Both poets want to be loved in the poems in their own way. While both poem’s present a theme of love, it is obvious that the poet’s view on love changes from how they view love at the beginning of the poem from how they see it at the end.
Love is the ubiquitous force that drives all people in life. If people did not want, give, or receive love, they would never experience life because it is the force that completes a person. People rely on this seemingly absent force although it is ever-present. Elizabeth Barrett Browning is an influential poet who describes the necessity of love in her poems from her book Sonnets from the Portuguese. She writes about love based on her relationship with her husband. Her life is dependent on him, and she expresses this same reliance of love in her poetry. She uses literary devices to strengthen her argument for the necessity of love. The necessity of love is a major theme in Elizabeth Barrett Browning’s “Sonnet 14,” “Sonnet 43,” and “Sonnet 29.”
In romantic words, the poet expresses how much she does think of love. She state it clear that she will not trade love for peace in times of anguish.
...ce of outside forces. However, the male-female love still exists in the world because the world in reality is a play where each being can write their script. In poetry reality holds no limitations. Even though the lover’s love is not true, it exists in the world because of the human being’s fight to preserve it. True love may only be able to exist in the female-friendship as shown in the play, but love in relationships still exists because the world allows any being willing to become a poet to be one. Any person can preserve a dream of false love and turn it into true love is they are willing to believe it possible. True love can only exist without penetration, domination, desire, or loss of identity, which exist in male-female love. However, love exists in this relationship because poetry has the ability to transfer this love away from a dream and into existance.
Love is the greatest gift that God has bestowed upon mankind. Defining love is different for every culture, race, and religion. Walt Whitman’s love is ever changing for anyone who tries to love him or understand his work. Love can be broken down into a multitude of emotions, and feelings towards someone or some object. In order to find love that is searched for, preparations must be made to allow the full experience of Whoever You Are Holding Me Now in Hand by Walt Whitman to be pious. Walt Whitman’s poem is devoted to the fullness of love, and a description of fantasy and reality. A journey to find love starts with knowledge that both participants are willing, and able to consummate their love in judgment under God. Time is the greatest accomplice to justify the energy and sacrifice needed to start developing the ingredients needed for love to grow. Each stanza is a new ingredient to add to the next stanza. Over time, this addition of each stanza will eventually lead to a conclusion. A conclusion that love is ever changing, and people must either change along with love or never know the miracle of love.
The concept of love has long been the preferred topic of conversation among prominent male poets. Towards the closing of the sixteenth century, however, the emerging of the female poet took place. With the introduction of Queen Elizabeth, an initial path was now cleared for future women poets to share their views on the acclaimed topic of love. Due to this clashing of ideas, the conflicting views of two exceedingly different sexes could manifest itself. Who better to discuss the topic of love then Elizabeth Barrett Browning, who expresses her ideas with intelligence comparable to the best male poets, and Emerson, world renowned for his poignant opinions? In accordance with the long history of conflict between males and females, both Emerson’s "Give All to Love" and Browning’s "Sonnet 43" convey the pleasure love brings, but while Emerson’s poem urges the retention of individualism in a relationship, Browning pleads for a complete surrender to love.
Irrational Choices Exposed in The Road Not Taken
Self-reliance in "The Road Not Taken" is alluringly embodied as the outcome of a story presumably representative of all stories of self-hood, and whose central episode is that moment of the turning-point decision, the crisis from which a self springs: a critical decision consolingly, for Frost's American readers, grounded in a rational act when a self, and therefore an entire course of life, are autonomously and irreversibly chosen. The particular Fireside poetic structure in which Frost incarnates this myth of selfhood is the analogical landscape poem, perhaps most famously executed by William Cullen Bryant in "To a Waterfowl," a poem that Matthew Arnold praised as the finest lyric of the nineteenth century and that Frost had by heart as a child thanks to his mother's enthusiasm.
The analogical landscape poem draws its force from the culturally ancient and pervasive idea of nature as allegorical book, in its American poetic setting a book out of which to draw explicit lessons for the conduct of life (nature as self-help text). In its classic Fireside expression, the details of landscape and all natural events are cagily set up for moral summary as they are marched up to the poem's conclusion, like little imagistic lambs to slaughter, for their payoff in uplifting message. Frost appears to recapitulate the tradition 'in his sketching of the yellow wood and the two roads and in his channeling of the poem's course of events right up to the portentous colon ("Somewhere ages and ages hence:") beyond which lies the wisdom that we jot down and take home:
Two roads diverged in a wood, and I --
Robert Frost was an American poet, and playwright who became one of the leading pioneers in poetry in the late 1800’s into the 1900’s. Frost grew up in rural New England in the early twentieth century and experienced many hardships in his life including losing his father at the young age of eleven and losing two children at very young ages. He used his experiences of growing up in a rural area in most of his poems. Another major them in his poems are decision-making poems usually based off of his own life. This is a huge them in his poems because Frost always wondered what would have happened if he decided doing something other than writing poetry in his life. He always wondered how his life would be different and it shows in his poems such as “The Road Not Taken.”
“Poetry is when an emotion has found its thought and the thought has found words,” Robert Frost once said. As is made fairly obvious by this quote, Frost was an adroit thinker. It seems like he spent much of his life thinking about the little things. He often pondered the meaning and symbolism of things he found in nature. Many readers find Robert Frost’s poems to be straightforward, yet his work contains deeper layers of complexity beneath the surface. His poems are not what they seem to be at first glance. These deeper layers of complexity can be clearly seen in his poems “The Road Not Taken”, “Fire and Ice”, and “Birches”.
...herself, as stated, “You love me, and I find you still a spirit beautiful and bright, yet I am I, who long to be lost as a light is lost in light,” (lines 5-8). The author, clearly confused, both wants and doesn’t want whomever this poem is dedicated to. The author wants the person because of their beautiful soul, but does not want them due to the greater desire to be a free spirit, like a light—something that is never constant. This confusion, with love a driving factor, causes heartache and confusion to the author and the recipient; hence, where there is love, heartache will always prevail.