about it too much).

Like every marketed love story out there, the poem starts off with two souls who secretly admire each other, yet are too afraid to admit it. In a society that at that time would quite possibly think

Hundreds of Arawaks arrive from the New World in violation of Queen Isabella’s order forbidding Indian slavery. Aspiring knight Vasco Núñez de Balboa guards the Arawaks en route to the capital. After some Arawaks escape, one escapee impales herself on Balboa's sword to prevent recapture. Columbus' agents report Columbus found "The Garden of Eden". The bad news is the colonists are in rebellion and the Arawak "prisoners of war" are legally enslaved.

The second poem is another love poem ‘The Passionate Shepherd To His Love’ by Christopher Marlowe. There are many similarities and differences between the two poems. Both poems are love poems aimed at women, and both are trying to persuade. In ‘To His coy Mistress’ the poem is split into a thesis, anti-thesis and synthesis and is attempting t persuade a woman to give up her virginity. ‘Passionate Shepherd’ is set into a series of four line long stanzas which form an ideal rural world where a man wants his love to live with him.

I read the assigned reading from Laniak’s Shepherds After My Own Heart with great interest. The author does not waste time and starts by giving the reader a through overview of the historical context of the shepherd motif in the ancient world. This concept is grounded in the cultural traditions of the ancient near east world. After a lengthy exposition of the shepherd role in the ancient world, the author gives of a thorough explanation of the role the shepherd motif played in the Old and New Testament. Laniak’s says that ‘the thesis of this present work is that a discernable pastoral ‘stream of tradition’ flows through the Scriptures’ (Laniak 2006: 24).

Debora B. Schwartz in her article, "Pastoral Poetry and Pastoral Comedy" highlights the fact that the major themes which are typically discussed in pastoral poetry include: "love and seduction;… the corruption of the city or court vs. the ‘purity’ of idealized country life…" (par. 2). In the poem, "The Passionate Shepherd to His Love," the theme of the "'purity' of idealized country life" is explored when the male persona attempts to use words which conjure up images of an paradise which he and his love interest can escape to sexually gratify each other. The male persona entices his love interest to "come live" with him and be his love (l. 1). He desires that he and his lover's "prove" the various "pleasures" that "woods or steepy mountain yields" (ll. 2, 4). This argument is rebuffed by the female persona in the poem, "The Nymph's Reply to Her Husband," when she states the following: "Time drives the flocks from field to fold, /When rivers rage and rocks grow cold" (ll. 5-6). It should be noted that these lines reflect the following lines of Marlowe's poem: "And we will sit upon the rocks, / seeing the shepherds feed their flocks/ by shallow rivers…" (ll. 5-7). The female persona undermines the shepherd's idealization of the countryside and pastoral life since the passage of time, depicted by the seasons, will change the characteristics of these things described so positively by the male persona in Marlowe's poem.

The two poems “Magic of Love” by Helen Farries and “Love Poem” by John Frederick Nims are both poems with the central theme of love. The ways that these two authors express this theme differ significantly from each other and show two spectrums of love in literature. Through their use of syntax, diction, rhyme, and meter, these poets portray love in a unique and personal manner that illicit specific emotions from the reader for a variety of possible reasons, which will be analyzed in this essay.

Marlowe’s perspective on nature is a rather positive one, and with the use of imagery and structure he explains to the reader why his perspective is so. This can be seen when Marlowe states “And we will sit upon the rocks, Seeing the shepherds feed their flocks, By shallow rivers to whose falls Melodious birds sing madrigals.” In the stanza that has been presented, Marlowe uses very delicate examples of nature to persuade the reader that nature can provide for humanity, as the examples make it seem as so. In addition Marlowe also uses a very calming rhyme scheme to support his perspective. He uses this to persuade the reader that that is what nature is, very calm and delicate. The use of rhyme scheme also allows for a very nice flow throughout the poem, giving the readers a more enjoyable experience when reading. With the use of both imagery and structure, Marlowe is easily able to support his perspective upon nature.

Lastly, the Romantic Era blended human emotions with nature. The interfacing of emotion and nature was emblematic of Romantic poetry, whether it engrossed the idea of bequeathing human emotions to an innate article like a river or connecting the scenery to the temperament of the writer. (James, 491) This kind of beauty that is

Characterization is a vital component of a text. How does Shakespeare utilise character traits to demonstrate characters as either heroes or villains?

Ralegh conveys this somber realization through his plain style of verse. Though he describes the mistress in detail, she is not the subject of his poem. Ralegh uses Love’s mistress and her destruction as a vehicle to address the destructive nature of Time. He approaches that subject in the plain style, using short, proverbial phrases intended to make the reader aware of time and mutability. The poem contains several lines that are made entirely of one-syllable words, which draw out the time it takes to read the line. Contrast lines 31-32 in “Nature, that washed her hands in milk” with lines 8 and 10 in Christopher Marlowe’s “The Passionate Shepherd to His Love” (p. 989). Marlowe describes the land in which he lives, where “Melodious birds sing madrigals,” and beds are made of “a thousand fragrant posies”. Marlowe’s verse sounds quick and light when spoken, simply because he uses fewer words in an eight-syllable line. Ralegh, in contrast, often uses seven or eight words to fill the same eight-syllable line: “Oh, cruel Time! which takes in trust/Our youth, our joys, and all we have…” Line 32 especially requires that the reader take more time to pronounce each syllable, which adds weight to each word.

The passionate shepherd to His love poem is a poem that portrays the basic romanticizing of the country living which describes the nature of the environments and is very sentimental. Christopher’s poem is showing the best fantasy of ordinary romance that would be much better felt in the countryside other than the urban side of the country. Nature is of the essence. The nymph's reply to the shepherd Poem, on the other hand, is based on how he perceives the passionate shepherds to his love. Sir Walter has a different perception of the nature romantics; he presents a contrast in his poem. Christopher Marlowe and Sir Walter Raleigh are having a dialogue which is contradictory dialogue.

Sexuality and violence is an integral part of human nature that is distinct yet at the same time linked in many ways to each other. In nature, the majority of alpha males have dominance over the female counterpart whether it is in their daily lives or sexual interactions. To some extent, it is similar in human beings, where power, aggression and authority may force the weak to be subjects of their abuse. Without the protection of law and order, as seen in past human societies, immoral and unethical events would occur. While women had always been the target of sexual abuse since the early ages, males and as well as other gender identities are not uncommon targets. Perpetrators and victims may not always be the ones who we expect them to be. Speaking from a psychological perspective, it is believed by some, such as Sigmund Freud and his followers, that it is the nature of human beings to be motivated by primitive sexuality needs (Mannoni 1971, 146-147). The ones that are weak, physically, mentally and socially are often victims of sexual abuse. Art history had depicted many instances of sexuality and violence that reflected the view of society at that time, since sexuality in text did not simply analyze an already constituted area of cultural knowledge; rather, they actively defined cultural knowledge (Nead 1990, 326). The purpose of this research paper is to review the perspectives of selected art pieces from different eras and compare the impact it brings to the society on

The Passionate Shepherd To His Love; by Christopher Marlowe and The Nymph’s Reply To The Shepherd by: Sir. Walter Raleigh. The purpose of this writing is to compare and contrast the two speakers point of view in the poem. I will also be discussing the four major themes of the: Passionate Shepherd To His Love and The Nymph's reply To The Shepherd, such as nature, love, material world, and time. I will be using evidence and lines from the two pastoral poems to help support my answers.

Plath seems to then have a change of heart. She creates a fragile, beautiful image of her child; "All night your moth-breath / Flickers among the flat pink roses." Use of consonance in "moth-breath" and alliteration in the line "Flickers among the flat pink roses" constructs the soft sounds of the infant's breathing. It is interesting how she utilises the flower imagery which is similar to her other poem, Tulips. In Tulips, the flowers bring her back from the state of detachment, and here it is the baby's breath, soft as roses, the awakens her love for her child. The awakening of this love is expressed in the last lines of that stanza; "I wake to listen: A far sea moves in my ear."