To corner or trick the maiden into saying "Yes". Though both arguements are supurb, Marvell's has a nicer, refined style to it. In "To His Coy Mistress" and "The Flea", there is an exemplification of just how crafty men can be during the hunt. The speakers, in both poems, makes a "modest" but declinable offer for sex to their maiden of choice. And, upon rejection, each male begins a fluent yet rhetoric arguments on why the maiden should accept his simple offer of passion.
A Comparison of ‘To His Coy Mistress’ by Andrew Marvell and ‘To His Mistress Going to Bed’ by John Donne ‘To His Coy Mistress’ and ‘To His Mistress Going to Bed’ are both poems about men seducing women. They centre around sex rather than love or romance. Sixteenth and seventeenth century attitudes to love and relationships were much stricter going as far as wealthy people asking their perspective lovers to court them via love poem or letter. Though this has changed from the sixteenth and seventeenth century to today, little else has. It is still most common for a man to initiate a relationship, and men are still perceived as the most sex obsessed.
The imagery of worms and dust provide a finite view on the beauty, virtue, and innocence in the women they wish to seduce. Donne does this through trying to prevent the death of the flea and when that doesn’t work he castigates the woman in the loss of life and passion, “Cruel and sudden, hast thou since/Purpled thy nail, in blood of innocence?” (Donne 19-20). The guilt placed on the woman should turn her no into a yes by harping on the death of the poor flea who did nothing but join their two bloods together. However, his ambition is to gain her favors and he tells her if she will yield to him, the flea’s death will not be wasted. Although Marvell may not be able to stop time, their lovemaking can make time run from the fury of their passion.
His wording in this poem tries to convince this lady that their blood has already mingle in this flea, so they should just make love. However, the woman he is trying to seduce thought he is out of his mind and kills the flea. The reader can see that he is trying to make excuses to make love to her. Donne keeps saying that their love making will not be looked down upon, which it will. Donne says in the poem, “A sin, nor shame, nor loss of maidenhead, / Yet this enjoys before it woo, / And pampered swells with one blood made of two, / And this, alas, is more than we would do”
He also implies that such a little thing like virginity should not deny them of making love. The girl may seem offended by this, but it does not stop John Donne. He tries to make the girl feel stuck together with him and that they are as one. "It suck'd me first, and now sucks thee" "And in this flea our two bloods mingled be" The two bloods mixing together like sexual intercourse. During sexual inter... ... middle of paper ... ... times.
While “To His Coy Mistress” might appear at first sight to be a poem of seduction, it is really a dramatic meditation on the fact that we live constrained by “world and time,” and a prescription for what to do about it. The first stanza sets the tone of mockery. The speaker uses metaphors, hyperboles, irony and imagery to seduce his coy mistress. He begins his poem of seduction with an insult: “Had we but world enough, and time, / This coyness, lady, were no crime.” He calls her a criminal for being so reluctant when they are constrained by world and time. To him, it is a misconduct to not jump right into his arms when they have so little time to live.
Since Rebecca Sharp didn’t have a well-established family or wealth she had to use her intelligence and beauty as a woman to get men to do what she wanted. It is because of the tricks she used, that sexual desires can be presented as the men respond to her. There are three good examples within Vanity Fair that capture these desires. The first is with Joseph, when under the influence of rack punch, makes some skeptical advances at Rebecca. Next came George who although on the brink of battle, can’t help but slip Rebecca a note.
Shakespeare wants to emphasize her beauty. In 'The Flea' the poet is directly appealing to the woman or his mistress. They seem to be in bed together with a flea, but no sex seems to have taken place. If it had, then the situation would be very different. The poet has seduced her as far as the bedroom and at this point, it seems as though he is going to try a new strategy.
Both poems are one sided dialogues between the poet and his mistress. They do, however, differ in the ways in which they try to portray their feelings on the topic, with Donne’s “The Flea”, depicting him as comparing sexual intercourse with the way in which his blood is mingled with that of his mistress in a flea, which has bitten both of them. By doing this, he is incorporating 17th Century principles, such as the belief that sexual intercourse involved the mingling of the two bloods, and constantly refers to the flea, in an attempt to persuade his mistress. Marvell, however, introduces a hypothetical situation to argue his case, with the central statement that he uses to bring his mistress round to his line of thought being “Carpe Diem.” This derives from Latin and translates “Seize the Day,” with Marvell using it to emphasise that time is against them. The difference here, between the two poems, is that Donne is saying that they’ve already had sex in the flea, and therefore the whole affair is no longer a big deal, while Marvell is suggesting a sense of... ... middle of paper ... ...erious note than Marvell, however, by using some strong biblical imagery to show his mistress that, by killing the flea she has committed a sin and, if she realises this, she has shown that she feels intercourse is no big deal.
Donne develops this idea through the symbolism of the flea and the twisted imagery of the Trinity. He uses slant rhyme to depict the man’s slanted argument and stretched logic, which highlight the man’s crooked idea of what physical love is. Donne’s use of slant rhyme and hyperbole mock other poems that praise women with flowery language in an attempt to charm them into bed. In contrast, the speaker here uses crude arguments meant to woo this woman to sex with him.Renaissance carpe diem poems speak about enjoying physical love within one’s short-lived youth. “The Flea” touches on fleeting love too; the body with the blood of life and love may soon be squished.