Both Bob Dylan’s “Boots of Spanish Leather” and Christopher Marlowe’s “The Passionate Shepherd to His Love” utilize material gifts, but each use these materials to draw different conclusions. The speaker in “Boots of Spanish Leather” is offered an ultimately asks for gifts from his lover as a consolation, whereas the speaker in “The Passionate Shepherd to His Love” offers gifts to his lover in an effort to manipulate them. This demonstrates the true basis of both relationships- the first poem exhibits a romantic love, the other desire. Dylan’s “Boots of Spanish Leather” demonstrates ballad characteristics, as it utilizes casual language and issues surrounding love. “Boots of Spanish Leather” begins with the first speaker asking their love if there is something they can send home from their …show more content…
The speaker opens the poem by asking the subject of the poem to live with him. At first, this seems romantic, but doesn't include any promise of an enduring relationship- and he immediately follows up with his true intentions: “[a]nd we will all the pleasures prove” (Marlowe 2). Contradicting the first line, line 2 presents an underlying sexual desire: they can experience the ‘pleasures’ of their new home together. However, if the subject does not come and live with him, everything is off the table. In contrast to “Boots of Spanish Leather”, we never receive any response from the subject of this poem. But due to the persuasion that follows, he believes that the subject will take convincing. The true nature of the poem is introduced in the first few lines: despite the romantic language, the poem is about desire. And as Metzger notes in her essay, the subject of the poem “…who has no name and no identity, also has no voice. She exists only within the shepherd's plea.” The speaker never uses specifics: this poem can be recycled for different
While Anna Williams views escaping the confines of marriage as a desirable thing, Charlotte Lennox’s greatest lament, as expressed by her poem “A Song,” is merely to have the freedom to love who she pleases. Although Charlotte Lennox has a more romantic view of men and love than Anna Williams, neither woman denies the need for companionship. Charlotte Lennox’s opinion towards love is expressed clearly in her piece “A Song.” The poem’s female speaker is experiencing unrequited love.
When the poem is read aloud, the explicit rhyme and rhythm of the lines becomes extremely obvious. In fact, the bouncy rhythm is so uplifting, it occasionally makes the audiences feel like it is too predictable and straight-forward. An example would be “bright with chrysolite”, the word “chrysolite” feels like it is forcefully implemented for the sake of the rhyme. This is somewhat similar to a children’s tale. Most children’s tale as we know it, conveys messages straightforwardly and are easily understood by children, it also has an amiable tone and a merry mood that engages the children 's attention. Similarly, the rhyme and rhythm of this poem is very obvious and explicit, creating a delightful, casual mood that appeals to a young audience. Even though the legend dealt with deep insights about parenting that are intricate and puzzling, the father delivered it in such a gratifying, simple manner that made even the most dark and dreadful matters: like the description of precarious beasts and vicious monsters to sound like a blissful adventure of friendly animals. The sole purpose of this contradiction between the tone and message is to make this seemingly strong and serious topic more tolerable and captivating to the son of the father. Unsensible, impulsive youth is very similar to restless children, a long insipid lecture about deep insights is very difficult for them to buy into. In the same time, a harsh, threatening warning will only make them obey unwillingly, and creating a doubtful relationship will make them uncomfortable to communicate or appeal to their parents. Clearly, the percipient father recognized the ineffectiveness of these unsuitable parenting methods. Instead, he conveyed the message in a uncomplicated, friendly way that made his son to accept his teachings more comfortably. A
Comparing The Passionate Shepherd to His Love and Nymph's Reply to the Shepherd. and the stark contrast of the treatment of an identical theme, that of love within the framework of pastoral life. I intend to look at each poem separately to give my interpretation of the poet's intentions and then discuss their techniques and how the chosen techniques affect the portal of an identical theme. The poem The Passionate Shepherd to His Love appears to be about the Elizabethan courtly ideal of living with the barest necessities, like.
The speaker continues to take on the role of beggar as she imagines the Hound “sometimes – at your side to run”, but only “When you were willing” (11-12). Again, she is implying that the poem’s subject holds the power. The speaker does not want to irritate and exert her own sense of empowerment, so will only act when or if the subject is willing. The final lines bring the poem to a close by asking, “May it come – Tell Carlo – He’ll tell me!” (13-14). Carlo was the name of Emily Dickinson’s Newfoundland dog, which lived from 1850 to 1865 and was a gift from her father. The moniker Dickinson bestowed upon the dog was an allusion to St John River’s dog in Charlotte Bronte’s Jane Eyre. (Lexicon). The speaker is suggesting that, perhaps, her dog might serve as an emissary between the she and the subject of the poem. This is an abrupt change in tone and may be a light-hearted acknowledgment of the juvenile outlook that the speaker has toward her beloved. Since she has yet to fully develop a stable sense of self, this contributes to the speaker’s underlying fear of
The work of Sara Teasdale captured the hearts of many Americans through her lyrical simplicity and delicate craftsmanship on the major themes of love, beauty, and death. Her poetry was often quoted, parodied, and set to music by the public. They awarded her the Columbia University Society Prize and the Poetry Society of America Prize in 1918 for her poem collection title Love Songs. However, her major success as a lyrical poet proved true when her work continued to sell posthumously. Throughout Teasdale’s lyrical poetry, she depends heavily on metaphors and personification, simple diction, and romantic imagery to produce a melancholy tone and to gain a sympathetic response from her reader on the impossible feat of satisfying the contrasting needs of her Puritan and Pagan ways of life.
Stephen Chbosky wrote, “We accept the love we think we deserve.”. The artist Shawn Mendes wrote the song “Stitches”. The author, Elizabeth Barrett Browning wrote the poem “How do I love thee”. The song “Stitches” emanates a negative tone. The poem “How do I love thee” gives off a positive tone. Both “Stitches” along with “How do I love thee” have similarities and differences; nonetheless, Shawn Mendes uses a negative tone to make listeners feel a dispirited heartbroken mood, whereas Elizabeth Barrett Browning uses a positive mood which causes the reader to feel a caring compassionate mood. By observing the song and poem together, I have come to the conclusion that although they have various similarities, there are numerous differences than there are similarities.
Love is not just a feeling, but a commitment and sacrifice as well. In “Those Winter Sundays”, author Robert Hayden tells the story of a hardworking father waking up in the cold to kindle a fire, while his indolent son ungratefully slumps from his warm bed. The relationship between these two show that love can be shown in a variety of ways, but the diction and figurative language used by Hayden convey that sacrifice is the most subtle approach.
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
Additionally, Germany is another country where hunting ballads are very popular yet there are many other similar poems to this one. Further meaning that this ballad did not originate from Spain itself, but it developed across the European lands. Moreover, the idea of people alternating, editing and improving this poem is what makes a successful old ballad. To show this clear link and how the ballads have been developed across Europe there will be a reference to a German poem. However, they are not identical as that would have been impossible due to the fact that ballads lived on through an oral medium which constantly changed them. Just like any mature ballads both of them have an anonymous author and no title. They incline
Pushing tears from her eyes, a frantic mother scrambles through what remains of her beloved church. But she does not locate her choir singer. Only a little white shoe and a glove to match. In his poem “Ballad of Birmingham,” David Randall uses descriptive imagery, dialogue, irony, and a tonal shift to give the poem emotion and draw the reader’s attention towards the dramatic situation.
Robert Browning, the poet, uses iambic pentameter throughout the poem. He breaks up the pattern so that every two lines rhyme. Aside from being a dramatic monologue, the poem is also considered lyric poetry because it is a poem that evokes emotion but does not tell a story. The poem is being told in the speaker's point-of-view about his first duchess, also as revealed in the title, The Last Duchess. The setting is important because the duke's attitude correlates to how men treated women at that time. The theme of the poem appears to be the duke's possessive love and his reflections on his life with the duchess, which ultimately brings about murder and his lack of conscience or remorse.
At the start, the first stanza of the poem is full of flattery. This is the appeal to pathos. The speaker is using the mistress's emotions and vanity to gain her attention. By complimenting her on her beauty and the kind of love she deserves, he's getting her attention. In this first stanza, the speaker claims to agree with the mistress - he says he knows waiting for love provides the best relationships. It feels quasi-Rogerian, as the man is giving credit to the woman's claim, he's trying to see her point of view, he's seemingly compliant. He appears to know what she wants and how she should be loved. This is the appeal to ethos. The speaker seems to understand how relationships work, how much time they can take, and the effort that should be put forth. The woman, if only reading stanza one, would think her and the speaker are in total agreement.
She says “writing can be an expression of one 's innermost feelings. It can allow the reader to tap into the deepest recesses of one 's heart and soul. It is indeed the gifted author that can cause the reader to cry at her words and feel hope within the same poem. Many authors as well, as ordinary people use writing as a way to release emotions.” She makes plenty points in her review that I completely agree with. After reading the poem I think that Elizabeth Barret Browning is not only the author of her famous poem, but also the speaker as well. She is a woman simply expressing her love for her husband in a passionate way through poetry. In the 1st Line it reads “How do I love thee? Let me count the ways.” A woman drunk in love she is, and next she begins to count the numerous ways she can love her significant
The poems “To My Dear and Loving Husband” written by Anne Bradstreet and “How Do I Love Thee? Let Me Count the Ways” by Elizabeth Barrett Browning are both poems about unconditional love and adoration. Even though these women had hardship and trying times in their own lives they were still able to construct these highly regarded poems of genuine love. When comparing and contrasting these two poems I find that one is written to a specific person while the other is to an unidentified loved one, each poet uses imagery and symbolism differently to convey their meaning, and both share true devoted commitment to their loved one.
The poem has a very melancholy tone throughout, expressing the feelings of Browning’s ‘Del Sarto’, and to an extent Browning himself. It deals with the artists demise, or recline, that he thinks is slowly starting to destroy his life, and the freedom he once had as an artist. He makes references to the ‘autumn in everything’ that he now sees, and the sin of him being ‘tempted’ by ‘Francis’ coin’, which he ‘took’. It is clear from the beginning of the poem that ‘Del Sarto’ that he has to live with his resolve, and although he tries to outline his plight, he doesn’t change it, as he says to Lucrezia ‘do not let us quarrel any more’. He is succumbing to what he has to now do. He has to work now for the money he will gain, which destroys the ethos of art. Hi reference to the recipient of the piece as a ‘friends friend’ emphasizes how distant he has got from his art, and his audience. It is not a particular audience, and neither does the picture convey much, as it is just for money.