Transliteration: Atash an nist ke az sholeye ou khandad shame’ / Atash anast ke dar kharmane parvaneh zadand
G. B. : That, that is not the flame of Love's true fire / Which makes the torchlight shadows dance in rings, / But where the radiance draws the moth's desire / And send him fort with scorched and drooping wings./ The heart of one who dwells retired shall break, / Rememb'ring a black mole and a red cheek, / And his life ebb, sapped at its secret springs.
H. W. C.: Not fire is that, whereat the candle’s flame laugheth: / Fire is that, wherein the moth’s harvest they cast.
A. A. K.: What makes the candle laughing isn't a flame. / The fire that burned the butterfly is my aim.
In this couplet, the poet refers to one of the oldest and most beautiful allegories in Persian literature which is the story of the candle and the butterfly. In this love story, the butterfly as the lover of the candle flutters around the candle until his wings burns in her flames and he dies. The candle itself is the symbol of beloved which emitted love or, better to say, the fire of love, and at the same time, show some pride leading to her death. Here, fire can be viewed in two senses: the fire in its common sense as a rapid, persistent chemical change that releases heat and light and is accompanied by flame, and in its mystical sense which refers to the Love’s fire, the fire which burns within the heart of the lover and makes tumult, the fire of understanding the secrets of the unseen world and the Beloved, that is God. Here, the moth’s harvest is used as a metaphor for the whole body, the existence, and the entity of butterfly as the true lover. Of course, Hafiz himself, as a true mystic and lover, is burning in such a fire as mentioned in...
... middle of paper ...
...ey which is the valley of Wonderment (Heyrat (Bewilderment)), the seeker becomes astonished by the works of God and his beauty. The last valley, The Valley of True Poverty and Absolute Nothingness (Faqr and Fana (Selflessness and Oblivion in God)), the most distant state that the mystic can reach, is the state of annihilation of self in God; it is the valley where Hafez himself has reached. In this couplet, Hafiz asserts that the fire is not the flame that causes a candle to burn and become ablaze but the one which burns butterfly’s heart and finally his body, the entity of the lover. In fact, it is in this fire, or the burning love, that the butterfly or the true lover who reached the last stage of journey where all his life and existence epitomizes within and unites with his Beloved dies and scarifies himself for his love without any complaint and dissatisfaction.
The Desert at Hand, the first poem she read to us, although by far the one which moved me the most, seemed very confusing at first. She opens "Love is also fragment: the cheek of the moon's fat-boy face giving itself up to be kissed, the ingredient phrase, I can't live without you, the sum of the few words that truly invent themselves - You are." At first, the impression of the poem's direction and attitude seemed positive, inspiring the thought that love really is self-sufficient despite it's fragility. Even the title The Desert at Hand seems to imply a biblical simile, that love is a test which can both test and strengthen you, just as Jesus' 40 days in the desert was a time of great temptation and redemption for him.
In the opening stanza, the speaker describes the human craving and longing for material objects. From the very first word of "Meditation 42," a sense of longing and desire infuses the poem as "apples" (ll. 1) often symbolize both temptation and desire. Because Eve allowed the lure of attaining the God's knowledge to overtake her in the book of Genesis, she bites from a fruit on the Tree of the Knowledge of Good and Evil which is commonly depicted as an apple. In addition, because the "apples" allude to man's fall from paradise they thereby represent man's imperfection and sinful nature. Furthermore, the fact that "apples of gold in silver pictures shrined" (ll. 1) emphasizes the desire or lust for physical, material items of beauty and wealth. These items "enchant" (ll. 2) as the "gold" and "silver" appeal to mankind's covetous nature and tendency to value superficial items. Thus, the speaker conveys his longing and desire for physical riches which "enchant" him. Yet his want for treasures exist as strictly human desire, causing physical consequences as they "make mouths to water" (ll. 2).
In Dryden's Lucretius, the speaker argues that (1) Love is a sickness, (2) Love's sickness enslaves, and (3) all attempts to remedy Love's sickness are vain and will only frustrate the lover. Just as Milton's Adam and Eve become enslaved to sin by disobeying God, so mankind becomes enslaved to Love when pierced with Cupid's "winged arrow". In Milton, there is redemption and freedom through Christ, but in Dryden, no salvation from love is possible. This poem leaves mankind in a hopeless, frustrated state, unable to break free from love's yoke. This essay will center on the last heroic couplet: "All wayes they try, successeless all they prove,/To cure the secret sore of lingering love".
...g miseries will be extinct. I shall ascend my funeral pile triumphantly, and exult in the agony of the torturing flames. The light of that conflagration will fade away; my ashes will be swept into the sea by the winds. My spirit will sleep in peace; or if it thinks, it will not surely think thus. Farewell.” (197)
In Havisham she portrays love as something that can almost break a person. For example the persona says she “spent days in bed cawing nooooo at the wall”. The use of the elongation of ‘no’ conveys the persona’s despair and sadness, as it has been used to express the dismay and sorrow of the persona. This is again reinforced by the elongation of ‘no’. being elongated it puts emphatic stress on the word, which strengthens the notion that the persona has been affected greatly by her disappointing love life. Furthermore, the use of the verb “cawing” links to a crow, which is symbolic for death and sometimes evil, so the fact the persona is “cawing” could mean that death has occurred, maybe in herself or the death of her love/love life. In addition this physical and detrimental effect of love is seen in the persona’s confusion “who did this to me”. This suggests that the persona has been dwelling on losing her love so long that she no longer knows who to blame. This identity crisis also shows that the persona needs someone to blame to start to feel some comfort in what has happened to her. Overall this creates sympathy for the persona through the use of Duffy’s bitter tones in this poem. This is strengthen by the fact that this woman has been affected in such a way by a disappointing love life that she is breaking down physically and mentally, which, again, creates sympathy for the persona and
...ice of words and focus on the idea of fire add to the story portrayed through the sestina, which allows for us (as the readers) to not forget how horrendous this time in history was. This poem in the end does demonstrate the need for emotional attachment when referring to the past in history, making it a theme to the piece.
As for artistic allusions, Blake’s reference to Icarus, “On what wings dare he aspire?” compares to a human man who attempted to break free from his human limitations by making wings of wax, which melted as he flew close to the sun. The line, “What the hand dare seize the fire?” is symbolizing the c...
The story of this poem tells about a young boy that is lured in by the sensuousness of the moon, and then dies because of his own desire for her. The symbolic meaning is much more hidden and disguised by the literary elements of the poem. The storyline and aspects of the literal story add meaning when searching for the figurative meaning. The warning learned from this poem is that infatuation with anything can lead to a downfall. The moon seemed to offer a comfort that attracted him, but it was only a disguise to lead him to death. The passion the young boy felt for the moon can easily be modified to describe the passion a person can feel for anything. The young boy saw safeness in the moon that brought him closer to her. Any obsession will seem to offer the same comforts that the young boy also saw, but this poem warns that death can always disguise itself.
On the other side, “Love Poem” is very different from the previous poem. This seven stanza poem is based on a man describing the imperfections of his lover. In this, the speaker uses stylistic devices, such as alliteration and personification to impact more on reader, for example as the speaker shows “your lipstick ginning on our coat,”(17) ...
The reader gets a vivid image of a huge industrial city built in “valleys huge of Tartarus”(4). This reference to Tartarus is saying that the city is virtually in a hell-like area. The image of hell is further exemplified by the line “A flaming terrible and bright”(12), which conjures up thoughts of fire and heat. The reference to hell and flames adds to the theme because it brings to light the idea of destruction and nature burning away. Similar to what happens when there is a forest fire. The fire is not just coming out of nowhere though, it is coming “from out a thousand furnace doors”(16), which furthers the idea of industrialization. There are no longer humans in this city which is evident because when talking about the beings in the city Lampman wrote “They are not flesh, they are not bone,/ They see not with the human eye”(33-34). This part of the poem is important because if there are no more humans left it is easy to assume that the only driving force of these “Flit figures that with clanking hands”(31) is work. They work to make the city bigger and to build more than they already
In the first three lines of the poem, Harjo talks about opening oneself up to nature where you feel yourself. She does this by connecting the human body to the sky, earth, sun, and moon. The next six lines talk about the concepts and aspects during prayer and how you are in a whole other place. In these first nine lines, Harjo uses repetition with prayer and shows parallelism with the peacefulness nature and prayer can bring to oneself. Harjo also uses similes in lines ten and twenty two. She compares the circle of life to that of the eagle as well as the eagle to an angle.
In the second stanza, the narrator goes to the “heath and the wild” and the “thorns and thistles” where they tell him that they were “beguiled” and “driven out.” This is the first indication that the reader receives that indicates love is under attack. These plants represent weeds, an undesirable nuisance to those who cultivate gardens. Blake uses personification when they say that they were “driven out” or exiled from the garden of love. They then go onto say that they were “compelled to the chaste”, meaning thei...
By using references of her grief or her losses, Browning creates a more realistic view of her love suggesting that her love is sincere as it comes from a grieved person, which differs to the positive and idealistic feelings portray in the first octave. The poet then talks about her fondness of her love, revealing that her she lives for her love “ I love thee with the breath, / smiles, tears, of all my life;” (line 12-13), the asyndetic listings of the verbs ‘breath’, ‘smiles’ and ‘tears’, implying that her love can stem from different emotions she feels such as happiness and sadness, suggesting to her beloved that her love comes from good and sad points of her life.
“If half thy outward graces had been placed upon thy thoughts and counsels of thy heart! But fair the well, most foul, most fair. Farewell, the pure and impiety and impious purity. For the I’ll lock up all the gates of love and on my eyelids shall conjecture heading to turn ...
“Fire and Ice” is a poem that paints a bleak picture of the future in which there are two paths, fire and ice, that both lead to the end of the world. Frost uses language throughout the poem that appears to be simple, but is actually very effective at communicating deeper, insightful meanings. He connects fire and ice to desire and hate and creates multiple levels of complexity. For example, the simple passage “Some say the world will end in fire, / Some say in ice.” (“Fire and Ice” 1-2) introduces the two main symbols in the poem, but, at the same time, pulls the reader in because desire and hate are so personal and such a significant part of human nature. After the symbols are presented, the narrator involves himself or herself in the poem by saying “From what I’ve tasted of desire / I hold with those who favor fire.” (“Fire and Ice” 3-4). A clear decision is made here in favor of fire, implying that the narrator favors desire. Frost believes that the world will eventually be destroyed by destructive and negative human traits: desire, greed, and jealousy. Yet in Frost’s mind, these traits are still preferable to hate. This opinion is demonstrated by the narrator’s choice of fire. Frost prefers the heat of passion and fire to the ...