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Analysis of love and a question
Analysis of love and a question
Analysis of love and a question
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Edna St. Vincent Millay, in her conventional sonnet “What Lips My Lips Have Kissed, and Where and Why,” asserts that love comes and goes. To develop her claim, Millay begins by first using imagery to describe the speaker’s past relationships which continue to haunt her as they “tap and sigh” upon her glass; second, the speaker is compared to a “lonely tree,” and this metaphor among others serves to show how deprived of love the speaker currently is even though she once had the arms of her lovers “under [her] head until morning”; last, personification is used when the speaker says, “I only know that summer sang in me / A little while, that in me sings no more,” and this reveals to the reader that love is a thing of the past for speaker; the
The Sonnet by Edna St. Vincent Millay, “Love is Not All” demonstrates an unpleasant feeling about the knowledge of love with the impression to consider love as an unimportant element that does not worth dying for; the poem is a personal message addressing the intensity, importance, and transitory nature of love. The poet’s impression reflects her general point of view about love as portrays in the title “Love is Not All.” However, the unfolding part of the poem reveals the sarcastic truth that love is important.
In Pablo Neruda’s love poems, ‘Body of a Woman’ and ‘Sonnet 89’ the theme is about a woman who Neruda loved. This essay will analyse how Neruda uses imagery and metaphor, amongst others, to reflect on how much Neruda has matured over time.
"What lips have I kissed" by Edna St. Vincent Millay While reading "What lips my lips have kissed" by Edna St. Vincent Millay, I realized many things about myself. The first thing was that I, after thinking I would never be able to decipher one word of poetry, actually could. I also found that I was able to enjoy it. Another thing was that the narrator (whom I felt was a woman- no man could portray these feelings like a woman) and I had strikingly similar feelings. There happened to be many other amazing findings, but these two were the first and most important to me.
This poem dramatizes the conflict between love and lust, particularly as this conflict relates to what the speaker seems to say about last night. In the poem “Last Night” by Sharon Olds, the narrator uses symbolism and sexual innuendo to reflect on her lust for her partner from the night before. The narrator refers to her night by stating, “Love? It was more like dragonflies in the sun, 100 degrees at noon.” (2, 3) She describes it as being not as great as she imagined it to be and not being love, but lust. Olds uses lust, sex and symbolism as the themes in the story about “Last night”.
Edna St. Vincent Millay’s “Time does not bring relief,” also known as simply “Sonnet II”, explores the theme of a protagonist who cannot escape the memory of a loved who has left them in an ambiguous fashion. Millay disregards cliché that “time heals all wounds” as being a lie as the protagonist allows her grief and resurrected former feelings over the missing figure to control her actions after a year--”But last year’s bitter loving must remain /Heaped on my heart, and my old thoughts abide.” Throughout the year, the protagonist has longed for the loved one during the varied weather accompanied by the seasons. Regardless of the changing seasons, the subject cannot escape her dilemma. Not only does the central figure watch time go by, she refuses
Much like Lorraine Hansberry, Madeleine L’Engle believes that “the growth of love is not a straight line, but a series of hills and valleys.” Lillian Hellman’s The Little Foxes, Tennessee Williams’ Cat on a Hot Tin Roof, A Streetcar Named Desire, and The Glass Menagerie, and Robert Harling’s Steel Magnolias use the idea that even through struggles their characters show that love always endures. Although loving someone, who is not particularly loveable, is one of the most difficult parts of being human, it is possible by remembering that addictions can be reversed, blood is forever, and a ring is more than just an object.
This feeling is particularly obvious in the sonnet beginning "What lips my lips have kissed" (1); the speaker's love life is characterized by a series of convenient relationships. Given lines seven and eight for analysis, "For unremembered lads that not again / Will turn to me at midnight with a cry," Dr. Freud might suggest that the impulsive sex serves the double purpose of sabotaging a promising relationship while feeding the needs of thespeaker's ego. Feminist and other [1] critically-oriented literary scholars who have learned how to identify objectification in their sleep certainly would not miss it in this poem. [comment4]But because convention is twisted by the poet's gender, this tactic seems fresher, less hurtful, and more amusing. There is novelty and irony in a woman using what may be considered the male gaze to scrutinize her own capriciousness.
In the excerpt from Tomson Highway’s Kiss of the Fur Queen, a hunter, Abraham Okimasis, pushes through an intense race with his dogs in the snow. Literary devices, such as imagery and details, reveal the internal and external struggles of Okimasis’ life during the race. His fight to the finish gradually creates suspense as he continues to scramble with the idea losing, while he also battles with nature, self, and beast.
As we discussed Astrophil and Stella in class, I felt a familiar knot in my stomach. At first I could not pin-point the reasons for my aversion to these sonnets. However, as we discussed it in class, it became clear to me. I could identify with Penelope Devereux Rich. Although Astrophil and Stella could be interpreted as an innocent set of love sonnets to an ideal woman and not a particular woman, they reminded me of the letters I received last year from a guy, Lee Burt, I had not seen in seven years. He stalked me by mail and phone. I felt small and vulnerable, and in some ways, violated. I do not hold much higher opinions of Sir Philip Sydney. I would argue that Sydney's sonnets were not innocent, but obsessions, and he too could be considered a stalker.
Heartbreak is an experience and emotion that mankind has faced forever. In the poem For He Looked Not Upon Her , George Gascoigne writes his sixteenth century sonnet about a speaker who cannot face his ex lover. The speaker of the poem speaks with an attitude that expresses exhaustion with the games of love all while recognizing the trustless beauty of his ex.
The speaker uses metaphors to describe his mistress’ eyes to being like the sun; her lips being red as coral; cheeks like roses; breast white as snow; and her voices sounding like music. In the first few lines of the sonnet, the speaker view and tells of his mistress as being ugly, as if he was not attracted to her. He give...
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.
These three poems, then, are written in the voice of the spurned lover. In two of them, this lover is cognizant of our presence and seeks to impress us with his impassivity; but in the third, he pours out his sorrow and minds not whether we think the less of him for his poor choice of women.
The complexity of Carol Ann Duffy’s poem Valentine, is not hidden in its essence, the comparison of love to an onion, but in the way she illustrates and supports her metaphors. Through the usage of both literary and structural devices, Duffy explores the meaning of love through the lense of her speaker, who, on valentines day, is trying to convey the true meaning of love through her symbol of choice: an onion. While her structure may seem unorthodox to some, her operation of both long, metaphorical sentences and short, stoccato ones makes the poem on one hand sweet and pleasurable to read and on the other, unnerving and sad.
During the course of Edmund Spencer’s Amoretti, the “Petrarchan beloved certainly underwent a transformation” (Lever 98); the speaker depicts the beloved as merciless and is not content with being an “unrequited lover” (Roche 1) as present in a Petrarchan sonnet. Throughout Sonnet 37 and Sonnet 54, the speaker provides insight into the beloved not seen within the Petrarchan sonnets; though the speaker does present his uncontrollable love for the beloved, he does so through his dissatisfaction with his position and lack of control. In Sonnet 37, the speaker describes the beloved as an enchantress who artfully captures the lover in her “golden snare” (Spencer, 6) and attempts to warn men of the beloved’s nature. Sonnet 54, the speaker is anguished by the beloved’s ignorance towards his pain and finally denies her humanity. Spencer allows the speaker to display the adversarial nature of his relationship with the beloved through the speaker’s negative description of the beloved, the presentation of hope of escaping from this love, and his discontent with his powerlessness. Spencer presents a power struggle and inverted gender roles between the lover and the beloved causing ultimate frustration for the speaker during his fight for control.