"A Rapture" is more than a witty dream poem from which the speak draws poetic inspiration. The poem's opening image of honor as a masque is balanced by the poem's closure with the same type of images and its worldly power, showing a playful and sophisticated awareness of the resolution of the ideal fantasy or daydream, juxtaposed by the real external truths. Thomas Carew's `A Rapture' was in its day an extremely shocking poem, considering the era in which it was written such erotic topics were unmentionable. The poem uses the traditional pastoral images permeated with a deeper animation. It acknowledges the conflict between eroticism and Christianity and obviously a conflict is bound to happen.
Sonnet 130 is Shakespeare’s harsh yet realistic tribute to his quite ordinary mistress. Conventional love poetry of his time would employ Petrarchan imagery and entertain notions of courtly love. Francis Petrarch, often noted for his perfection of the sonnet form, developed a number of techniques for describing love’s pleasures and torments as well as the beauty of the beloved. While Shakespeare adheres to this form, he undermines it as well. Through the use of deliberately subversive wordplay and exaggerated similes, ambiguous concepts, and adherence to the sonnet form, Shakespeare creates a parody of the traditional love sonnet.
Shakespeare’s sonnet 130 is a sonnet much different than the normal love sonnets of that time. A well-known re-occurring them in Shakespeare’s sonnets is love. Shakespeare’s sonnet 130 can be interpreted many different ways. Sonnet 130 describes what love is to Shakespeare by making the poem a joke in order to mock other poets. In sonnet 130, Shakespeare spoke of a courtly love.
Some readers may sense bitterness behind the comedy, but will probably also recognize the truth behind Shakespeare's satire. Often, love leads us down blind alleys and makes us do things we regret later. The lovers within the scene, especially the men, are made to seem rather shallow. They change the objects of their affections, all the time swearing eternal love to one or the other. In this scene Shakespeare presents the idea that both false love and true love can prevail..
In the second poem, "Sonnet 130", Shakespeare describes the many imperfections in his mistress. He ends the poem by revealing that he loves her regardless of the flaws. In the final poem, "Sonnet 138", Shakespeare brings to light the faults of two lovers. At the end of the sonnet, Shakespeare describes how their faults are overcome by lies, which are sustained by love. Although the poems appear to be quite different on the surface, underneath they share many common elements.
The messages behind them can be based on love and affection but on the other hand can be based on lust and betrayal. Recently I have studied two well known poets' works. These are the work of the stunning Shakespeare and the magnificent Andrew Marvell. These are indeed both love poems however, they are contrasted as they have different meanings to them, one being love, and one being pure lust. To his Coy Mistress is a pure lust one even though in parts may make us think that he is in fact in love with this woman, however Sonnet 130 is a love poem.
To his Coy Mistress by Andrew Marvell and The Flea by John Donne Two of the poems in Best Words are seduction poems, rather than love poems. These are To his coy mistress by Andrew Marvell and The Flea by John Donne. Compare these two poems by analysing: - · Each poets intention · Form of the poem · Language used in the poem · Your reaction to the unromantic poems. ‘Let me not to the marriage of true minders/Admit impediments, love is not love’, is one of many famous love sonnets written by William Shakespeare. He had examined different parts of love and descried to explain them in a sonnet; where as other poets have written poems with different forms and structure on their points of views about relationships and seduction.
Comparing Philosophies of Donne's To His Mistress and Herrick's Corrina Going A-Maying The seventeenth century in England produced two varying schools of poetic philosophy which included the metaphysical and the cavalier. While the metaphysical poets, comprised of the artists who followed John Donne's use of the metaphysical conceit, tended to reinforce the traditional forms of love and devotion, the cavalier poets, led by Ben Johnson, intellectualized the themes of their poetry. Both metaphysical and cavalier poets such as John Donne and Robert Herrick experimented with poetry of seduction, dramatic verse from a male lover attempting to persuade his beloved. Although both poets attempt to incite their mistresses, the methods of persuasion in Donne's "To His Mistress Going to Bed" and Herrick's "Corrina's Going A-Maying" differ in accordance with their different schools of poetic thought. Whereas Donne employs a lustful attitude, derogatory diction, and metaphysical conceits to harshly command sexual activity; Herrick utilizes a more intellectual and sensitive argument with his religious undertones, persuasive and playful diction, and personification of nature.
If the poem is read this way, the fact that the argument is false, is pure sophistry, is at least beside the point and can even become a strength-it is the interaction between the participants that is central. Donne (also Spenser, see 28, 29, 75, 54) frequently uses argument as a form of love-play and posits a woman who is an intellectual match for the man.
Another type of love is reflected through Touchstone, Duke Frederick’s fool: the purely sexual kind of love, demonstrated in the sexual references Touchstone employs in his journey with Rosalind and Celia. Despite the various types of love displayed in the play, the author also demonstrates a personal interpretation of the ideal love: the balanced and non-physical kind of love. Indeed, throughout the play, Shakespeare uses Ganymede and the Melancholy Jaques to criticize the love between Silvius and Phoebe as well as between Touchstone and Audrey. First of all, Silvius’ exaggerated view of love displays the irrationality of his love for Phoebe, a rather unattractive young lady as described by Ganymede. As soon as Silvius appears in the play, he explains to Corin, an older shepherd, that no one can possibly understand his obsession for Phoebe: “O, thou didst never loved so heartily.